Through July 29, 2012
The Frick Collection
1 East 70th Street
New York, NY
The Steins Collect: Picasso, Matisse, and the Parisian Avant-Garde
Through June 3, 2012
Metropolitan Museum of Art
1000 Fifth Avenue
New York, NY
Edouard Vuillard: A Painter and His Muses, 1890-1940
Through September 23, 2012
The Jewish Museum
1109 Fifth Avenue
New York, NY
Fifth Avenue on the Upper East Side of Manhattan comprises several of the greatest collections of art anywhere in the world, including a trio of museums currently hosting excellent exhibitions.
Currently at the Frick (through July 29) is a splendid exhibit of works by early Renaissance master sculptor Pier Jacopo Alari Bonacolsi, known as L’Antico; his intimately-scaled pieces contain so much detail that they invite the exceptionally close viewing the Frick allows. Among the gems of Antico: Golden Age of Renaissance Bronzes are his statuettes of Hercules and Venus and his busts of Bacchus and Cleopatra.
One of the best Met exhibitions in recent memory, The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde (through June 3) recounts how writer Gertrude, brothers Leo and Michael and Michael’s wife Sarah created one of the most impressive collections of then-modern art in the first half of the 20th century. When they first came to Paris in the early 1900s, they were able to purchase dozens of Picassos, Matisses, Bonnards, and other cheap-to-buy painters before their name recognition and value skyrocketed. Picasso’s famous portrait of Gertrude, already a cornerstone of the Met’s collection, is complemented by his portraits of Leo and his son Allan. Many of the exhibit’s paintings are familiar, but seeing them in a new context simply awes us by the family’s discerning taste. Letters, photographs and other ephemera help to form a portrait of an American family in Paris that collected art as they rubbed shoulders with the artists who created the works they bought.
Edouard Vuillard: A Painter and His Muses, 1890-1940 shows how the painter followed his own path even as his work reflected those people—often women, including Lucy Hessel, wife of one of his patrons who soon became the long-time central figure of Vuillard’s art and life—who were most important to him at the time. The works on display—the Jewish Museum’s own are complemented by many from other collections, often from private hands and unseen in public museums—present a painter’s palette that’s assured, discerning and wholly original.
The exhibit, comprising a half-century of Vuillard’s art, makes for an intriguing overview, especially when considering his late portraits, often large-scale and less well known—undeservedly so: in the final two galleries hang some extraordinary paintings, including Madame Jean Bloch and Her Children, a stunningly precise work of intimacy and uncommon subtlety.