@frickcollection

Presented jointly by the Frick and the Institute of Fine Arts (@nyuifa) since 1940, the Symposium on the History of Art welcomes graduate students from fifteen different schools to present original research in the field of art history to both their peers and the public. This year, the free symposium will be held on Zoom, taking place Fridays, October 16, 23, 30, and November 6, from 3:00 to 5:00 p.m. Attend just one session or enjoy them all! Register now at the link in our bio. — 1. Z. Serena Qiu, University of Pennsylvania: Photographer unknown, Chinese Village (detail), 1893, designed by Horatio Wilson and Oliver Marble, published in "The Dream City: A Portfolio of Photographic Views of the World’s Columbian Exposition" (St. Louis: N.D. Thompson, 1893) 2. Shannon Steiner, Binghamton University/Bryn Mawr College: Reliquary of the True Cross (Limburg Staurotheke), detail of lid. Cloisonné enamel on gold, gilded silver, and precious stones. Made in Constantinople, ca. 964-65. Diözesanmuseum Bistum Limburg, Limburg an der Lahn 3. Caitlin Play, Rutgers University: Tribuna (detail of drum and vault), 1583-89. Uffizi Gallery, Florence

Hang on to your hat, new curated galleries are now on the app! 🎩 Download the Bloomberg Connects app (link in bio) to begin exploring the collection thematically with guided audio from Frick curatorial staff. In the newest online gallery, Gemma McElroy, Curatorial Assistant, reflects on the representation of hats throughout paintings, porcelain, enamels, and even a tapestry in the Frick's collection. — Baron François Gérard (French, 1770–1837), Portrait of Camillo Borghese, ca. 1810. Oil on canvas, 83 7/8 × 54 11/16 in. (213 × 138.9 cm). The , New York @bloombergdotorg

Add some art to your evening ✨ Tune in at 5:00 p.m. for the latest episode of "Cocktails with a Curator" at the link in our bio and Story. This week, Curator Aimee Ng explores the life of Lodovico Capponi, the subject of a sixteenth-century portrait at the Frick by Agnolo . Join Aimee with an Aperol Spritz or a sparkling mocktail as she examines what some of the details—from his black-and-white outfit to the partially obscured cameo in his right hand—may tell us about the young man and his life. Catch up on past episodes anytime at youtube.com/frickcollection. Audiences under 21 are encouraged to join with a non-alcoholic drink. — Agnolo Bronzino (Italian, 1503–1572), Lodovico Capponi, 1550–55. Oil on poplar panel, 45 7/8 x 33 3/4 in. (116.5 x 85.7 cm). The , New York

Painter Bartolomé Esteban made a name for himself in seventeenth-century Seville. Best know for his religious paintings—including his many notable representations of the Immaculate Conception—Murillo also painted genre scenes and a handful of portraits, including two surviving self-portraits, one of which (seen here 👆) resides at the Frick. This work was probably a private piece, originally made for his own family. : This self-portrait was the first Spanish painting ever acquired by Henry Clay Frick, who later purchased many masterpieces by El Greco, Velázquez, and Goya. 🇪🇸 — Bartolomé Esteban Murillo (Spanish, 1617−1682), Self-Portrait, ca. 1650−55. Oil on canvas, 42 1/8 x 30 1/2 in. (107 x 77.5 cm). The ; gift of Dr. and Mrs. Henry Clay Frick II, 2014

Friends of the Frick—it's day! Today, @rijksmuseum, the national museum of the Netherlands in Amsterdam, is taking over the Frick's Instagram to give you a sneak peek of the museum and their favorite works of art. We start in the Gallery of Honour, where you will find Vermeer’s world-famous "Milkmaid" and works by Rembrandt, Frans Hals, and Jan Steen, among others. 🖼️ At the end of the gallery, Rembrandt’s "Night Watch" is waiting for you. Currently, the museum is working on , the largest research and conservation project ever for this masterpiece. Find out more in our Story! We hope to see you all in the summer of 2021 in Amsterdam. Give @rijksmuseum a follow to find out more about the collection. Stay safe! ❤️

The year 2020 marks the one-hundredth anniversary of the ratification of the 19th Amendment, which granted millions of women in the U.S. the right to vote. In celebration of this landmark occasion, the Frick is highlighting stories of women who made, appear in, collected, and took care of art in our collection in an online mini-series. Curator Aimee Ng is continuing the series with a look at a portrait of Miss Mary Edwards, a woman who took her life and legacy into her own hands.

Celebrate with this otherworldly creature, the of Lorenzo De Los Angeles, Reference Assistant at the . "This is an imaginative depiction of a fictional sea-monster. While small in scale, it possesses a great deal of outsize character and quirky charm. Its open-mouthed expression suggests that it is either laughing or caught by surprise!" What work in the collection do you want to see? Nominate your in the comments below. — Severo da Ravenna (Italian, ca. 1496–ca. 1543), Sea-Monster, ca. 1510. Bronze, 4 1/2 × 9 3/4 × 6 3/4 in. (11.4 × 24.8 × 17.1 cm). The , New York

Take a moment to pause with Anton 's "Autumn Morning." 🍃 — Photographic reproduction of Anton Zwengauer (German, 1810–1884), Autumn Morning, 1841. Oil on canvas, 14 5/8 x 12 5/8 in. (37.5 x 32.5 cm)

The Frick is concocting the perfect mix of cocktails and art. Tonight at 5:00 p.m., "Cocktails with a Curator" continues at the link in our bio and Story. Sip on a champagne cocktail or a complementary ginger ale mocktail as Xavier F. Salomon, Deputy Director and Peter Jay Sharp Chief Curator, offers insights into the final ten canvases in Jean-Honoré ’s Progress of Love series. Together we'll discover how the paintings made their way from France to the Frick’s Fragonard Room. watch last week's episode on the first four works in Fragonard's series at youtube.com/frickcollection. Audiences under 21 are encouraged to join with a non-alcoholic drink. — Jean-Honoré Fragonard (French, 1732–1806), The Progress of Love: Reverie (detail), 1790–91. Oil on canvas, 125 1/8 x 77 5/8 in. (317.8 x 197.2 cm). The , New York

Gazing up at tonight's Harvest Moon with a detail from 's "The Arts and Sciences." 🔭 The idea of depicting children mimicking the activities of adults was popular in mid-eighteenth-century France, but no artist had more fun with it than Boucher. If you observe closely, you'll notice the boy is looking through the wrong end of his telescope. — François Boucher (French, 1703–1770) and workshop, The Arts and Sciences: Astronomy and Hydraulics, ca. 1760. Oil on canvas, 85 1/2 x 38 in. (217.2 x 96.5 cm). The , New York

Chilean painter was not only an accomplished painter, but an advocate for the public recognition of the Chilean school of art. During his travels to Paris, Lira found inspiration in the romantic paintings of Eugène Delacroix. Returning to his native Santiago, he founded the Artistic Union together with sculptor José Miguel Blanco to promote fellow Chilean artists. The organization ultimately created the Museo Nacional de Bellas Artes de Chile (@mnbachile), the oldest fine arts museum in South America. 🇨🇱 — Black and white photographic reproduction of Pedro Lira (Chile, 1845–1912), Philip II and the Inquisitor

Opening in early 2021, will display the Frick's permanent collection in the Brutalist Breuer building. @NYTimes takes a sneak peek into the organization of our temporary home: "In the mansion, works of art from distinct periods and disciplines are juxtaposed in a residential house setting. In the Breuer, the Frick’s collection will be presented chronologically and by region." Xavier F. Salomon, head of the curatorial team, explains further, "The presentation will remain as unmediated as possible...I hope it's going to be a chance for people who know the Frick well to be able to say 'Oh, I never noticed that before.'" Read the full story at the link in our bio and learn more about the upcoming move at frick.org/visit. — ́zquez (Spanish, 1599–1660), King Philip IV of Spain, 1644. Oil on canvas, 51 1/8 × 39 1/8 in. (129.9 × 99.4 cm). The , New York