Importance Score: 35 / 100 🔵
Frick Collection Unveils Renovated Mansion in Grand Style
Amidst a deluge on Manhattan’s Upper East Side, luminaries of the art sphere, financial titans, and prominent New York social figures hastened under a sea of umbrellas into the newly revitalized Frick Collection. The highly anticipated reopening gala of the Frick Collection marked a confluence of established wealth – embodied by the Gilded Age estate of industrialist Henry Clay Frick – and contemporary affluence, represented by a substantial $220 million refurbishment. The evening witnessed guests, enveloped in elegant capes and exchanging warm greetings, mingling among masterpieces by Vermeer, Van Dyck, and Rembrandt.
A Celebration of Art and Common Ground
Once within the resplendent interiors, attendees, having passed a marble likeness of Mr. Frick, indulged in gourmet caviar tater tots paired with sparkling champagne. They explored the museum’s refreshed galleries, which are scheduled to welcome the public starting April 17th.
“It’s truly vital to possess venues where we can set aside political divides and discover shared passions in domains such as art and aesthetic appeal,” remarked Tai-Heng Cheng, a legal professional, academic, and Frick trustee. Mr. Cheng, adorned with his great-great-grandfather’s pendant, highlighted the unifying power of art.
“While debates about beauty may be perpetual, they are constructive,” he continued. “Such discussions are preferable to incessant discord over more consequential matters.”
Exploring the Expanded Frick
Couples, elegantly attired in pleated gowns and classic black tuxedos, gracefully ascended the main staircase leading to the newly constructed second floor. In the opulent Gold Grounds room, former museum director Ian Wardropper, recently retired, elucidated the origins of a porcelain floral arrangement to Jo Carole and Ronald Lauder of Estée Lauder Companies.
During his discourse, Mr. Wardropper was frequently interrupted by expressions of admiration for his foresight and perseverance. Over his 14-year tenure, he evaluated six renovation proposals but remained committed to realizing Annabelle Selldorf’s acclaimed expansion.
Media personality Tijana Ibrahimovic conveyed her enthusiasm for exploring the new ceramics section and immersing herself in the library’s “old-world ambiance.” However, a particular element captivated her most. “I am eager to once again see the fountain at the heart of the Garden Court,” she stated.
Marveling at Masterpieces and New Perspectives
Guests admired the original marble steps of the mansion, naturally guiding them towards “the Piero”: Piero della Francesca’s iconic 15th-century depiction of Saint John the Evangelist. This artistic highlight, adorned in red robes, barefoot, and featuring a striking golden halo, commanded attention.
“What an impressive sightline,” Mr. Wardropper observed, as he briefly paused on a plush hexagonal bench. This seating was situated in a former bedroom, now thoughtfully transformed into a tribute to Mr. Frick’s daughter, Helen Clay Frick. Prior to the renovation, this space had served museum staff.
“Witnessing individuals navigate through the spaces is profoundly gratifying,” he added.
Evening Festivities and Dedications
Attendees lauded the elaborate curtains – substantial, handwoven draperies embellished with ornate tassels and sateen spheres. They captured photographs with their iPhones before renowned artworks, with Manet’s “Bullfight” drawing particular interest. Guests also contemplated pieces by Rousseau and Millet before being directed to dinner below.
Those positioned in the West Gallery, described by New York Times critic Holland Cotter as a grand hall “as long and wide as an airport runway, custom-built for art,” in a reopening preview, were addressed by Elizabeth “Betty” Eveillard, chair of the Frick’s board of trustees.
However, the majority of attendees were dispersed across first-floor galleries, where they viewed Ms. Eveillard’s remarks via livestream on strategically placed television screens.
Ms. Eveillard announced the board’s decision to name the newly constructed Ian Wardropper Education Room, recognizing Mr. Wardropper’s dedication to expanding educational initiatives at the Frick Collection.
A Sold-Out Success
She further noted that the gala, glancing at the long, candlelit banquet tables where faux flames flickered in candelabras (to safeguard the multi-million dollar renovations), had completely sold out even before formal invitations were distributed. The event, hosting over 450 individuals, successfully raised $3.7 million in support of the Frick.
“I extend my sincere gratitude to you all,” she expressed. “And with warmth, I say, welcome home.”
Youthful Spirit and Fashion Statements
The Fragonard Room transitioned into a spirited gathering space for younger guests – a “cool kids’ table” of sorts. Among them, model Ivy Getty and Vogue editor Lilah Ramzi engaged in lively conversation and enjoyed avocado crab salad, surrounded by the whimsical paintings of cherubs and ethereal children.
“We are embodying ‘gay Gilded Age’ for the Frick,” declared theater producer Jordan Roth, showcasing his elaborate, puff-sleeved, all-black ensemble. “Vintage Dior, vintage Lanvin, and brand new Prada.”
“Fresh paint!” interjected socialite Laurence Milstein, playfully referencing Mr. Roth’s recent Prada acquisition. “I thought, if anyone will fully understand the assignment, it is Jordan Roth.”
Concluding Remarks and Sweet Surprises
Between courses, attendees congregated in the Garden Court, savoring cocktails near the fountain, bathed in the golden light emanating from the stately, illuminated columns.
Following a main course of roasted mallard duck with pickled blackberry port jus, final remarks took place. Axel Rüger, the museum’s present director, presented Mr. Wardropper, his predecessor, with a commemorative silver tray from Christofle.
“My tuxedo and I have been in a contest to determine who would retire first,” Mr. Wardropper quipped.
The evening, he continued, celebrated “ushering the Frick into the 21st century.” It represented the culmination of transforming a mansion, once staffed by 30 servants for a household of three, into a museum and educational center serving 300,000 visitors annually.
“Long live the Frick!” Mr. Wardropper concluded. The room erupted in applause, everyone rising to their feet, flanked by Turners displayed against rich, velvet-coated green walls.
Suddenly, a procession of waiters appeared, carrying miniature chocolate shipping crates, playfully labeled with “fragile” stickers and accompanied by small golden mallets.
Guests, initially puzzled but then delighted, eagerly cracked open their desserts, shattering the chocolate packages to unveil miniature cookie replicas of Frick masterpieces – transforming every attendee into a collector.