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Frick Collection

Rembrandt at the Frick: A Case of "True Grit"

Filed under: Art

rembrandt self portrait at the frick
Study Rembrandt's self-portrait, a monumental painting in a new show at the Frick Collection in New York City, and you see a man who looks much older than 52. Rembrandt presents himself as a bear of a man, draped in a luxurious fur cape, a golden pleated smock with a red sash wound around his waist. He holds a silver-tipped cane. He looks indomitable, strong, and resolute. The American painter Kenyon Cox's description of the painting in 1910 says it all: "It is the head of an old lion at bay, worn and melancholy, yet conscious of his strength, determined, and a little defiant." Yet in reality, in 1658, the year he painted the portrait, Rembrandt was morose and troubled. He had declared bankruptcy two years earlier. His family was hounded by debtors. He was forced to sell his many collections and even the house and studio he had occupied since 1639. His reputation suffered. Commissions lagged and his once large group of students and followers had all but abandoned him and in some cases, even his "Rembrandtesque" style.

The monumental self portrait has pride of place in the Oval Room in the Frick's new show, "Rembrandt and His School; Masterworks from the Frick and Lugt Collection." It presents work by the master, his pupils, and followers in a blockbuster celebration of Rembrandt's paintings, drawings, and etchings. Henry Clay Frick (1849--1919) and Dutch art historian and collector Frederik Johannes Lugt (1884-1970) were both great admirers of Rembrandt van Rijn. The precocious Lugt at 12 had started to catalog Dutch and Flemish drawings in Amsterdam's Rijksmuseum while Frick once said that the the talents he would most like to have possessed were Rembrandt's. These two admirers were renowned collectors with the eye, the connections, and the deep wallets to buy what pleased them.

The Classicist: Magnates, Mansions & Millionaires

Filed under: Estates, Books, The Classicist, Wealth


The excesses of today's tycoons have come under lots of scrutiny lately due to the dire financial situation. Titans of business have always been at the forefront of American mythology however, in both good times and bad, and it's worth putting today's crop of nabobs in their proper historical context. That's what William G. Scheller has done admirably in his new book, Great Estates: The Lifestyles & Homes of American Magnates (Universe, $35). The oversized, lavishly illustrated volume celebrates the history of 40 of America's true barons of business, from the 1700s through this year's Forbes list, and opens the door into their private palaces along the way.

Beginning with the colonial era, when trade was overtaking landholding as a way to get rich, Great Estates follows the "restless careers of our most brilliant and driven merchants, industrialists, and financiers as they mastered a new economic world of textiles, railroads, oil, and steel." With the twentieth century came fresh opportunities: "automobiles, motion pictures, broadcasting, publishing, and retailing on a massive scale, and the vast horizon of high technology." And of course the massive mansions that men of great fortune erected as monuments to their success along the way.

These include Henry Clay Frick's Manhattan mansion, now a magnificent museum; William Randolph Hearst's San Simeon in California, aka Hearst Castle; and one of our personal favorites, railroad magnate Jay Gould's gothic castle on the Hudson River, Lyndhurst (pictured above on the book's cover). Shortly after he purchased the estate as a summer home in 1880, Gould was at the zenith of his power, having gained control of Western Union Telegraph, the New York Elevated Railway and the Union Pacific Railroad with rapacious methods that once caused him to be beaten by a Wall Street mob.

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