This will create a finished, integrated appearance and complement the façades of the original Frick buildings. From 70th Street, the back of the library building-which today is visible above the garden and is cluttered by a large, metal exterior fire escape-will be expanded slightly to recapture unused space in a rear service yard behind the garden and enhanced with a new limestone façade, replacing an incongruous while tile surface.
The plan respects the current scale and height of the Frick’s buildings, which comprise the original three-story house designed by Carrère and Hastings and the adjacent seven-story-high library building, designed in the 1930s by John Russell Pope (at the same time, he was adapting and expanding the residence for its 1930s conversion into a museum). Visitors approaching the Frick from Fifth Avenue or 71st Street will notice minimal changes to the exterior. Instead, the works will be presented by region across three floors, with each floor showing works from a different area of Europe displayed in chronological order, from the earliest to the most recent. On view for the first time will be all fourteen works comprising Fragonard’s “Progress of Love” series, alongside two rarely seen seventeenth-century Mughal carpets, which were not on display in the Frick Mansion.Honoring the architectural legacy and unique character of the Frick, the design plan by Selldorf Architects provides unprecedented access to the original 1914 home of Henry Clay Frick, restores the 70th Street Garden, and provides a seamless flow throughout the Frick’s exhibition galleries, library, and public spaces for visitors and staff alike. Salomon, the curatorial team has taken into account the 1966 Breuer building’s stark, nearly windowless interior and has abandoned the cozy, clustered hangs intermingling works by various artists that characterized the presentation of Henry Clay Frick’s unmatched old masters collection at the industrialist’s elegant Gilded Age home. Led by chief curator and deputy director Xavier F. We are looking forward to sharing our collections again in person, reframed in a setting that has inspired fresh perspectives,” said Frick director Ian Wardropper in a statement. “While the Frick has successfully maintained contact with audiences locally, nationally, and around the globe through our thought-provoking digital programs since having to close last March, we have greatly missed the direct, in-person interactions with the public. The move to the Brutalist structure was necessitated by a $160 million renovation and expansion of the Frick Mansion, which is projected to last two years. At present, plans call for the Frick Madison to be open four days a week, from Thursday through Sunday, with occupancy capped at 25 percent. Collection officials have announced that the Frick Madison will open to the public March 18, with timed-entry tickets available online February 19. The Frick Collection has moved from its tony digs in its founder’s mansion at the corner of Fifth Avenue and East Seventieth Street on New York’s Upper East Side to its temporary home at 945 Madison, in the Marcel Breuer–designed building that recently housed the Met Breuer, and before that was home to the Whitney Museum of American Art for nearly five decades. Frick Madison to Open in Iconic Breuer Building in March
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