François-Pascal-Simon Gérard, “Prince Camillo Borghese (detail),” circa 1810, oil on canvas, 84 x 54-3/4 inches, The Frick Collection, New York

New York’s esteemed Frick Collection recently announced it had made its most important and significant painting purchase in nearly 30 years. What was it?

In its most important painting purchase since 1991, the Frick Collection in New York City has acquired François-Pascal-Simon Gérard’s full-length portrait of Prince Camillo Borghese, a notable art patron and the brother-in-law of Napoleon Bonaparte.

François-Pascal-Simon Gérard, “Prince Camillo Borghese,” circa 1810, oil on canvas, 84 x 54-3/4 inches, The Frick Collection, New York

According to the Frick, “Gérard was one of the most significant French artists of the first half of the nineteenth century, and this stunning canvas will coalesce seamlessly with the museum’s holdings, which until now have not included his work. Chronologically, the painting falls between the museum’s French masterpieces by Boucher and Fragonard and later works by Ingres, Renoir, Monet, and Manet, while joining contemporaneous portraits by Chinard and David. It will, likewise, find good company in major works of portraiture by Bronzino, Rembrandt, Titian, Holbein, Van Dyck, Gainsborough, Reynolds, Romney, Hogarth, Goya, and Whistler. Following conservation and technical study this winter and spring at the Metropolitan Museum of Art, ‘Prince Camillo Borghese’ will go on view at the Frick in mid-2018.”

To learn more, visit The Frick Collection.

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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