MISINTERPRETATION AND REINTERPRETATION (Studies in World Art Book 127)
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Recently I was in New York ? my first visit for a long time. The party I was with had the privilege of a special visit to the Frick Collection, in many was the grandest of all New York museums. The Frick is what it is ? it doesn?t play the populist card. In a very real sense, what you see is what you get. It doesn?t lend what it owns (at any rate not the works given to it by its founder, Henry Clay Frick), but on this occasion it was playing host to a group of paintings lent by another grandee institution, the National Gallery of Scotland.
I was struck by how tranquil the place was, and not just because we were a group of special guests, let in a little before normal opening hours. The pictures were well spaced out, in big but not overwhelmingly large rooms. Even though it was winter, many ? though not all - were lit by natural light, coming into the galleries through huge skylights. They were very even in quality, superb works by big names. Among the paintings on view, grouped together, were the three El Grecos that belong to this institution.
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