The Radicalism of the Frick Madison
The inequities of America in 2021 play out on the museum’s walls
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Ingres’s portrait of the Comtesse d’Haussonville (1845) has always surveyed her audience coolly. A hand tucked under her chin, head crooked at an angle, she looks at us with a mixture of curiosity and disdain, as though we were underwhelming members of her Parisian salon.
Securely encased in an elaborate gilded ...
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