The Frick Collection

We are thrilled to announce a major three-year sponsorship by Louis Vuitton (@louisvuitton )! ✨   Beginning this month, the House becomes a principal cultural sponsor at the Frick in 2026–28, providing vital funding for three integral areas of our mission: exhibitions, public programming, and art historical research. The sponsorship will follow Louis Vuitton’s presentation of its Cruise 2027 show in a series of the Frick’s first-floor galleries on Wednesday, May 20.   Louis Vuitton will be the lead sponsor of our next three major special exhibitions and one year of Louis Vuitton First Fridays, extending our popular series of monthly free evenings. The House will also support a newly created two-year position, the Louis Vuitton Curatorial Research Associate.   We are grateful to Louis Vuitton for this unique support, which reflects our shared commitment to cultural experiences of the highest quality. Learn more at frick.org/louisvuitton. — Visitors in the Garden Court during a recent First Fridays event, The Frick Collection, photo: George Koelle

Happy birthday to Thomas Gainsborough, #bornonthisday in 1727! 🎂✨   This work, on loan from the @royalacademyarts , is the last of his self-portraits, painted about a year before he died. Declaring his wishes for the legacy of his image, Gainsborough asserted that no posthumous “plaster cast, model, or likeness” be taken of him. However, he allowed for an engraving to be made after this portrait, which exemplifies his art in the deft, loose brushwork that became his signature.   There are only two weekends left to see “Gainsborough: The Fashion of Portraiture”—don’t miss it! Plan your visit today at frick.org 🎟️ — Thomas Gainsborough (1727–88), Thomas Gainsborough, ca. 1787, oil on canvas © Royal Academy of Arts, London, photo: Prudence Cuming Associates Limited; photo: George Koelle

Let’s take a field trip with @plantkween Here’s a little secret at The Frick Collection: one of the most beautiful gardens… you can’t even walk into. And that’s the point. The 70th Street Garden is all about how you see it. Catch it from the street. Then find it again from inside. Same space—completely different experience. It’s a reminder that sometimes changing your perspective changes everything. Go find both views. 🎥 @turnerofalltrades

Gainsborough was said to have painted his wife, Margaret, annually to mark their wedding anniversary 🎨❤️ Explore this portrait, on loan from the @courtauld —praised as “immensely sympathetic” and “supremely tender”—in our special exhibition “Gainsborough: The Fashion of Portraiture,” on view through May 25 ✨ #FrickFocus — Thomas Gainsborough (1727–88), Margaret Gainsborough, ca. 1778. Oil on canvas, The Courtauld, London © The Courtauld / Bridgeman Images; video by George Koelle

Make it a memorable weekend with Mom at the Frick 💐🩷   Try the new Afternoon Tea service at our café, delight in our gardens in bloom, experience our fashion-focused exhibitions, and more! Plan your visit today and explore discounted admission at frick.org/visit ✨ — Mother and daughter in the Fragonard Room, photo: Joseph Coscia Jr.

Pause your scrolling and enjoy a front-row seat to a Frick concert 🎻✨ This performance by Ruckus (@ruckusearlymusic ) and Emi Ferguson (@emiferguson ) was recorded during our Spring Music Festival in 2025, exactly one year ago today. We are proud to celebrate our first full year of concerts in the Stephen A. Schwarzman Auditorium—the beginning of a new chapter of musical excellence at The Frick Collection! 🔗 As our current season comes to a close, stay in the know by signing up for our emails at frick.org/enews (select “Concerts and Performances”). Our 2026–27 concert season will be announced later this year. — Emi Ferguson & Ruckus: Georg Philipp Telemann, Fantasia No. 2 in A Minor, TWV 40:3

Let’s take a field trip with @plantkween There’s a garden along Fifth Ave at The @frickcollection that seems almost too perfect to be real—a garden that offers verdant surprises, but only through the windows of the galleries and from the sidewalk below. Right now, it’s all about the spring plantings—but that’s just one moment in a space that’s always shifting. Look past the blooms and you’ll start to notice the layers—what stays, what changes, what comes back around. That’s where it gets interesting. Take your time with this one. It reveals itself slowly. 🎥 @turnerofalltrades

What do these three portraits by Gainsborough in our special exhibition have in common? 🎨🪶   Unlike contemporaries who traveled to Europe to study art, Gainsborough remained in England studying Old Master paintings. Above all others, he emulated, and even collected, the works of Anthony van Dyck. Some thirty portraits by Gainsborough feature interpretations of “Van Dyck dress”—most notably in this careful copy, on loan from @stlartmuseum , after Van Dyck’s “Lord John Stuart and His Brother, Lord Bernard Stuart.”   Displayed on the same wall in the exhibition is the Frick’s “Hon. Frances Duncombe.” Frances’s bright blue satin dress with its standing dog-tooth collar is inspired by Van Dyck style, but her hair is arranged in a tall, powdered pouf, which was the height of fashion in the mid-1770s. One of the last paintings Gainsborough made before his death is the portrait of “Bernard Howard, Later 12th Duke of Norfolk,” standing elegantly in his black Van Dyck suit—on view for the very first time in “Gainsborough: The Fashion of Portraiture,” through May 25.   Plan your visit at frick.org 🎟️ — Thomas Gainsborough (1727–88), Lords John and Bernard Stuart, after Anthony van Dyck, ca. 1765, oil on canvas, Saint Louis Art Museum   Gainsborough, The Hon. Frances Duncombe, ca. 1776, oil on canvas, The Frick Collection, New York   Gainsborough, Bernard Howard, Later 12th Duke of Norfolk, 1788, oil on canvas, His Grace, the Duke of Norfolk, Arundel Castle, Sussex

Our galleries currently hold one possible source of inspiration for Madonna’s (@madonna ) #MetGala look last night ✨   Believe it or not, variations of the ship headpiece were actually worn by women in Europe in the eighteenth century. In the mid-1770s, Marie Antoinette, Queen of France, helped popularize the pouf, a towering hairstyle adorned with feathers, ribbons, artificial flowers, fruits—and even miniature ships embedded in hair.   Our current exhibition “Ruffles & Ribbons: Fashion Plates from the Time of Marie Antoinette” showcases poufs in all their extravagance, alongside other French sartorial trends in a series of engravings that anticipated the arrival of modern fashion magazines.   Find this print and other style inspiration in our special exhibition, on view at the Frick through August 3 🎀 — Detail from “Gallerie des modes et costumes français, 6e Cahier de Modes Françaises pour les Coeffures, despuis 1776, F.31,” designer unknown, ca. 1778. Hand-colored engraving, approx. 11 1/2 × 17 in. (29.2 × 43.2 cm). Frick Art Research Library, gift of Melinda Martin Sullivan, 2016   Red carpet image from @nytstyle , photo: @vnina

After more than four months on view at @tate , John Constable’s “White Horse” has returned home to the Frick’s East Gallery 🐴🎨 Constable wrote of this painting, “There are generally in the life of an artist perhaps one, two, or three pictures, on which hang more than usual interest—this is mine.” Plan your visit to see the work today at frick.org! Frick tip: Our quietest time of the week to visit is Monday afternoon. #frickcollection #newyorkcity — John Constable (1776–1837), The White Horse, 1819, oil on canvas, The Frick Collection, New York

Find the perfect Mother’s Day gift at the Frick! ❤️   Stop by our Museum Shop and browse an expertly curated selection of collection-inspired gifts, from Frick publications and merchandise to homeware, jewelry, apparel, stationery, and more.   Tickets are not required for Museum Shop entry! Explore online at shop.frick.org 🛍️ — Photos by George Koelle

Meet the heartthrob of our special exhibition, Gainsborough Dupont, whose portrait is on loan from @tate 🎨✨   Thomas Gainsborough did not employ a large workshop like some of his fellow artists. Instead, he had the help of a single long-term assistant: Gainsborough Dupont, his nephew. Dupont collaborated with his uncle for about two decades as apprentice, collaborator, and model. Perhaps inspired by his nephew’s good looks, Gainsborough portrayed Dupont multiple times—likely including the famous “Blue Boy.”   The swift, fluid brushwork in this portrait—with turned head, sidelong gaze, falling lace collar, and long, full hair—points to Gainsborough’s confident, mature style. The artist was said to have symbolically placed a “last head” on his easel at the time of his death, as if the last word on his painterly journey. It is thought to have been this painting.   See it before it leaves the Frick! “Gainsborough: The Fashion of Portraiture” is on view through May 25. Plan your visit today at frick.org 🎟️ — Thomas Gainsborough (1727–88), Gainsborough Dupont, ca. 1770–72, oil on canvas, Tate, London; photo: George Koelle