Instagram Story Viewer

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

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

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

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

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

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

Let’s take a Field Trip with @plantkween …

There’s a moment while visiting The @frickcollection where everything slows down—and if you’re moving too fast, you’ll miss it. The Garden Court isn’t just about what you see but how it makes you feel.

Take a seat.
Look around.
Notice what’s growing in a place that doesn’t get any
sun—and how it still thrives. It’s a quiet flex in adaptability.

Don’t just pass through.

Let it reset you for a second. 🌱🌿

🎥 @turnerofalltrades

“Fashion Week at the Frick” is underway! 👗✨
 
Don’t miss this weeklong celebration of art and dress, inspired by our current special exhibitions, “Gainsborough: The Fashion of Portraiture” and “Ruffles & Ribbons: Fashion Plates from the Time of Marie Antoinette.”
 
Join us for these special offerings, free with admission:
🖼️ Gallery talks on fashion highlights in the collection
🎨 Drop-in studio hours for fashion accessory making on Saturday, from 1:00 to 4:00 p.m.
📷 Step and repeat banner to capture your own fashion moment
🎟️ Free admission, live music, and programs at First Fridays!
 
Learn more at the link in bio! 🔗
—
Thomas Gainsborough (1727–1788), Grace Dalrymple Elliott (detail), 1778. Oil on canvas, The Metropolitan Museum of Art, New York, image © Metropolitan Museum of Art/ArtResource; Designed by Pierre-Thomas Le Clerc (1740–1796), engraved by Nicholas Dupin, Gallerie des modes et costumes français, 13e Cahier des Costumes Français, 7e Suite d’Habillemens à la mode, N.76 (detail), ca. 1778. Hand-colored engraving on paper, Frick Art Research Library, gift of Melinda Martin Sullivan, 2016

Delight in “Ruffles & Ribbons: Fashion Plates from the Time of Marie Antoinette” 🎀✨

This special installation in the Frick’s Cabinet Gallery displays twenty-four hand-colored engravings, known as fashion plates, depicting French dress in the late eighteenth century.

In this video, Yifu Liu, Anne L. Poulet Curatorial Fellow, explores the legacy of this print series, which anticipated the arrival of modern fashion magazines. He discusses the historical context surrounding the fashion plates, including the influence of French Caribbean fashions, and shares some highlights of the installation, providing vivid glimpses into French daily life before the Revolution.

“Ruffles & Ribbons” is on view at the Frick through August 3! Learn more at frick.org/ruffles and plan your visit at frick.org/tickets.
—
“Ruffles & Ribbons: Fashion Plates from the Time of Marie Antoinette” showcases a selection of works from a gift by Melinda Martin Sullivan.

Join us this Friday, May 1, for First Fridays, a FREE evening of art and culture! ✨

This month’s installment coincides with “Fashion Week at the Frick,” a celebration of art and dress inspired by our current special exhibitions, “Gainsborough: The Fashion of Portraiture” and “Ruffles & Ribbons: Fashion Plates from the Time of Marie Antoinette.” Attend and enjoy:

🎻 Live music in the Garden Court
🎨 Hands-on fashion accessory making
🖼️ Fashion-focused gallery talks by museum educators
🍷 Drinks and bites in the Reception Hall and café, Westmoreland

Timed tickets are fully booked, but a limited number of walk-up tickets will be available! Learn more at frick.org/first_fridays.

Plus, explore all the programming we have in store for “Fashion Week at the Frick” at the link in bio! 🔗

One woman—two very different portraits by Thomas Gainsborough 💛🖼️
 
This is Grace Dalrymple Elliott, who became infamous for her scandalous affairs with prominent men. The first portrait, on loan from the @metmuseum, shows her in a ravishing yellow dress and towering hairstyle, living up to her nickname: “Dally the Tall.” Critics who saw the portrait at London’s Royal Academy alluded to her “errors” but, overwhelmed by her beauty, were inclined to “forget them all.”
 
This was not the case four years later with the @frickcollection’s bust-length portrait of Grace looking straight out to the viewer. The critics were vicious, disparaging the suggestive frankness and intimacy of this portrayal. They protested what they deemed to be inappropriate social mixing on the exhibition walls. Fashion in portraits could be provocative in this way, blurring the lines of the British class system.
 
Find the two portraits displayed together for the first time in “Gainsborough: The Fashion of Portraiture,” on view at the Frick through May 25 ✨
—
Thomas Gainsborough (1727–88), Grace Dalrymple Elliott, 1778, oil on canvas, The Metropolitan Museum of Art, New York; photo courtesy The Metropolitan Museum of Art / ArtResource
 
Gainsborough, Grace Dalrymple Elliott, 1782, oil on canvas, The Frick Collection, New York

One woman—two very different portraits by Thomas Gainsborough 💛🖼️
 
This is Grace Dalrymple Elliott, who became infamous for her scandalous affairs with prominent men. The first portrait, on loan from the @metmuseum, shows her in a ravishing yellow dress and towering hairstyle, living up to her nickname: “Dally the Tall.” Critics who saw the portrait at London’s Royal Academy alluded to her “errors” but, overwhelmed by her beauty, were inclined to “forget them all.”
 
This was not the case four years later with the @frickcollection’s bust-length portrait of Grace looking straight out to the viewer. The critics were vicious, disparaging the suggestive frankness and intimacy of this portrayal. They protested what they deemed to be inappropriate social mixing on the exhibition walls. Fashion in portraits could be provocative in this way, blurring the lines of the British class system.
 
Find the two portraits displayed together for the first time in “Gainsborough: The Fashion of Portraiture,” on view at the Frick through May 25 ✨
—
Thomas Gainsborough (1727–88), Grace Dalrymple Elliott, 1778, oil on canvas, The Metropolitan Museum of Art, New York; photo courtesy The Metropolitan Museum of Art / ArtResource
 
Gainsborough, Grace Dalrymple Elliott, 1782, oil on canvas, The Frick Collection, New York

One woman—two very different portraits by Thomas Gainsborough 💛🖼️
 
This is Grace Dalrymple Elliott, who became infamous for her scandalous affairs with prominent men. The first portrait, on loan from the @metmuseum, shows her in a ravishing yellow dress and towering hairstyle, living up to her nickname: “Dally the Tall.” Critics who saw the portrait at London’s Royal Academy alluded to her “errors” but, overwhelmed by her beauty, were inclined to “forget them all.”
 
This was not the case four years later with the @frickcollection’s bust-length portrait of Grace looking straight out to the viewer. The critics were vicious, disparaging the suggestive frankness and intimacy of this portrayal. They protested what they deemed to be inappropriate social mixing on the exhibition walls. Fashion in portraits could be provocative in this way, blurring the lines of the British class system.
 
Find the two portraits displayed together for the first time in “Gainsborough: The Fashion of Portraiture,” on view at the Frick through May 25 ✨
—
Thomas Gainsborough (1727–88), Grace Dalrymple Elliott, 1778, oil on canvas, The Metropolitan Museum of Art, New York; photo courtesy The Metropolitan Museum of Art / ArtResource
 
Gainsborough, Grace Dalrymple Elliott, 1782, oil on canvas, The Frick Collection, New York

One woman—two very different portraits by Thomas Gainsborough 💛🖼️
 
This is Grace Dalrymple Elliott, who became infamous for her scandalous affairs with prominent men. The first portrait, on loan from the @metmuseum, shows her in a ravishing yellow dress and towering hairstyle, living up to her nickname: “Dally the Tall.” Critics who saw the portrait at London’s Royal Academy alluded to her “errors” but, overwhelmed by her beauty, were inclined to “forget them all.”
 
This was not the case four years later with the @frickcollection’s bust-length portrait of Grace looking straight out to the viewer. The critics were vicious, disparaging the suggestive frankness and intimacy of this portrayal. They protested what they deemed to be inappropriate social mixing on the exhibition walls. Fashion in portraits could be provocative in this way, blurring the lines of the British class system.
 
Find the two portraits displayed together for the first time in “Gainsborough: The Fashion of Portraiture,” on view at the Frick through May 25 ✨
—
Thomas Gainsborough (1727–88), Grace Dalrymple Elliott, 1778, oil on canvas, The Metropolitan Museum of Art, New York; photo courtesy The Metropolitan Museum of Art / ArtResource
 
Gainsborough, Grace Dalrymple Elliott, 1782, oil on canvas, The Frick Collection, New York