The newly reopened and renovated Frick Collection—once the New York home of the Henry Clay Frick family—was celebrated, in part, through the thematic exhibition (June 18–September 8) of three paintings by the Dutch artist Johannes Vermeer. Titled “Vermeer’s Love Letters,” the exhibition melds aesthetically into the building’s subtly retained grandeur. But not into Henry Clay Frick’s history and that of the people who once lived in the home, especially his daughter Helen, who battled with John D. Rockefeller Jr. publicly, privately, and in courts of law to preserve her father’s original purpose for the Collection. And the exhibition does not meld aesthetically into Johannes Vermeer’s purpose. Neither the theme of the exhibit nor the titles of the three paintings were provided by Vermeer, reflect his imperatives, or describe the paintings’ content.
