Exhibit of the week: Portraits, Pastels, Prints: Whistler in the Frick Collection

The Frick Collection possesses some of the best Whistlers in the world, and has temporarily arrayed them in an intimate summer exhibition.

Frick Collection, New York

Through Aug. 23

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The cocky Whistler certainly would have considered himself equal in talent to the old masters, said Ann Levin in the Associated Press. But for the most part, he eschewed traditional academic genres and “firmly embraced the avant-garde aesthetic movement” of his time. For him, that meant an emphasis less on realistic representation than on creating striking compositions, dashed with color, that often verge on abstraction. In the “charming views” of Venice displayed here, Whistler does not provide “the typical, tourist’s-eye view” of the romantic city. Rendering scenes of the city’s working classes and little-known backwaters, he often “dispenses with the custom of presenting his subjects against a recognizable landscape.”

But though Whistler liked to emphasize “the abstract qualities” of his own work, said Karen Rosenberg in The New York Times, the paintings here prove that he actually “had a rare talent for conveying specific places and personalities.” This is nowhere more evident than in this exhibition’s remarkable portraits. “The demure ­subject of Symphony in Flesh Color and Pink: Portrait of Mrs. Frances Leyland (1871–3) peers over her left shoulder,” seemingly snubbing the social arriviste depicted in Harmony in Pink and Gray: Portrait of Lady Meux (1881–2). Whistler’s mysterious, nearly monochrome portrait of the “unctuously luxurious” Count Robert de Montesquiou helps you understand why Marcel Proust based one of his most fascinating characters on the man. In these paintings, Whistler seems to model himself directly on old masters such as Velázquez and Rembrandt. He hardly suffers by comparison.