This year's Frieze Masters offered a plethora of eclectic and beguiling objects from across the centuries, with less of the hustle and bustle of the main Frieze tent. Pictured: The Infant Christ and the Infant St. John the Baptist in wilderness, by Bartolomé Esteban Murillo c.1655–1660. Courtesy Galeria Caylus

今年的弗里泽大师们是弗里泽艺术博览会的一个更安静、更庄重、更有扣子的表亲，他们提供了来自各个世纪的大量折中和诱人的物品，而主要帐篷的喧嚣和喧闹也较少。在未受过训练的人看来，有许多作品看起来更像名画-一幅拿破仑加冕礼的肖像，从雅克-路易·大卫(Jacques-Louis David)的原作中抄袭而来；还有一幅匿名的德国受难场景，看起来像是罗吉尔·范德·魏登(Rogier van der Wey@@还有你认为他们是谁的作品：一幅真正的塞缪尔·帕默水彩，一幅埃斯特班·穆里略的油画，一幅埃贡·希勒的画等等。

马斯特斯许多高级展位的另一个骄傲之处是把旧的和新的(ISH)混为一谈，也许是在布里奇特·赖利(Bridget Riley)用水粉制作的微妙抽象波形的背景下，或许是文艺复兴和罗马的泡沫-整个企业都是古董商托马索兄弟(Tomasso Brothers)和当代画廊家卡斯滕·舒伯特(Karsten Schubert纽约一家画廊展出了艾格尼丝·马丁(Agnes Martin)的绘画作品，并与一柜子的历史珍品分享空间，其中包括怪异的人体模型和锋利的球拍，用于17世纪意大利一场名为“帕隆”的残酷球类比赛。

就像往常一样，在艺术展的过道上，独特的或单独的表现最耀眼，古巴画家卡门·赫雷拉(Carmen Herrera)的优雅几何构图描绘了她在地球上生活的十年中的五年，她似乎是从另一个未来派的星球着陆的。西蒙·狄金森的展台上装饰着惊人的立体主义组合，而另一家伦敦画廊则展示了一系列令人惊讶的理查德汉密尔顿版画，可以追溯到20世纪40年代。如今，野心勃勃的赫尔利·纳赫玛(Helly Nahmad)设施成了一年一度的固定项目，它想象着一个由野蛮的法国画家让·杜巴菲特(Jean DuBuffet)居住的避难所，而在奇特的发明性的万事博物馆(Museum Of Everything)，一场由两人组成的展览，也包括窗帘后面的一家秘密鸡尾酒吧，为疲惫的游客提供一种令人心旷神怡的辣根伏特加-

Masters is the more serene, stately and buttoned-up cousin of Frieze Art Fair. Pictured: Green Garden, by Carmen Herrera, 1950. Courtesy Lisson Gallery

To the untrained eye, there were lots of works that looked like more famous paintings. Pictured: The Virgin Suckling the Child, by Defendente Ferrari, c. 1530. Courtesy Sarti Gallery

Then there were the pieces that really were by who you thought they were by, such as a real Samuel Palmer. Pictured: Going to Evening Church, by Samuel Palmer, 1874. Courtesy The Fine Art Society

Another conceit for many of the fine booths at Masters was to mix the old with the new(ish). Pictured: Yesterday's Sandwich (plate 46), by Boris Mikhailov, c.1966–1968. Courtesy Sprovieri

Noli Mi Tangere, by Fontana Workshop, c.1560. Courtesy Bazaart Ltd

Late Classic Dayak Ancestral Post, Borneo, 1474–1635. Courtesy Bernard De Grunne

Selbstbildnis mit steifem Hut, by Max Beckmann, 1921. Courtesy Simon Theobald

Seated semi-nude with hat and purple stockings, by Egon Schiele, 1910. Courtesy W_K, Wienerroither_Kohlbacher

Head of E.O.W, by Frank Auerbach, 1957. Courtesy Marlborough Fine Art

Head of a stylized anthropomorphic statuette, Cycladic art, c.2500 BC. Courtesy David Ghezelbash Archéologie

Snakes, Spiders and Caterpillars contorted to spell the Artist's Name, by Jan van Kessel, 1657. Courtesy Johnny van Haeften

 Schlitten, by Joseph Beuys, 1969. Courtesy Thomas Dane Gallery

Doll B, by Keiichi Tanaami, 1969. Courtesy Nanzuka

Les Trois Soeurs, by Léon Frédéric, 1896. Courtesy Jack Kilgore

 St John on Patmos, Master of Petrarch’s Triumphs, c.1490–1500. Courtesy Dr Jörn Günther Rare Books

Untitled (Wall Hanging), by Melvin Edwards, 1982. Courtesy Stephen Friedman Gallery

Adam and Eve in Paradise, by Roelant Savery, 1617. Courtesy Salomon Lilian

Surrealist Head, by Roy Lichtenstein, 1986. Courtesy Castelli Gallery

 Crystal, by Sam Gilliam, 1973. Courtesy David Kordansky Gallery

Returning from the Shin Yoshiwara by Moonlight, by Utagawa Kuniyoshi, c.1834. Courtesy Sebastian Izzard LLC

Langobardic relief. Photography: courtesy of Sam Fogg

Langobardic relief detail. Photography: courtesy of Sam Fogg

keywords:Frieze Art Fair

关键词：弗里泽艺术展