BGuthrie Photos: DC -- Freer Gallery of Art -- Not Covered Elsewhere

BGuthrie Photos: DC -- Freer Gallery of Art -- Not Covered Elsewhere DC -- Freer Gallery of Art -- Not Covered Elsewhere:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Slide Show: Want to see the pictures as a slide show? [Click here for Slideshow]

Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIFG_231123_01.JPG: Journey of Color Galleries 1-20 Whether pulverizing gold, crushing lapis lazuli, or using cochineal insects, artists across Asia have experimented for millennia with a wealth of minerals, bugs, and plants to create eye-catching pigments. Knowledge of substances and techniques also traveled from one region to another and was adopted and transformed by different communities in new and innovative ways. Color draws attention to a work of art, conveys important visual clues, and elicits emotions. At the same time, the perception of color is subjective, and cultural understandings of its meaning and function are not universal. A color may represent happiness and hope in one community, but anger and destruction in another. One culture may refer to a certain hue as observable in nature while another may not even have a name for the same color. Color perception can vary not only from one culture to another, but also from person to person, and some individuals are color-blind. Join us on a Journey of Color as we highlight a selection of objects in the Freer Gallery of Art in celebration of our centennial. These select works reveal how different cultures obtained, produced, and used color to individualize their creations and tell layered, universal stories.
2. SIFG_230427_07.JPG: The following pictures are from the page 2023_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (28 photos from 2023)
3. SIFG_230427_43.JPG: Hidden Dragons Try our free, all-ages Augmented Reality scavenger hunt experience. Discover dragons as you've never imagined them while you explore the museum.
4. SIFG_230427_47.JPG: The courtyard is open again!
5. SIFG_230427_50.JPG: Visitor access to the courtyard loggias has been made possible by a generous grant from the Philip L. Graham Fund
6. SIFG_230427_78.JPG: Law Supported by Power and Love American artist Augustus Saint-Gaudens accepted a prestigious commission from the Boston Public Library in 1892 to create a pair of bronze sculptures for its main entrance. Although Saint-Gaudens worked on the "Library Group" for many years, the sculptures were still not complete when he died in 1907. Eight years later, Charles Lang Freer ordered these smaller bronze versions based on the unfinished plaster models. The undefined forms and lack of detail of Saint-Gaudens's models are evident, and yet the artist's intention with the majestic allegorical figures comes through. Here, Law, a bearded man with a staff, appears between Power, crowned with laurel leaves and holding a sword, and Love, represented by a mother and child. The companion piece, Labor Supported by Science and Art, shows Labor, a curly haired male with a hammer and anvil, seated between Science, a draped figure holding a globe, and Art, a female with a lyre. Augustus Saint-Gaudens (1848-1907) United States, 1892-1907 Bronze
7. SIFG_230427_91.JPG: This is how the Hidden Dragons AR showed up on the smartphone
8. SIFG_220828_04.JPG: Caprice in Purple and Gold: The Golden Screen James McNeill Whisler
9. SIFG_220828_08.JPG: An Influential Woman In this painting, American expatriate painter James McNeill Whistler portrays the Irish-born artist and model Joanna Hiffernan (1843-1903), who posed for many of Whistler's most controversial compositions. Also linked to innovative artists such as Gustav Courbet (1819-1877), Hiffernan was a force in European avant-garde circles. Learn more about her at the National Gallery of Art's exhibition, The Woman in White: Jaonna Hiffernan and James McNeill Whistler, on view from July 3 until October 10, 2022. [ I thought it was interesting that the Smithsonian was promoting an exhibit at the National Gallery of Art. ]
10. SIFG_220508_12.JPG: Image of Power
11. SIFG_220206_01.JPG: The following pictures are from the page 2022_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (11 photos from 2022)
  Courtyard accessibility project Through summer 2022 Ahead of our centennial celebration in 2023, the museum is undertaking an ongoing and phased construction effort. This project will improve the accessibility of our courtyard to allow all visitors to enjoy the space. Curious? Learn more at asia.si.edu/courtyard
12. SIFG_210821_04.JPG: The following pictures are from the page 2021_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (2 photos from 2021)
  Unlike the other Smithsonian museums, the Freer Gallery is the only one that uses public libraries.
13. SIFG_210821_07.JPG: Security personnel may inspect bags, parcels, and similar items. * Bags larger than 17 x 26 inches (43 x 66 cm) are not permitted inside the museum. * Nothing is permitted to be carried on one's back. * Lockers will be available for bag storage on a first-come, first-served basis at the Freer entrance on Jefferson Avenue.
14. SIFG_200509_01.JPG: The following pictures are from the page 2020_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (2 photos from 2020)
15. SIFG_200509_05.JPG: Temporary Closure Effective March 14, the Smithsonian museums in Washington, DC, including the National Zoo, and in New York City, have temporarily closed to support the effort to contain the spread of COVID-19. The Smithsonian's priority is to protect the safety and health of its staff, volunteers, and visitors. Please visit si.edu for updates on our operating status.
16. SIFG_190626_01.JPG: The following pictures are from the page 2019_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (25 photos from 2019)
  The McMillan Plan
17. SIFG_190626_21.JPG: Charles Lang Freer
18. SIFG_190626_27.JPG: 1854: Charles Lang Freer is born in Kingston, New York. 1880: Freer moves to Detroit with business partner Frank Hecker and launches Peninsular Car Works. After a series of mergers, it becomes American Car and Foundry (left) in 1899. 1887: After collector Howard Mansfield introduces him to the work of American expatriate artist James McNeill Whistler. Freer purchases his first set of Whistler etching later that year. 1890: Freer hires architect Wilson Eyre to design a shingle-style house on Ferry Avenue in Detroit, Michigan. For the next four years he works closely with artists and craftsmen to decorate his home.
19. SIFG_190626_31.JPG: 1887: After collector Howard Mansfield introduces him to the work of American expatriate artist James McNeill Whistler. Freer purchases his first set of Whistler etching later that year. 1890: Freer hires architect Wilson Eyre to design a shingle-style house on Ferry Avenue in Detroit, Michigan. For the next four years he works closely with artists and craftsmen to decorate his home. 1890: While in London, Freer meets Whistler for the first time. 1892: In addition to acquiring Variations in Flesh Colour and Green: The Balcony, his first oil painting by Whistler. Freer also makes his first purchase of Asian ceramics. 1894-95: Freer makes his first tour of Asia, stopping in Ceylon (Sri Lanka), India, Singapore, China, and Japan.
20. SIFG_190626_33.JPG: 1892: In addition to acquiring Variations in Flesh Colour and Green: The Balcony, his first oil painting by Whistler. Freer also makes his first purchase of Asian ceramics. 1894-95: Freer makes his first tour of Asia, stopping in Ceylon (Sri Lanka), India, Singapore, China, and Japan. 1899: After orchestrating a massive consolidation of the railroad cat manufacturing industry to create the American Car and Foundry Company. Freer retires to collect art full time. 1904: Whistler had transformed a private dining room in London into the Peacock Room in 1876-77. Freer purchases the room, dismantles and ships it to the United States, and installs it in his Detroit home. 1906: At the urging of President Theodore Roosevelt, the Smithsonian accepts Freer's gift of art and funds for a new museum on the National Mall. Freer commissions artist Gari Melchers to paint Roosevelt's portrait (right) as a sign of his appreciation.
21. SIFG_190626_36.JPG: 1906: At the urging of President Theodore Roosevelt, the Smithsonian accepts Freer's gift of art and funds for a new museum on the National Mall. Freer commissions artist Gari Melchers to paint Roosevelt's portrait (right) as a sign of his appreciation. 1907-11: In addition to acquiring works for his collection of American art. Freer undertakes four tours of Asia to purchase objects and to meet dealers, fellow collectors, and scholars. 1913: Arthur Sackler is born in Brooklyn, New York. 1913: His health failing, Freer commissions architect Charles Platt to design the Freer Gallery of Art.
22. SIFG_190626_40.JPG: 1919: Charles Lang Freer changes his will to allow Asian, Egyptian, and Near Eastern art to be added to his collection posthumously. He dies in New York City at age sixty-five. 1920: Freer's assistant Katharine Rhoades (left) oversees the transfer of artwork from Detroit to Washington. 1921-46: Grace Dunham Guest oversees major growth of the ancient Chinese and Islamic collections as an assistant curator and later as assistant director, a post she holds for eight years. 1923: The Freer Gallery of Art opens to the public. John Ellerton Lodge, appointed as the museum's first director in 1920, serves until 1942.
23. SIFG_190626_46.JPG: 1923: The Freer Gallery of Art opens to the public. John Ellerton Lodge, appointed as the museum's first director in 1920, serves until 1942. 1923-27: The museum sponsors archaeological expeditions to China. Future director Archibald Wenley (left) visits Yungang Grottoes in Shanxi, China, in 1925. 1926-29: After his parents lose their business, Sackeler works as a delivery boy to support his family financially. 1930: A memorial dedicated to Freer is unveiled at the Koetsu Temple in Kyoto, Japan. 1933-37: After earning a bachelor's degree from New York University in 1933. Sackler graduates with a medical degree from NYU in 1937.
24. SIFG_190626_49.JPG: 1933-37: After earning a bachelor's degree from New York University in 1933. Sackler graduates with a medical degree from NYU in 1937. 1941: Following the Japanese attack on Pearl Harbor, all Japanese art is removed from view in the Freer Gallery to protect it from possible vandalism. 1942: To finance further medical studies, Sackler joins a medical advertising firm that he later acquires. He becomes a major figure in the world of pharmaceutical advertising. 1943-62: Archibald Wenley, director from 1943 to 1962, builds the Freer Gallery's Near East collection by acquiring significant examples of Islamic art. 1945: The Freer Gallery expands its collection of Mughal art by acquiring several folios from the famed St. Petersburg album, in addition to other works.
25. SIFG_190626_53.JPG: 1947-50: The Peacock Room undergoes extensive conservation to stabilize its physical structure. 1950: Arthur Sackler begins collecting Chinese art. He gradually assembles one of the world's most comprehensive collections of ancient Chinese bronzes. 1952: Rutherford J. Gettens establishes a Laboratory for Technical Studies in Oriental Art and Archaeology at the Freer Gallery. It is one of the first museum conservation labs for Asian art in the country. 1954: The first issue of Ars Orientalis is copublished by the Freer Gallery of Art and the University of Michigan. Presenting current research on the art of the Middle East and Asia, the journal continues in publication today.
26. SIFG_190626_56.JPG: 1958: Among the many Chinese porcelains acquired at mid-century is this large canteen decorated with a mixture of Chinese and Islamic motifs. 1962-71: John Alexander Pope director of the Freer Gallery from 1962 to 1971, oversees significant acquisitions of Chinese porcelains.
27. SIFG_190626_59.JPG: 1968: The Freer Gallery's holding of Chinese art expand significantly with the acquisition of the Eugene and Agnes E. Meyer collection. 1971-77: The Japanese collection expands in size, range, and quality of works undeer the leadership of Harold Stern, director from 1971 to 1977. 1974: In refining his collection of Asian art, Freer sold many of his Japanese woodblock prints from the Edo period. Under the direction of Harold Stern, the Freer Gallery rebuilds its Japanese collection by acquiring prints by Utamaro (left) and Hiroshige. 1977-87: Thomas Lawton, director from 1977 to 1987, makes the Freer Gallery's first major acquisitions of Chinese calligraphy.
28. SIFG_190626_62.JPG: 1979: Congress passes legislation authorizing construction of the "South Quadrangle Project' to include new Smithsonian museums for Asian and African art. Ground is officially broken in 1983. 1982: Sackler agrees to donate approximately 1,000 objects, from Sasanian silver to ancient Chinese jades and bronzes, and to help fund a new museum of Asian art. 1984: The Freer Gallery mounts a major retrospective exhibition to celebrate the 150th anniversary of the birth of artist James McNeill Whistler. 1986: The Sackler Gallery acquires the Vever collection of Islamic manuscripts. 1987: The Arthur M. Sackler Gallery opens to the public on September 2, four months after Dr. Sackler's death. 1987-2001: Milo Beach, an expert of Indian art director from 1987 to 2001, develops exhibitions on Japanese woven baskets, court arts in Indonesian and Hindu and Maghal art from India.
29. SIFG_190626_65.JPG: 1987: The Arthur M. Sackler Gallery opens to the public on September 2, four months after Dr. Sackler's death. 1987-2001: Milo Beach, an expert of Indian art director from 1987 to 2001, develops exhibitions on Japanese woven baskets, court arts in Indonesian and Hindu and Maghal art from India. 1989-93: The Freer Gallery of Art closes for a four-year renovation. 1991: The Sackler Gallery acquires the Pritztaff collection of Chinese ancestor portraits. 1993: Now linked by an underground connecting gallery, the Freer Gallery of Art and Arthur M. Sackler Gallery reopen to the public.
30. SIFG_190626_68.JPG: 1996-2005: The Sackler Gallery acquires works from the Hauge collection of ceramics made in Thailand, Cambodia, Vietnam, and Laos, as well as Chinese vessels exported to Southeast Asia. 1997: Dr. Paul Singer bequests his vast and eclectic collection of Chinese art to the Sackler Gallery. 2001: Chinese artist Xu Bing creates Monkeys Grasp for the Moon as part of an exhibition of his artwork. The sculpture is recreated for permanent display in the Sackler Gallery. 2003: The Perspectives series of exhibitions is initiated to present works by contemporary artists from Asia and the Asian diaspora. Japanese artist Yayoi Kasama is featured first.
31. SIFG_190626_72.JPG: 2002-17: Julian Raby, a scholar of Islamic art and director from 2002 to 2017, champions international exhibitions and digital initiatives during his tenure. 2003: Robert O. Muller bequeaths his collection of Japanese woodblock prints created in the 1860s through the 1940s to the Sackler Gallery. 2007: The Freer Gallery acquires the Gerhard Pulverer collection of Japanese illustrated books produced in the Edo period and beyond 2011: The Dalai Lama visits the Sackler Gallery when Alice Kendell donates her collection of Tibetan Buddhist art to the museum.
32. SIFG_190626_75.JPG: 2007: The Freer Gallery acquires the Gerhard Pulverer collection of Japanese illustrated books produced in the Edo period and beyond 2011: The Dalai Lama visits the Sackler Gallery when Alice Kendell donates her collection of Tibetan Buddhist art to the museum. 2011: The Peacock Room is restored to its appearance in 1908 when Charles Lang Freer used the room to display more than 250 ceramics he collected throughout Asia. 2017: The Freer|Sackler reopens on October 14 wit grand festivities attended by thousands of art and museum lovers. 2018: The Secretary of the Smithsonian announces the appointment of Chase Robinson, an Islamic scholar, as director of the Freer|Sackler. 2023: Join us when the Freer Gallery of Art celebrates the centennial of opening its doors to the public. Here's to another century of presenting and preserving the arts!
33. SIFG_180620_22.JPG: Image of Power
34. SIFG_180303_01.JPG: The following pictures are from the page 2018_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (12 photos from 2018)
  High winds wiped out the banners
35. SIFG_171019_071.JPG: A Unique Discovery
36. SIFG_171019_075.JPG: Art and Industry: China's Houma Foundry
37. SIFG_171019_078.JPG: Unlocking Secrets
38. SIFG_171019_100.JPG: Powerful Patrons
39. SIFG_171019_115.JPG: Fit for a King
40. SIFG_171019_132.JPG: Many Hands, One Goal
41. SIFG_171019_146.JPG: Magic Mountains
42. SIFG_171019_165.JPG: Afterlife: Ancient Chinese Jades
43. SIFG_171019_174.JPG: Status Symbols
44. SIFG_171019_195.JPG: Stone Age Metropolis
45. SIFG_171019_203.JPG: Like Slicing a Loaf of Bread
46. SIFG_171019_211.JPG: Fairest of Stones
47. SIFG_171019_219.JPG: Viceroy Duanfang
48. SIFG_171019_224.JPG: Ahead of His Time
49. SIFG_171011_028.JPG: The redesigned signage has the regular sign but some items have an additional red sign which documents how the piece related to Freer.
50. SIFG_171011_031.JPG: Breakfast in the Loggia John Singer Sargent
51. SIFG_171011_043.JPG: This Dear Mountain
52. SIFG_171011_046.JPG: Pictures for a Museum
53. SIFG_171011_050.JPG: Modern Women
54. SIFG_171011_061.JPG: A Perfect Harmony
55. SIFG_171011_066.JPG: Dirty Pictures
56. SIFG_171011_074.JPG: Nocturne: Trafalgar Square, Chelsea -- Snow James MacNeill Whister
57. SIFG_171011_078.JPG: Dreams of Beauty
58. SIFG_171011_081.JPG: The Piano Thomas Dewing (American, 1851–1938) United States, 1891 Oil on wood panel H x W: 50.8 x 67.5 cm Gift of Charles Lang Freer, F1906.66 Originally titled The Musician, this painting is the first of several works by Dewing that suggest a connection among music, reverie, and aesthetic attention. It depicts the model Minnie Clark seated before a piano in an otherwise empty room. Her brunette hair, black dress, and massive dark piano contrast sharply with the opalescent green of the interior. Thinly painted areas in various tones of green balance the visual weight of the piano and the female figure on the right. The skewed perspective is tilted in the manner of the Japanese prints that Dewing admired and collected. As a result, the illusionistic rendering of space is attenuated, reduced to a flickering violet shadow at the right and a few saturated strokes of greenish blue pigment at the lower left. Both of these passages suggest where the floor and wall meet, but they also function as chromatically significant surface details. Such emphasis on a decorative rendering of space recalls the atmospheric style of James McNeill Whistler, to whom Dewing's paintings and pastels were often compared by contemporary critics and collectors.
59. SIFG_171011_089.JPG: Points of Contact
60. SIFG_171011_093.JPG: Nocturne in Blue and Gold: Valparaiso James McNeill Whistler
61. SIFG_171011_101.JPG: Nocturne: Blue and Silver -- Battersea Reach James McNeill Whistler
62. SIFG_171011_107.JPG: Rediscovering Korea's Past: Korean Ceramics October 14, 2017 – Indefinitely Today we admire the translucent gray-green celadon glaze on Korean ceramics of the Goryeo period as one of the great achievements of world potters. It is startling to realize that once this ware was all but forgotten. In Korea a millennium ago tastes changed. Other styles of ceramics replaced celadon in temples, palaces, and homes of the elite. In the late nineteenth century, long-respected tombs of royal figures and nobility from the Goryeo period (935–1392) became vulnerable to looting. Celadon and other cherished possessions of the deceased, preserved as burial offerings, were plundered and sold in the antiquities market. American doctor and diplomat Horace Newton Allen witnessed this rediscovery while he lived in Seoul from 1884 to 1905, and he formed his own sizeable collection of celadon, it seems, from objects on the open market. Charles Lang Freer purchased Allen's collection in 1907. This large acquisition sparked Freer's deep interest in this distinguished Korean ware. In turn, Allen, Freer, and other early collectors inspired generations of scholars to clarify the styles and dating of Goryeo celadon. Archaeologists have now identified and excavated the kiln complexes at Gangjin and Buan, which produced the finest celadon wares during the Goryeo dynasty.
63. SIFG_171011_111.JPG: Shades of Green
64. SIFG_171011_114.JPG: Missionary, Doctor, Diplomat, Collector
65. SIFG_171011_118.JPG: Setting the Bar: Arts of the Song Dynasty October 14, 2017 – Indefinitely China's Song dynasty established many prototypes in government, society, and the arts. A system of schools and examinations for entering public office led to an efficient, centralized government headed by the emperor but staffed by well-educated commoners. Emerging as a class of scholar-officials, who were both artists themselves and consumers of art, these men looked to ancient tradition as a source for moral principle and creative inspiration. At the same time, a spirit of inquiry and close examination of nature led to advances in art and science. Widespread gains in literacy and disposable income also stimulated growth in the arts. Elegance and refinement in form, line, and color characterize the visual arts of China during the Song dynasty. As new technology enhanced ceramic production and the number of kilns rose, fresh approaches to decoration developed. The rise of ink painting paralleled a taste for monochrome ceramic glazes. A multitude of other painting styles and techniques emerged as well, with a strong preference for realistic detail, modulated colors, and individualized faces and postures.
66. SIFG_171011_126.JPG: Not Cracked, but Crackled
67. SIFG_171011_128.JPG: Art of Song Ceramics
68. SIFG_171011_132.JPG: The Art of Drinking
69. SIFG_171011_138.JPG: Ceramics: A Few Key Terms
70. SIFG_171011_147.JPG: Freer | Sackler Where Asia Meets America
71. SIFG_171011_154.JPG: In the Shadow of an Apocalypse
72. SIFG_171011_166.JPG: What's Inside?
73. SIFG_171011_173.JPG: Lust as Weapon
74. SIFG_171011_175.JPG: Lord of Burning Desire
75. SIFG_171011_177.JPG: Bits and Pieces Come to Life
76. SIFG_171011_191.JPG: The Beginnings of Buddhism in Japan The two objects in this exhibition exemplify the birth of Buddhism in Japan. In 552, the Korean kingdom of Baekje sent the Japanese court sacred texts (sutras) and a gilt bronze sculpture, thought to be similar to the one on view. The Japanese, whose native gods did not have visible forms, were impressed by images of Buddhist deities and stories of their powers, as related in the sutras. Early adopters of Buddhism at court built temples and sponsored ceremonies, lectures, and the copying of sutras. In the mid-eighth century, Emperor Shōmu mandated a nationwide system of official temples. He also commissioned a more than fifty-foot-tall gilt bronze sculpture of the cosmic buddha for the Tōdaiji temple in Nara, the imperial capital. The sutra segment in this exhibition is traditionally called Ōjōmu (Great Shōmu) in the emperor's honor.
77. SIFG_171011_201.JPG: A Sacred Masterwork
78. SIFG_171011_210.JPG: The Infant Buddha
79. SIFG_171011_219.JPG: A Knife Carved from a Meteor
80. SIFG_170101_01.JPG: The following pictures are from the page 2017_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (121 photos from 2017)
  These telecommunications rigs have been showing up all over the Mall over the last couple of months -- American History, Air and Space, the Capitol, here, etc -- in preparation of the Trump inauguration. They expected a lot more people to show up than actually came and most of them weren't in the correct places for the bigger women's march the next day.
81. SIFG_160102_01.JPG: The following pictures are from the page 2016_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (6 photos from 2016)
  White plum tree Ogata Korin (1658-1716)
82. SIFG_160102_27.JPG: Camellias Autumn Grass Suzuki Kiitsu (1796-1858)
83. SIFG_160102_38.JPG: Thirty-Six Poets Sakai Hoitsu (1761-1828)
84. SIFG_130217_001.JPG: The following pictures are from the page 2013_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (21 photos from 2013)
85. SIFG_110609_001.JPG: The following pictures are from the page 2011_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (56 photos from 2011)
86. SIFG_110609_080.JPG: Harmony in Blue and Gold: The Little Blue Girl James McNeill Whister, 1894-1903 Whistler described this female nude as "a figure to, in a way, hint at 'Spring.'" It held a special significance for both the artist and for Charles Lang Freer, who had commissioned -- and paid for -- the work in 1894 but did not take possession of it until the artist's death in 1903. When Whistler's wife Beatrix lay dying of cancer in 1896, the expatriate wrote to his patron in Detroit that he had continued to work on the painting, in part to ease his grief. "I write to you many letters on your canvas," he explained to Freer, and indeed, the multiple layers of paint around the model's face convey Whistler's almost obsessive reworking of the surface. Whistler designed and painted the frame to harmonize with both the figure and the checkerboard pattern of the rug on which she stands. Whistler thought the frame was an important element in the overall design of a work of art. Here, he signed it with his trademark butterfly, ensuring that the frame and image would be understood as two parts of a whole.
87. SIFG_110609_094.JPG: Arrangement in Black: Portrait of FR Leyland James McNeill Whistler, 1870-73 Charles Freer, who purchased the Peacock Room in 1904, did not see this painting of the room's first owner, Frederick Leyland, until 1905, though he confessed that hearing a fellow collector describe it "makes my blood tingle." It depicts Whistler's important early patron in black evening dress, accented with the ruffled shirt-front for which Leyland was renowned. The dramatic palette and tall, narrow format are derived from the Spanish court painter Vel�squez, whose works Whistler had seen some years earlier, at an exhibition in Manchester. Although artist and patron would suffer a falling out over Whistler's decoration of the Peacock Room, Whistler was on intimate terms with the Leyland family in the early 1870s, and Frederick Leyland, who endured long sessions posing for this work, was pleased to be painted in the style of seventeenth-century royalty. Many of Whistler's full-length portraits are contemporaneous with the Nocturnes, with which they share many formal qualities, including a reduced, darkened palette and soft, almost vaporous surfaces. As with the Nocturnes, Whistler gave these portraits musical titles intended to emphasize color and composition rather than the individuality of the sitter. Even so, the personalities depicted are rarely effaced by their artistic handling, and it was surely the dynamic tension between artistic selection and human presence that attracted Freer to this work.
88. SIFG_110609_102.JPG: Arrangement in White and Black James McNeill Whistler, ca 1876 Maud Franklin, the subject of this painting, began posing for Whistler when she was sixteen years old. She eventually became his mistress and bore at least two of their children, who were raised by foster parents. A painter in her own right, Franklin exhibited works in the 1880s under her mother's name, Clifton Lin, and used the title Mrs. Whistler until 1888, when Beatrix Godwin and Whistler married. The self-confident pose she strikes in this portrait probably accounts for the title attached to it, L'Americaine.
89. SIFG_110609_127.JPG: Ancient Chinese Bronzes Ancient Chinese Bronzes Chinese civilization made great advances as it emerged from the Neolithic period and entered the Bronze Age. One factor in this change was the ability to locate and extract natural deposits of copper and tin for making bronze. Foundries capable of heating the ores to high enough temperatures for mixing and casting metal were established in northern areas of China around 1700 BCE. One of the largest and most impressive early foundries was at Anyang, the capital of the late Shang dynasty from about 1300 to 1050 BCE. Located in northeastern Henan province, Anyang has been under almost constant archaeological excavation since 1928. The Bronze Age site encompassed a major settlement with huge tombs linked to twelve kings. All of these royal burials were looted centuries ago, but some of the undisturbed aristocratic tombs have yielded bronzes of astounding quality, including many of the ritual containers now in the Freer Gallery of Art. With the establishment of foundries, northern cultures in China reaped the benefits of the Bronze Age earlier than peoples to the south. Tremendous social and political change resulted as technologically advanced cultures grew in wealth and power. Tools and weapons made of durable bronze replaced stone implements and revolutionized agriculture and warfare. Trade expanded to distant areas. Rituals for honoring ancestors by equipping tombs and offering symbolic banquets, replete with highly decorated cast bronze containers for wine and rice, became more elaborate. Writing systems developed from single symbols that represent a family or clan to complex pictographs that record significant moments in Chinese history in lengthy inscriptions. These cultural and artistic advancements, historic episodes, and more are conveyed in these exceptional bronzes.
90. SIFG_110609_149.JPG: Animals in Bronze Whether imaginary or real, animals are a recurring decorative element of ancient Chinese bronzes. One of the more enduring animal forms is the taotie, a stylized monster motif with symmetrically arranged eyes, ears, horns, snout, and jaw. Despite its one face, it usually has two bodies that end in coiled tails. Early in the Bronze Age, the creature was depicted as a linear design with central eyes and spiraling extensions that are easily lost in the surrounding decoration. Over the centuries its abstracted features were presented in high relief to distinguish them from background designs. As the Shang dynasty progressed, the contour of the motif was eliminated entirely and isolated features of the taotie were raised above the patterned ground. Dragons provided a bountiful source of inspiration for the artistic imagination. With their horns and coiling tails, dragons are easily recognizable when combined with other mythical creatures and real animals or even when given somewhat human features. Fish, tigers, and birds -- possibly representing all creatures of the sea, land, and air -- frequently appear on vessels produced in southern China. Artists in the north, aware of these more naturalistic representations of living animals, adapted their preference for compartmentalized designs to create fanciful ewers that seem to combine the shapes of various creatures. An amalgam of actual and mythical animals, they continue to intrigue and delight viewers millennia later.
91. SIFG_110609_171.JPG: Bronze Age Casting The ability to make bronze tools, weapons, and ritual vessels was such a significant advancement in world civilization that it lends its name to an entire era: the Bronze Age. The skill and resources needed to fabricate bronze were in place in ancient China by 1700 BCE, over a thousand years later than in Egypt, Mesopotamia, and India. The earliest Chinese bronze artifacts have been traced to the Erlitou culture in Henan province. Their discovery confirms foundries for smelting and casting metal were active in northern China between 1300 and 900 BCE, a highpoint of early Chinese casting. Making bronze requires two things: copper and tin ores, sometimes mixed with lead; and intense heat for refining and casting. Chinese founders made their metal objects using clay for both models and removable section molds. (This differs from the Mediterranean and European practice of casting objects using wax-covered models.) After a desired vessel was fashioned from clay, it was covered with an additional layer of clay that, when dried, was carefully cut away in matching vertical sections (usually three or four) to create the casting molds. The original clay model was then shaved down for the interior core, and the mold sections were reassembled around it to make the outer walls. The space between the core and outer molds was then filled with molten bronze. In many cases, the joins between mold sections appear as raised ribs on the exterior of finished bronzes. After the bronze cooled, the clay molds were broken and removed, and the vessel was polished to take away flaws and any metal that had seeped into gaps between the mold sections.
92. SIFG_080409_001.JPG: The following pictures are from the page 2008_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (64 photos from 2008)
93. SIFG_060404_06.JPG: The following pictures are from the page 2006_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (37 photos from 2006)
94. SIFG_040810_025.JPG: Bodhisattvas A bodhisattva is an enlightened being of great compassion who renounces personal salvation and remains in the world to help others attain the spiritual release of nirvana. Although subordinate to Buddha, some bodhisattvas are also worshipped independently. The most commonly revered bodhisattva in Chinese Buddhism is the Bodhisattva of Compassion (called Guanyin in Chinese and Avalokiteshvara in the Indian language Sanskrit.) Bodhisattvas are usually portrayed in jewel-bedecked princely attire. They often carry either a sacred text (sutra) that represents knowledge, or a lotus, a symbol of transcendental nature. In India, where Buddhism originated, bodhisattvas traditionally have been depicted as males. In China, early images of bodhisattvas were also portrayed as males, but artists gradually began to imbue some bodhisattvas, especially Guanyin, with feminine traits. In theory, however, a bodhisattva is without gender, having transcended the duality of male and female. In early Chinese Buddhist images, artists stressed the divine nature of a bodhisattva by reducing the physical body to an abstract pattern. By the seventh century, taste changed in favor of plump, gracefully supple figures that radiated human compassion and seemed easily approachable.
95. SIFG_040810_169.JPG: James McNeill Whistler (1834-1903) [the painter, not the subject of the painting] The expatriate American artist James McNeill Whistler was born in Massachusetts, studied art in Paris from 1855 to 1859, and spent most of the rest of his life in London. As an art student, Whistler was strongly influenced by seventeenth-century Dutch and Spanish art, and by the realism of Gustave Courbet (1819-1877). Whistler first achieved critical and commercial success as an etcher, producing meticulously drawn prints of working-class life in rural France and London. His earliest important oil paintings evidence Courbet's influence, featuring the commonplace subjects and vigorous brushwork characteristic of the older artist's work. One of the most successful of these is the frigid December scene "The Thames in Ice" (1860), which emphasizes the brooding hulk of a flat-bottomed collier being used to haul coal, fish, and other heavy goods to London. Whistler's art changed dramatically in the 1860's. Influenced by Greek sculpture, Asian porcelain, and Japanese prints, he rejected the idea that the success of an art object could be measured by its accuracy as a representation or the effectiveness with which it told a story or suggested a moral. Instead, he became convinced that an art object was best understood as an autonomous creation to be valued only for the success with which it organized color and line into a formally satisfying and therefore beautiful whole. Abandoning the idea that paintings should create the illusion of pictorial depth, he developed the flatter, more purely decorative style for which he is best known. This shift is evident in transitional works such as "Variations in Flesh Colour and Green: The Balcony" (1864-70) but was not complete until the early 1870's when Whistler began to paint the moody night scenes and restrained portraits which made him famous.
96. SIFG_040810_180.JPG: "The Thames In Ice", 1860, by James McNeill Whistler, oil on canvas. Whistler moved to London in 1859, where he took lodgings near the river Thames. The Thames rarely froze, but was clogged with ice for much of the unusually harsh winter of 1860-61, Whistler apparently completed this painting in three days, working from the balcony of an inn located across the Thames from his rooms in Wapping. When Whistler exhibited the painting at the Royal Academy in 1862, a newspaper reviewer praised its "murky, mournful, gloomy feeling."
97. SIFG_040810_186.JPG: "Harmony in Green and Rose: The Music Room", 1860-61, by James McNeill Whistler, oil on canvas. Set in the London home of Whistler's brother-in-law Seymour Haden, this painting was originally titled "The Morning Call." The woman reflected in the mirror at the left is Whistler's half sister Deborah Haden. The seated girl is his niece Annie Haden. The standing woman, Miss Isabella Boott, was connected to the Haden family by marriage. Instead of trying to create a convincing illusion of three-dimensional space, Whistler adopted a color scheme and sharply angled perspective that emphasize the flatness of the picture plane.
98. SIFG_040810_200.JPG: "Vert et Or: La Raconteur (Green and Gold: The Storyteller)" ca 1896-1900, by James McNeill Whistler. Freer once wrote a friend, "I believe Whistler really was the most successful of all known painters of children." Most of Whistler's young subjects were the children of friends or relatives. But in the later 1890's, Whistler often took cab rides through poorer London neighborhoods looking for street children to paint. The subject of this painting was an Italian waif named Tom. The sweep of the boy's left hand and his crooked smile suggest a mischievous intelligence.
99. SIFG_040810_207.JPG: "Arrangement in Black: Portrait of F.R. Leyland," 1870-1873, by James McNeill Whistler, oil on canvas. The Liverpool shipping tycoon Frederick R. Leyland (1831-1892) was Whistler's most important patron from 1867 until 1876, when they quarreled over Whistler's decoration of the dining room in Leyland's London home. Whistler titled the room "The Peacock Room," and it is now permanently installed at the Freer. In this majestic painting, Whistler flatters Leyland by painting him in the style of a royal portrait by the Spanish court painter Diego Rodriguez de Silva y Velazquez (1599-1660).
100. SIFG_040810_213.JPG: "Green and Gold: The Little Green Cap," ca 1896-1901, by James McNeill Whistler, oil on canvas.
101. SIFG_040810_225.JPG: "Nocturne: Grey and Silver -- Chelsea Embankment, Winter," 1879, by James McNeill Whistler, oil on canvas. Whistler did not begin to title his paintings of night scenes "nocturnes" until 1872. In 1878, he explained that he had adopted this musical term in order "to indicate an artistic interest alone, divesting the picture of any outside anecdotal interest which might have been otherwise attached to it. A nocturne is an arrangement of fine form and color first. The picture is throughout a problem that I attempt to solve. I make use of any incident or object in nature, that will bring about this symmetrical result."
102. SIFG_040810_232.JPG: "Nocturne: Blue and Silver -- Bognor," 1871-76, by James McNeill Whistler, oil on canvas. Bognor is a fishing village in West Sussex, near Selsey Bill, to the west of Brighton. The author of an 1876 review was probably thinking of this painting when he noted that Whistler had recently completed a new "study" of "moonlight on the sea." It "presents a wide stretch of quiet water, with a few fishing-boats pushing out from the shore. A perfect stillness controls the scene, save where the tide, rippling in upon the sand, catches with its movement the white shine of the moon. One little wing-like cloud hovers above a sea of intensest blue, which seems to reflect and to contain the fairer tones of the star-lit blue sky." Freer thought that "Bognor" was one of Whistler's greatest nocturnes.
103. SIFG_040810_240.JPG: "Nocturne in Blue and Gold: Valparaiso Bay," 1866/1874, by James McNeill Whistler, oil on canvas. Whistler began this painting in Valparaiso, Chile, where he witnessed a Spanish fleet attack the city. Whistler probably started the painting as a daylight scene, transforming it into a night scene when he reworked the canvas in 1874. The high horizon and the powerful diagonal of the wharf create an arrangement of forms that has no European precedent, but recalled the late landscapes of the Japanese painter Utagawa Hiroshige (1797-1858).
104. SIFG_040810_252.JPG: "Symphony in Green and Violet," ca 1868, by James McNeill Whistler, oil on canvas. In the late 1860's, Whistler set out to forge a new style of painting for himself. Influenced by both Japanese woodblock prints and ancient Greek sculpture, he began to paint friezelike arrangements of figures clothed in brightly colored, loosely flowing gowns. Whistler never completed any of these paintings, and the most important surviving records of his intentions are studies like "Symphony in Green and Violet." Although originally conceived as experiments in color and design, Whistler believed that these sketches were among his most important aesthetic achievements.
105. SIFG_040810_260.JPG: "Variations in Flesh Colour and Green: The Balcony," 1864-1870, by James McNeill Whistler, oil on canvas. Whistler constructed this painting according to Japanese pictorial principles, with the floor of the balcony falling abruptly away from the figures, whose forms are cropped at the margin as an asymmetrical composition. A spray of azaleas floats across the foreground, and the rectangular cartouche carrying the artist's butterfly signature resembles a Japanese seal. Yet the setting is clearly European: English models dressed in Japanese costumes repose on the balcony of Whistler's London home, with the Thames and the factories of Battersea beyond them.
106. SIFG_040810_274.JPG: Shitenno (Guardian Figures), Japan, Kamakura period (1185-1333), wood with polychrome, gold and crystal. These images are the guardians of the four directions, arranged here to approximate the pattern in which they would have been placed within a temple sanctuary protecting one of more centralized Buddhist images. They were created and positioned to be viewed frontally as a logical and dynamic composition. The right and left figures, Jikoku-ten (east) and Zocho-ten (south), raise, respectively, their right and left arms to provide a visual frame for the ensemble. The left rear figure, Komoku-ten (west), holds a writing brush and sutra scroll, and to the rear right, Tamon-ten (north) holds a miniature stupa in one hand and a spear in the other. Each figure stands on a writhing demon, symbolizing dominance over any enemies of Buddhism. Based on varied devotional settings, the four guardian figures have been produced in many sizes, from more than double the size of a human, the diminutive forms seen here, to even smaller. These lithe, animated figures are excellent examples of a hyperrealistic style that came to prominence in Japanese Buddhist sculpture in the thirteenth and fourteenth centuries.
107. SIFG_040810_384.JPG: "Portrait of Charles Lang Freer," 1902, by James McNeill Whistler, oil on panel.
108. SIFG_040109_005.JPG: The following pictures are from the page 2004_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (76 photos from 2004)
109. SIFG_040109_061.JPG: Kongo Yasha Japan, Kamakura period, 13th century Wood with color, gold, and gilt bronze ornaments This guardian deity of Buddhism was assimilated from Indian religion. Known in the Indian Sanskrit language as Vajrayaksha, he is represented by a head with three faces and by six arms that wield weapons and Buddhist symbols. These include the Wheel of the Buddhist Law in the upper left hand and a ritual bell with a handle in the form of a vajra, or thunderbolt, in the upper right hand. This sculpture is based on a larger image preserved in the Buddhist temple Toji, in Kyoto.
110. SIFG_040109_181.JPG: A Virgin 1892-93 by Abbott Handerson Thayer Oil on canvas Thayer began this group portrait of his children, Gladys, Mary, and Gerald, soon after the untimely death of their mother in 1891. He originally envisioned the central figure, Mary (who temporarily took charge of Gladys and Gerald), as Flora, the Greek goddess of flowers, but as the work progressed he decided to make her a Greek "Victory" figure instead, with clouds billowing behind her like wings. The model for Mary's dramatic stance was a famous Hellenistic sculpture in the Louvre, the Nike of Somathrace (second century BC), known as the Winged Victory. Thayer would have seen that magnificent sculpture while he was a student in Paris during the late 1870's, when it was reinstalled at the head of the grand staircase. A related inspiration was the Sherman Monument, by Thayer's friend the sculpture Augustus Saint-Gaudens (1848-1907). Commissioned in 1891 and unveiled in 1903 at the Grand Army Plaza, New York City, the monument features a powerfully winged female figure, also modeled on the Winged Victory, leading the commander of the Union army into battle. Charles Lang Freer (1854-1919), founder of the Freer Gallery of Art, purchased Thayer's Virgin in 1893 and hung the painting above the landing in the stair hall of his Detroit residence where, like the Winged Victory in the Louvre, it could be admired from various vantage points. Freer acknowledged Thayer's visual allusion in 1910 by ordering a plaster cast of the Winged Victory to be displayed beside A Virgin in an exhibition at the University of Michigan, along with other important works of Asian and American art from his collection.
111. SIFG_021226_002.JPG: The following pictures are from the page 2002_DC_SIFG DC -- Freer Gallery of Art -- Not Covered Elsewhere (30 photos from 2002)
112. SIFG_021226_045.JPG: James Whisler. Since the Freer Gallery houses his collection, it's mostly Asian art but it includes anything else he wanted to collect too.
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