BGuthrie Photos: DC -- Freer Gallery of Art -- Exhibit:

BGuthrie Photos: DC -- Freer Gallery of Art -- Exhibit: DC -- Freer Gallery of Art -- Exhibit: :

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

Recognize anyone? If you recognize specific folks (or other stuff) and I haven't labeled them, please identify them for the world. Click the little pencil icon

underneath the file name (just above the picture). Spammers need not apply.

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.

Help? The Medium (Email) links are for screen viewing and emailing. You'll want bigger sizes for printing. [Click here for additional help]

[1]

IMAGIN_240318_001.JPG

[2] IMAGIN_240318_004.JPG

[3] IMAGIN_240318_008.JPG

[4] IMAGIN_240318_011.JPG

[5] IMAGIN_240318_014.JPG

[6] IMAGIN_240318_015.JPG

[7] IMAGIN_240318_017.JPG

[8] IMAGIN_240318_019.JPG

[9] IMAGIN_240318_021.JPG

[10] IMAGIN_240318_023.JPG

[11] IMAGIN_240318_026.JPG

[12] IMAGIN_240318_029.JPG

[13] IMAGIN_240318_032.JPG

[14] IMAGIN_240318_033.JPG

[15] IMAGIN_240318_034.JPG

[16] IMAGIN_240318_036.JPG

[17] IMAGIN_240318_037.JPG

[18] IMAGIN_240318_038.JPG

[19] IMAGIN_240318_039.JPG

[20] IMAGIN_240318_040.JPG

[21] IMAGIN_240318_044.JPG

[22] IMAGIN_240318_046.JPG

[23] IMAGIN_240318_049.JPG

[24] IMAGIN_240318_052.JPG

[25] IMAGIN_240318_055.JPG

[26] IMAGIN_240318_057.JPG

[27] IMAGIN_240318_058.JPG

[28] IMAGIN_240318_059.JPG

[29] IMAGIN_240318_061.JPG

[30] IMAGIN_240318_065.JPG

[31] IMAGIN_240318_066.JPG

[32] IMAGIN_240318_068.JPG

[33] IMAGIN_240318_069.JPG

[34] IMAGIN_240318_070.JPG

[35] IMAGIN_240318_072.JPG

[36] IMAGIN_240318_075.JPG

[37] IMAGIN_240318_081.JPG

[38] IMAGIN_240318_082.JPG

[39] IMAGIN_240318_083.JPG

[40] IMAGIN_240318_084.JPG

[41] IMAGIN_240318_085.JPG

[42] IMAGIN_240318_086.JPG

[43] IMAGIN_240318_088.JPG

[44] IMAGIN_240318_089.JPG

[45] IMAGIN_240318_091.JPG

[46] IMAGIN_240318_093.JPG

[47] IMAGIN_240318_094.JPG

[48] IMAGIN_240318_096.JPG

[49] IMAGIN_240318_098.JPG

[50] IMAGIN_240318_100.JPG

[51] IMAGIN_240318_103.JPG

[52] IMAGIN_240318_105.JPG

[53] IMAGIN_240318_106.JPG

[54] IMAGIN_240318_108.JPG

[55] IMAGIN_240318_111.JPG

[56] IMAGIN_240318_114.JPG

[57] IMAGIN_240318_116.JPG

[58] IMAGIN_240318_118.JPG

[59] IMAGIN_240318_120.JPG

[60] IMAGIN_240318_123.JPG

[61] IMAGIN_240318_124.JPG

[62] IMAGIN_240318_125.JPG

[63] IMAGIN_240318_127.JPG

[64] IMAGIN_240318_129.JPG

[65] IMAGIN_240318_132.JPG

[66] IMAGIN_240318_136.JPG

[67] IMAGIN_240318_139.JPG

[68] IMAGIN_240318_141.JPG

[69] IMAGIN_240318_143.JPG

[70] IMAGIN_240318_144.JPG

[71] IMAGIN_240318_147.JPG

[72] IMAGIN_240318_149.JPG

[73] IMAGIN_240318_151.JPG

[74] IMAGIN_240318_153.JPG

[75] IMAGIN_240318_155.JPG

[76] IMAGIN_240318_158.JPG

[77] IMAGIN_240318_160.JPG

[78] IMAGIN_240318_162.JPG

[79] IMAGIN_240318_165.JPG

[80] IMAGIN_240318_167.JPG

[81] IMAGIN_240318_169.JPG

[82] IMAGIN_240318_170.JPG

[83] IMAGIN_240318_172.JPG

[84] IMAGIN_240318_174.JPG

[85] IMAGIN_240318_176.JPG

[86] IMAGIN_240318_180.JPG

[87] IMAGIN_240318_182.JPG

[88]

RAKU_240318_01.JPG

[89] RAKU_240318_05.JPG

[90] RAKU_240318_08.JPG

[91] RAKU_240318_09.JPG

[92] RAKU_240318_12.JPG

[93] RAKU_240318_14.JPG

[94] RAKU_240318_18.JPG

[95] RAKU_240318_21.JPG

[96] RAKU_240318_22.JPG

[97] RAKU_240318_24.JPG

[98] RAKU_240318_25.JPG

[99] RAKU_240318_26.JPG

[100] RAKU_240318_28.JPG

[101] RAKU_240318_30.JPG

[102] RAKU_240318_34.JPG

[103] RAKU_240318_36.JPG

[104] RAKU_240318_37.JPG

[105] RAKU_240318_39.JPG

[106] RAKU_240318_41.JPG

[107] RAKU_240318_42.JPG

[108] RAKU_240318_45.JPG

[109] RAKU_240318_48.JPG

[110] RAKU_240318_51.JPG

[111] RAKU_240318_54.JPG

[112] RAKU_240318_57.JPG

[113] RAKU_240318_61.JPG

[114]

WHIST_231123_001.JPG

[115]

WHIST_231123_004.JPG

[116]

WHIST_231123_008.JPG

[117]

WHIST_231123_011.JPG

[118]

WHIST_231123_016.JPG

[119]

WHIST_231123_020.JPG

[120]

WHIST_231123_023.JPG

[121]

WHIST_231123_027.JPG

[122]

WHIST_231123_031.JPG

[123]

WHIST_231123_037.JPG

[124]

WHIST_231123_043.JPG

[125]

WHIST_231123_047.JPG

[126]

WHIST_231123_052.JPG

[127]

WHIST_231123_057.JPG

[128]

WHIST_231123_060.JPG

[129]

WHIST_231123_065.JPG

[130]

WHIST_231123_068.JPG

[131]

WHIST_231123_072.JPG

[132]

WHIST_231123_077.JPG

[133]

WHIST_231123_079.JPG

[134] WHIST_231123_085.JPG

[135]

WHIST_231123_090.JPG

[136]

WHIST_231123_097.JPG

[137]

WHIST_231123_100.JPG

[138]

WHIST_231123_107.JPG

[139]

WHIST_231123_111.JPG

[140] WHIST_231123_117.JPG

[141]

WHIST_231123_120.JPG

[142]

WHIST_231123_123.JPG

[143]

WHIST_231123_126.JPG

[144]

WHIST_231123_128.JPG

[145]

WHIST_231123_134.JPG

[146]

WHIST_231123_139.JPG

[147]

WHIST_231123_144.JPG

[148]

WHIST_231123_153.JPG

[149]

WHIST_231123_157.JPG

[150]

WHIST_231123_160.JPG

[151]

WHIST_231123_165.JPG

[152] WHIST_231123_169.JPG

[153]

WHIST_231123_172.JPG

[154] WHIST_231123_174.JPG

[155] WHIST_231123_176.JPG

[156] WHIST_231123_178.JPG

[157] WHIST_231123_179.JPG

[158] WHIST_231123_181.JPG

[159] WHIST_231123_182.JPG

[160] WHIST_231123_184.JPG

[161] WHIST_231123_186.JPG

[162] WHIST_231123_190.JPG

[163] WHIST_231123_192.JPG

[164] WHIST_231123_194.JPG

[165] WHIST_231123_196.JPG

[166] WHIST_231123_198.JPG

[167] WHIST_231123_203.JPG

[168] WHIST_231123_206.JPG

[169] WHIST_231123_210.JPG

[170] WHIST_231123_212.JPG

[171] WHIST_231123_214.JPG

[172] WHIST_231123_216.JPG

[173] WHIST_231123_218.JPG

[174] WHIST_231123_220.JPG

[175] WHIST_231123_222.JPG

[176] WHIST_231123_224.JPG

[177] WHIST_231123_226.JPG

[178] WHIST_231123_228.JPG

[179] WHIST_231123_231.JPG

[180] WHIST_231123_233.JPG

[181] WHIST_231123_235.JPG

[182] WHIST_231123_238.JPG

[183] WHIST_231123_241.JPG

[184]

WHIST_231123_244.JPG

[185]

WHIST_231123_246.JPG

[186] WHIST_231123_249.JPG

[187]

WHIST_231123_254.JPG

[188]

WHIST_231123_256.JPG

[189]

WHIST_231123_260.JPG

[190]

WHIST_231123_266.JPG

[191]

WHIST_231123_270.JPG

[192]

WHIST_231123_274.JPG

[193]

WHIST_231123_276.JPG

[194]

WHIST_231123_283.JPG

[195] WHIST_231123_287.JPG

[196]

WHIST_231123_291.JPG

[197]

WHIST_231123_295.JPG

[198]

WHIST_231123_299.JPG

[199]

WHIST_231123_306.JPG

[200]

WHIST_231123_310.JPG

[201]

WHIST_231123_313.JPG

[202]

WHIST_231123_317.JPG

[203]

WHIST_231123_322.JPG

[204]

WHIST_231123_325.JPG

[205]

WHIST_231123_330.JPG

[206]

WHIST_231123_336.JPG

[207]

WHIST_231123_341.JPG

[208]

WHIST_231123_344.JPG

[209]

WHIST_231123_348.JPG

[210]

WHIST_231123_350.JPG

[211]

WHIST_231123_354.JPG

[212]

WHIST_231123_359.JPG

[213]

WHIST_231123_362.JPG

[214]

WHIST_231123_365.JPG

[215]

WHIST_231123_370.JPG

[216]

WHIST_231123_375.JPG

[217]

WHIST_231123_379.JPG

[218] WHIST_231123_384.JPG

[219]

WHIST_231123_385.JPG

[220]

WHIST_231123_391.JPG

[221]

WHIST_231123_394.JPG

[222] WHIST_231123_400.JPG

[223]

WHIST_231123_403.JPG

[224]

MOUNT_230427_01.JPG

[225] MOUNT_230427_06.JPG

[226]

MOUNT_230427_11.JPG

[227] MOUNT_230427_18.JPG

[228] MOUNT_230427_22.JPG

[229] MOUNT_230427_24.JPG

[230] MOUNT_230427_27.JPG

[231] MOUNT_230427_34.JPG

[232] MOUNT_230427_37.JPG

[233]

MOUNT_230427_45.JPG

[234] MOUNT_230427_48.JPG

[235] MOUNT_230427_51.JPG

[236] MOUNT_230427_53.JPG

[237] MOUNT_230427_55.JPG

[238] MOUNT_230427_58.JPG

[239] MOUNT_230427_63.JPG

[240] MOUNT_230427_65.JPG

[241] MOUNT_230427_69.JPG

[242] MOUNT_230427_73.JPG

[243]

WORDS_230427_001.JPG

[244] WORDS_230427_009.JPG

[245] WORDS_230427_013.JPG

[246] WORDS_230427_016.JPG

[247] WORDS_230427_019.JPG

[248] WORDS_230427_026.JPG

[249] WORDS_230427_029.JPG

[250] WORDS_230427_030.JPG

[251] WORDS_230427_033.JPG

[252] WORDS_230427_037.JPG

[253] WORDS_230427_040.JPG

[254] WORDS_230427_042.JPG

[255] WORDS_230427_045.JPG

[256] WORDS_230427_047.JPG

[257] WORDS_230427_049.JPG

[258] WORDS_230427_051.JPG

[259]

WORDS_230427_057.JPG

[260] WORDS_230427_062.JPG

[261] WORDS_230427_064.JPG

[262] WORDS_230427_066.JPG

[263] WORDS_230427_069.JPG

[264] WORDS_230427_076.JPG

[265]

WORDS_230427_078.JPG

[266] WORDS_230427_081.JPG

[267] WORDS_230427_084.JPG

[268] WORDS_230427_089.JPG

[269] WORDS_230427_090.JPG

[270] WORDS_230427_095.JPG

[271] WORDS_230427_099.JPG

[272] WORDS_230427_101.JPG

[273]

WORDS_230427_107.JPG

[274] WORDS_230427_109.JPG

[275] WORDS_230427_113.JPG

[276]

EGYPT_230312_001.JPG

[277] EGYPT_230312_005.JPG

[278] EGYPT_230312_008.JPG

[279]

EGYPT_230312_011.JPG

[280] EGYPT_230312_013.JPG

[281] EGYPT_230312_016.JPG

[282] EGYPT_230312_020.JPG

[283] EGYPT_230312_021.JPG

[284] EGYPT_230312_023.JPG

[285] EGYPT_230312_027.JPG

[286] EGYPT_230312_030.JPG

[287] EGYPT_230312_035.JPG

[288] EGYPT_230312_037.JPG

[289] EGYPT_230312_039.JPG

[290] EGYPT_230312_042.JPG

[291] EGYPT_230312_046.JPG

[292] EGYPT_230312_050.JPG

[293] EGYPT_230312_053.JPG

[294]

EGYPT_230312_056.JPG

[295] EGYPT_230312_059.JPG

[296] EGYPT_230312_067.JPG

[297] EGYPT_230312_071.JPG

[298]

EGYPT_230312_078.JPG

[299] EGYPT_230312_079.JPG

[300] EGYPT_230312_081.JPG

[301] EGYPT_230312_083.JPG

[302] EGYPT_230312_088.JPG

[303] EGYPT_230312_091.JPG

[304] EGYPT_230312_096.JPG

[305] EGYPT_230312_104.JPG

[306] EGYPT_230312_106.JPG

[307] EGYPT_230312_108.JPG

[308] EGYPT_230312_110.JPG

[309] EGYPT_230312_112.JPG

[310] EGYPT_230312_114.JPG

[311] EGYPT_230312_115.JPG

[312] EGYPT_230312_117.JPG

[313] EGYPT_230312_119.JPG

[314] EGYPT_230312_121.JPG

[315] EGYPT_230312_122.JPG

[316] EGYPT_230312_124.JPG

[317] EGYPT_230312_126.JPG

[318] EGYPT_230312_129.JPG

[319] EGYPT_230312_133.JPG

[320] EGYPT_230312_136.JPG

[321] EGYPT_230312_138.JPG

[322] EGYPT_230312_139.JPG

[323] EGYPT_230312_144.JPG

[324] EGYPT_230312_146.JPG

[325] EGYPT_230312_149.JPG

[326] EGYPT_230312_150.JPG

[327] EGYPT_230312_151.JPG

[328]

EGYPT_230312_153.JPG

[329]

EGYPT_230312_155.JPG

[330] EGYPT_230312_161.JPG

[331] EGYPT_230312_163.JPG

[332] EGYPT_230312_165.JPG

[333] EGYPT_230312_170.JPG

[334] EGYPT_230312_172.JPG

[335] EGYPT_230312_175.JPG

[336] EGYPT_230312_178.JPG

[337] EGYPT_230312_180.JPG

[338] EGYPT_230312_181.JPG

[339] EGYPT_230312_183.JPG

[340] EGYPT_230312_186.JPG

[341] EGYPT_230312_188.JPG

[342] EGYPT_230312_190.JPG

[343] EGYPT_230312_192.JPG

[344] EGYPT_230312_198.JPG

[345] EGYPT_230312_201.JPG

[346] EGYPT_230312_202.JPG

[347] EGYPT_230312_204.JPG

[348] EGYPT_230312_207.JPG

[349] EGYPT_230312_209.JPG

[350] EGYPT_230312_211.JPG

[351] EGYPT_230312_214.JPG

[352] EGYPT_230312_215.JPG

[353] EGYPT_230312_220.JPG

[354]

EGYPT_221220_01.JPG

[355] EGYPT_221220_07.JPG

[356] EGYPT_221220_11.JPG

[357]

EGYPT_221220_16.JPG

[358]

EGYPT_221220_21.JPG

[359] EGYPT_221220_24.JPG

[360] EGYPT_221220_27.JPG

[361] EGYPT_221220_32.JPG

[362]

EGYPT_221220_37.JPG

[363] EGYPT_221220_40.JPG

[364] EGYPT_221220_43.JPG

[365] EGYPT_221220_46.JPG

[366] EGYPT_221220_48.JPG

[367] EGYPT_221220_51.JPG

[368] EGYPT_221220_56.JPG

[369] EGYPT_221220_57.JPG

[370] EGYPT_221220_61.JPG

[371] EGYPT_221220_63.JPG

[372] EGYPT_221220_74.JPG

[373] EGYPT_221220_82.JPG

[374]

FINK_221124_05.JPG

[375]

FINK_221124_11.JPG

[376] FINK_221124_15.JPG

[377] FINK_221124_19.JPG

[378] FINK_221124_21.JPG

[379] FINK_221124_23.JPG

[380] FINK_221124_24.JPG

[381] FINK_221124_25.JPG

[382] FINK_221124_28.JPG

[383] FINK_221124_30.JPG

[384] FINK_221124_32.JPG

[385] FINK_221124_33.JPG

[386]

RINPA_221124_05.JPG

[387]

RINPA_221124_07.JPG

[388] RINPA_221124_11.JPG

[389]

RINPA_221124_13.JPG

[390] RINPA_221124_17.JPG

[391]

RINPA_221124_19.JPG

[392] RINPA_221124_22.JPG

[393]

RINPA_221124_25.JPG

[394]

RINPA_221124_27.JPG

[395] RINPA_221124_32.JPG

[396] RINPA_221124_35.JPG

[397] RINPA_221124_37.JPG

[398] RINPA_221124_40.JPG

[399]

RINPA_221124_44.JPG

[400] RINPA_221124_47.JPG

[401] RINPA_221124_50.JPG

[402] RINPA_221124_53.JPG

[403] RINPA_221124_59.JPG

[404]

FINK_220828_001.JPG

[405] FINK_220828_006.JPG

[406] FINK_220828_010.JPG

[407] FINK_220828_015.JPG

[408] FINK_220828_018.JPG

[409] FINK_220828_021.JPG

[410] FINK_220828_028.JPG

[411] FINK_220828_030.JPG

[412] FINK_220828_034.JPG

[413] FINK_220828_038.JPG

[414] FINK_220828_041.JPG

[415] FINK_220828_046.JPG

[416] FINK_220828_047.JPG

[417] FINK_220828_050.JPG

[418] FINK_220828_056.JPG

[419] FINK_220828_060.JPG

[420] FINK_220828_063.JPG

[421] FINK_220828_065.JPG

[422] FINK_220828_074.JPG

[423] FINK_220828_079.JPG

[424] FINK_220828_081.JPG

[425] FINK_220828_086.JPG

[426] FINK_220828_089.JPG

[427] FINK_220828_095.JPG

[428] FINK_220828_098.JPG

[429] FINK_220828_102.JPG

[430] FINK_220828_104.JPG

[431] FINK_220828_109.JPG

[432] FINK_220828_110.JPG

[433] FINK_220828_113.JPG

[434] FINK_220828_119.JPG

[435] FINK_220828_125.JPG

[436] FINK_220828_127.JPG

[437] FINK_220828_131.JPG

[438] FINK_220828_133.JPG

[439] FINK_220828_135.JPG

[440] FINK_220828_139.JPG

[441] FINK_220828_141.JPG

[442]

FINK_220828_144.JPG

[443] FINK_220828_148.JPG

[444] FINK_220828_154.JPG

[445] FINK_220828_158.JPG

[446] FINK_220828_161.JPG

[447] FINK_220828_166.JPG

[448] FINK_220828_172.JPG

[449] FINK_220828_175.JPG

[450] FINK_220828_181.JPG

[451] FINK_220828_190.JPG

[452] FINK_220828_195.JPG

[453] FINK_220828_197.JPG

[454] FINK_220828_205.JPG

[455] FINK_220828_214.JPG

[456] FINK_220828_217.JPG

[457] FINK_220828_221.JPG

[458] FINK_220828_225.JPG

[459] FINK_220828_231.JPG

[460] FINK_220828_235.JPG

[461] FINK_220828_238.JPG

[462] FINK_220828_241.JPG

[463] FINK_220828_243.JPG

[464] FINK_220828_246.JPG

[465] FINK_220828_251.JPG

[466] FINK_220828_258.JPG

[467] FINK_220828_261.JPG

[468] FINK_220828_264.JPG

[469] FINK_220828_275.JPG

[470] FINK_220828_277.JPG

[471] FINK_220828_282.JPG

[472] FINK_220828_285.JPG

[473] FINK_220828_292.JPG

[474] FINK_220828_296.JPG

[475] FINK_220828_299.JPG

[476] FINK_220828_304.JPG

[477] FINK_220828_309.JPG

[478] FINK_220828_315.JPG

[479] FINK_220828_318.JPG

[480] FINK_220828_322.JPG

[481] FINK_220828_329.JPG

[482] FINK_220828_334.JPG

[483]

RINPA_220828_09.JPG

[484]

TESSAI_220828_001.JPG

[485] TESSAI_220828_005.JPG

[486] TESSAI_220828_011.JPG

[487] TESSAI_220828_017.JPG

[488] TESSAI_220828_021.JPG

[489] TESSAI_220828_024.JPG

[490] TESSAI_220828_028.JPG

[491] TESSAI_220828_032.JPG

[492] TESSAI_220828_033.JPG

[493] TESSAI_220828_039.JPG

[494] TESSAI_220828_050.JPG

[495] TESSAI_220828_057.JPG

[496] TESSAI_220828_061.JPG

[497] TESSAI_220828_064.JPG

[498] TESSAI_220828_067.JPG

[499] TESSAI_220828_071.JPG

[500] TESSAI_220828_074.JPG

[501] TESSAI_220828_078.JPG

[502] TESSAI_220828_083.JPG

[503] TESSAI_220828_088.JPG

[504] TESSAI_220828_096.JPG

[505] TESSAI_220828_104.JPG

[506] TESSAI_220828_109.JPG

[507] TESSAI_220828_113.JPG

[508]

ZEN_220313_005.JPG

[509]

ZEN_220313_009.JPG

[510]

ZEN_220313_014.JPG

[511]

ZEN_220313_017.JPG

[512]

ZEN_220313_023.JPG

[513]

ZEN_220313_027.JPG

[514] ZEN_220313_031.JPG

[515]

ZEN_220313_037.JPG

[516] ZEN_220313_041.JPG

[517] ZEN_220313_046.JPG

[518] ZEN_220313_049.JPG

[519] ZEN_220313_053.JPG

[520] ZEN_220313_055.JPG

[521] ZEN_220313_057.JPG

[522] ZEN_220313_061.JPG

[523] ZEN_220313_070.JPG

[524] ZEN_220313_073.JPG

[525] ZEN_220313_075.JPG

[526] ZEN_220313_079.JPG

[527] ZEN_220313_083.JPG

[528] ZEN_220313_089.JPG

[529] ZEN_220313_091.JPG

[530] ZEN_220313_093.JPG

[531] ZEN_220313_097.JPG

[532]

ZEN_220313_100.JPG

[533] ZEN_220313_104.JPG

[534] ZEN_220313_105.JPG

[535]

ZEN_220313_106.JPG

[536] ZEN_220313_111.JPG

[537] ZEN_220313_117.JPG

[538] ZEN_220313_124.JPG

[539]

ZEN_220313_127.JPG

[540] ZEN_220313_130.JPG

[541] ZEN_220313_134.JPG

[542] ZEN_220313_142.JPG

[543] ZEN_220313_147.JPG

[544] ZEN_220313_149.JPG

[545] ZEN_220313_152.JPG

[546] ZEN_220313_156.JPG

[547]

ZEN_220313_160.JPG

[548] ZEN_220313_163.JPG

[549] ZEN_220313_168.JPG

[550] ZEN_220313_170.JPG

[551] ZEN_220313_174.JPG

[552]

ZEN_220313_180.JPG

[553] ZEN_220313_183.JPG

[554] ZEN_220313_185.JPG

[555] ZEN_220313_190.JPG

[556] ZEN_220313_192.JPG

[557] ZEN_220313_193.JPG

[558] ZEN_220313_200.JPG

[559] ZEN_220313_203.JPG

[560] ZEN_220313_205.JPG

[561] ZEN_220313_207.JPG

[562] ZEN_220313_210.JPG

[563] ZEN_220313_216.JPG

[564]

ZEN_220313_219.JPG

[565]

ZEN_220313_221.JPG

[566] ZEN_220313_224.JPG

[567] ZEN_220313_233.JPG

[568] ZEN_220313_240.JPG

[569] ZEN_220313_243.JPG

[570]

ZEN_220313_245.JPG

[571] ZEN_220313_249.JPG

[572] ZEN_220313_253.JPG

[573] ZEN_220313_257.JPG

[574] ZEN_220313_260.JPG

[575] ZEN_220313_266.JPG

[576] ZEN_220313_270.JPG

[577] ZEN_220313_279.JPG

[578] ZEN_220313_283.JPG

[579] ZEN_220313_286.JPG

[580] ZEN_220313_290.JPG

[581] ZEN_220313_291.JPG

[582]

FALCON_220206_004.JPG

[583] FALCON_220206_007.JPG

[584]

FALCON_220206_010.JPG

[585] FALCON_220206_019.JPG

[586] FALCON_220206_027.JPG

[587] FALCON_220206_033.JPG

[588] FALCON_220206_041.JPG

[589] FALCON_220206_043.JPG

[590] FALCON_220206_054.JPG

[591] FALCON_220206_057.JPG

[592] FALCON_220206_059.JPG

[593] FALCON_220206_064.JPG

[594] FALCON_220206_067.JPG

[595] FALCON_220206_078.JPG

[596] FALCON_220206_089.JPG

[597] FALCON_220206_098.JPG

[598] FALCON_220206_103.JPG

[599] FALCON_220206_109.JPG

[600] FALCON_220206_111.JPG

[601] FALCON_220206_115.JPG

[602] FALCON_220206_117.JPG

[603] FALCON_220206_121.JPG

[604] FALCON_220206_126.JPG

[605] FALCON_220206_128.JPG

[606] FALCON_220206_130.JPG

[607] FALCON_220206_131.JPG

[608] FALCON_220206_136.JPG

[609] FALCON_220206_142.JPG

[610] FALCON_220206_147.JPG

[611] FALCON_220206_151.JPG

[612] FALCON_220206_155.JPG

[613] FALCON_220206_158.JPG

[614] FALCON_220206_160.JPG

[615] FALCON_220206_161.JPG

[616] HOKUS_210828_005.JPG

[617] HOKUS_210828_009.JPG

[618] HOKUS_210828_011.JPG

[619] HOKUS_210828_014.JPG

[620] HOKUS_210828_017.JPG

[621] HOKUS_210828_020.JPG

[622] HOKUS_210828_024.JPG

[623] HOKUS_210828_026.JPG

[624] HOKUS_210828_029.JPG

[625] HOKUS_210828_031.JPG

[626] HOKUS_210828_032.JPG

[627]

HOKUS_210828_038.JPG

[628] HOKUS_210828_041.JPG

[629] HOKUS_210828_044.JPG

[630] HOKUS_210828_047.JPG

[631] HOKUS_210828_050.JPG

[632] HOKUS_210828_053.JPG

[633] HOKUS_210828_055.JPG

[634] HOKUS_210828_057.JPG

[635] HOKUS_210828_060.JPG

[636] HOKUS_210828_062.JPG

[637] HOKUS_210828_064.JPG

[638] HOKUS_210828_067.JPG

[639] HOKUS_210828_069.JPG

[640] HOKUS_210828_071.JPG

[641] HOKUS_210828_073.JPG

[642] HOKUS_210828_076.JPG

[643] HOKUS_210828_078.JPG

[644] HOKUS_210828_081.JPG

[645] HOKUS_210828_084.JPG

[646] HOKUS_210828_086.JPG

[647] HOKUS_210828_088.JPG

[648] HOKUS_210828_090.JPG

[649] HOKUS_210828_092.JPG

[650] HOKUS_210828_099.JPG

[651] HOKUS_210828_101.JPG

[652]

HOKUS_210828_103.JPG

[653] HOKUS_210828_111.JPG

[654]

HOKUS_210821_001.JPG

[655] HOKUS_210821_010.JPG

[656]

HOKUS_210821_013.JPG

[657] HOKUS_210821_018.JPG

[658] HOKUS_210821_023.JPG

[659]

HOKUS_210821_026.JPG

[660]

HOKUS_210821_032.JPG

[661] HOKUS_210821_033.JPG

[662] HOKUS_210821_038.JPG

[663] HOKUS_210821_041.JPG

[664] HOKUS_210821_050.JPG

[665]

HOKUS_210821_052.JPG

[666] HOKUS_210821_055.JPG

[667] HOKUS_210821_057.JPG

[668]

HOKUS_210821_066.JPG

[669] HOKUS_210821_069.JPG

[670] HOKUS_210821_070.JPG

[671] HOKUS_210821_074.JPG

[672] HOKUS_210821_077.JPG

[673] HOKUS_210821_085.JPG

[674] HOKUS_210821_086.JPG

[675] HOKUS_210821_089.JPG

[676] HOKUS_210821_093.JPG

[677] HOKUS_210821_098.JPG

[678]

HOKUS_210821_102.JPG

[679] HOKUS_210821_104.JPG

[680]

HOKUS_210821_107.JPG

[681]

HOKUS_210821_112.JPG

[682] HOKUS_210821_113.JPG

[683] HOKUS_210821_116.JPG

[684] HOKUS_210821_121.JPG

[685] HOKUS_210821_123.JPG

[686]

HOKUS_210821_125.JPG

[687]

HOKUS_210821_134.JPG

[688]

HOKUS_210821_141.JPG

[689]

HOKUS_210821_142.JPG

[690]

HOKUS_210821_146.JPG

[691] HOKUS_210821_153.JPG

[692] HOKUS_210821_155.JPG

[693]

HOKUS_210821_159.JPG

[694]

HOKUS_210821_166.JPG

[695] HOKUS_210821_176.JPG

[696] HOKUS_210821_180.JPG

[697]

HOKUS_210821_191.JPG

[698]

HOKUS_210821_197.JPG

[699]

HOKUS_210821_201.JPG

[700] HOKUS_210821_208.JPG

[701] HOKUS_210821_211.JPG

[702] HOKUS_210821_218.JPG

[703]

HOKUS_210730_004.JPG

[704] HOKUS_210730_010.JPG

[705] HOKUS_210730_012.JPG

[706]

HOKUS_210730_021.JPG

[707]

HOKUS_210730_030.JPG

[708]

HOKUS_210730_035.JPG

[709] HOKUS_210730_040.JPG

[710]

HOKUS_210730_042.JPG

[711] HOKUS_210730_047.JPG

[712] HOKUS_210730_055.JPG

[713] HOKUS_210730_057.JPG

[714]

HOKUS_210730_059.JPG

[715]

HOKUS_210730_063.JPG

[716]

HOKUS_210730_070.JPG

[717]

HOKUS_210730_074.JPG

[718]

HOKUS_210730_083.JPG

[719] HOKUS_210730_086.JPG

[720] HOKUS_210730_090.JPG

[721] HOKUS_210730_099.JPG

[722] HOKUS_210730_109.JPG

[723] HOKUS_210730_111.JPG

[724] HOKUS_210730_114.JPG

[725] HOKUS_210730_125.JPG

[726] HOKUS_210730_130.JPG

[727] HOKUS_210730_134.JPG

[728] HOKUS_210730_137.JPG

[729] HOKUS_210730_145.JPG

[730] HOKUS_210730_148.JPG

[731]

HOKUS_210730_153.JPG

[732] HOKUS_210730_159.JPG

[733] HOKUS_210730_160.JPG

[734] HOKUS_210730_164.JPG

[735]

HOKUS_210730_168.JPG

[736] HOKUS_210730_171.JPG

[737] HOKUS_210730_175.JPG

[738] HOKUS_210730_181.JPG

[739] HOKUS_210730_185.JPG

[740] HOKUS_210730_188.JPG

[741] HOKUS_210730_191.JPG

[742] HOKUS_210730_195.JPG

[743] HOKUS_210730_199.JPG

[744] HOKUS_210730_204.JPG

[745] HOKUS_210730_207.JPG

[746] HOKUS_210730_211.JPG

[747] HOKUS_210730_215.JPG

[748] HOKUS_210730_219.JPG

[749] HOKUS_210730_223.JPG

[750] HOKUS_210730_227.JPG

[751]

HOKUS_210730_234.JPG

[752] HOKUS_210730_237.JPG

[753] HOKUS_210730_239.JPG

[754]

HOKUS_210730_246.JPG

[755] HOKUS_210730_248.JPG

[756] HOKUS_210730_252.JPG

[757]

HOKUS_210730_253.JPG

[758] HOKUS_210730_257.JPG

[759]

HOKUS_210730_258.JPG

[760] HOKUS_210730_268.JPG

[761] HOKUS_210730_269.JPG

[762] HOKUS_210730_272.JPG

[763]

HOKUS_210730_275.JPG

[764]

HOKUS_210730_278.JPG

[765]

HOKUS_210730_281.JPG

[766] HOKUS_210730_286.JPG

[767] HOKUS_210730_290.JPG

[768]

HOKUS_210730_293.JPG

[769] HOKUS_210730_295.JPG

[770]

HOKUS_210730_300.JPG

[771]

HOKUS_210730_306.JPG

[772] HOKUS_210730_311.JPG

[773] HOKUS_210730_313.JPG

[774]

HOKUS_210730_318.JPG

[775] HOKUS_210730_320.JPG

[776]

HOKUS_210730_325.JPG

[777] HOKUS_210730_328.JPG

[778] HOKUS_210730_331.JPG

[779] HOKUS_210730_335.JPG

[780]

HOKUS_210730_338.JPG

[781] HOKUS_210730_341.JPG

[782] HOKUS_210730_351.JPG

[783] HOKUS_210730_355.JPG

[784]

HOKUS_210730_364.JPG

[785]

HOKUS_210730_376.JPG

[786] HOKUS_210730_382.JPG

[787] HOKUS_210730_386.JPG

[788]

DEWING_191128_001.JPG

[789]

DEWING_191128_005.JPG

[790]

DEWING_191128_010.JPG

[791] DEWING_191128_013.JPG

[792]

DEWING_191128_019.JPG

[793] DEWING_191128_026.JPG

[794] DEWING_191128_032.JPG

[795] DEWING_191128_039.JPG

[796]

DEWING_191128_043.JPG

[797]

DEWING_191128_048.JPG

[798] DEWING_191128_052.JPG

[799]

DEWING_191128_059.JPG

[800]

DEWING_191128_062.JPG

[801]

DEWING_191128_068.JPG

[802] DEWING_191128_075.JPG

[803]

DEWING_191128_078.JPG

[804] DEWING_191128_081.JPG

[805]

DEWING_191128_086.JPG

[806]

DEWING_191128_093.JPG

[807] DEWING_191128_095.JPG

[808]

DEWING_191128_097.JPG

[809]

DEWING_191128_103.JPG

[810]

DEWING_191128_112.JPG

[811]

DEWING_191128_125.JPG

[812] DEWING_191128_131.JPG

[813]

DEWING_191128_134.JPG

[814] DEWING_191128_141.JPG

[815] DEWING_191128_142.JPG

[816]

DEWING_191128_143.JPG

[817] DEWING_191128_150.JPG

[818] DEWING_191128_153.JPG

[819]

DEWING_191128_155.JPG

[820]

DEWING_191128_160.JPG

[821]

DEWING_191128_168.JPG

[822]

DEWING_191128_172.JPG

[823] DEWING_191128_176.JPG

[824] DEWING_191128_183.JPG

[825]

HOKUS_191128_001.JPG

[826] HOKUS_191128_006.JPG

[827] HOKUS_191128_012.JPG

[828] HOKUS_191128_015.JPG

[829]

HOKUS_191128_022.JPG

[830]

HOKUS_191128_025.JPG

[831]

HOKUS_191128_031.JPG

[832]

HOKUS_191128_034.JPG

[833]

HOKUS_191128_038.JPG

[834] HOKUS_191128_041.JPG

[835]

HOKUS_191128_044.JPG

[836]

HOKUS_191128_048.JPG

[837]

HOKUS_191128_051.JPG

[838]

HOKUS_191128_054.JPG

[839]

HOKUS_191128_064.JPG

[840]

HOKUS_191128_067.JPG

[841] HOKUS_191128_074.JPG

[842]

HOKUS_191128_075.JPG

[843] HOKUS_191128_079.JPG

[844]

HOKUS_191128_086.JPG

[845]

HOKUS_191128_089.JPG

[846]

HOKUS_191128_094.JPG

[847]

HOKUS_191128_099.JPG

[848]

HOKUS_191128_104.JPG

[849] HOKUS_191128_107.JPG

[850] HOKUS_191128_110.JPG

[851]

HOKUS_191128_111.JPG

[852] HOKUS_191128_116.JPG

[853]

HOKUS_191128_119.JPG

[854]

HOKUS_191128_123.JPG

[855] HOKUS_191128_129.JPG

[856]

HOKUS_191128_134.JPG

[857] HOKUS_191128_138.JPG

[858] HOKUS_191128_141.JPG

[859] HOKUS_191128_146.JPG

[860] HOKUS_191128_151.JPG

[861]

HOKUS_191128_153.JPG

[862] HOKUS_191128_159.JPG

[863]

HOKUS_191128_163.JPG

[864]

HOKUS_191128_166.JPG

[865]

HOKUS_191128_169.JPG

[866]

HOKUS_191128_171.JPG

[867] HOKUS_191128_186.JPG

[868] HOKUS_191128_188.JPG

[869] HOKUS_191128_190.JPG

[870] HOKUS_191128_191.JPG

[871] HOKUS_191128_193.JPG

[872] HOKUS_191128_194.JPG

[873] HOKUS_191128_197.JPG

[874] HOKUS_191128_200.JPG

[875] HOKUS_191128_202.JPG

[876] HOKUS_191128_203.JPG

[877]

HOKUS_191128_206.JPG

[878] HOKUS_191128_210.JPG

[879] HOKUS_191128_211.JPG

[880] HOKUS_191128_212.JPG

[881] HOKUS_191128_214.JPG

[882] HOKUS_191128_219.JPG

[883] HOKUS_191128_220.JPG

[884]

HOKUS_191128_223.JPG

[885] HOKUS_191128_229.JPG

[886]

HOKUS_191128_235.JPG

[887] HOKUS_191128_240.JPG

[888] HOKUS_191128_241.JPG

[889]

HOKUS_191128_243.JPG

[890] HOKUS_191128_250.JPG

[891]

HOKUS_191128_253.JPG

[892] HOKUS_191128_259.JPG

[893]

HOKUS_191128_260.JPG

[894]

HOKUS_191128_264.JPG

[895] HOKUS_191128_269.JPG

[896] HOKUS_191128_271.JPG

[897] HOKUS_191128_273.JPG

[898] HOKUS_191128_274.JPG

[899]

HOKUS_191128_275.JPG

[900] HOKUS_191128_278.JPG

[901]

HOKUS_191128_281.JPG

[902] HOKUS_191128_283.JPG

[903] HOKUS_191128_285.JPG

[904] HOKUS_191128_288.JPG

[905] HOKUS_191128_290.JPG

[906] HOKUS_191128_294.JPG

[907] HOKUS_191128_296.JPG

[908] HOKUS_191128_299.JPG

[909] HOKUS_191128_302.JPG

[910]

HOKUS_191128_305.JPG

[911]

HOKUS_191128_311.JPG

[912]

HOKUS_191128_319.JPG

[913] HOKUS_191128_326.JPG

[914]

HOKUS_191128_328.JPG

[915] HOKUS_191128_334.JPG

[916] HOKUS_191128_341.JPG

[917] HOKUS_191128_344.JPG

[918] HOKUS_191128_348.JPG

[919] HOKUS_191128_351.JPG

[920] HOKUS_191128_354.JPG

[921] HOKUS_191128_355.JPG

[922] HOKUS_191128_357.JPG

[923] HOKUS_191128_360.JPG

[924] HOKUS_191128_362.JPG

[925] HOKUS_191128_366.JPG

[926] HOKUS_191128_370.JPG

[927] HOKUS_191128_373.JPG

[928] HOKUS_191128_375.JPG

[929] HOKUS_191128_377.JPG

[930] HOKUS_191128_379.JPG

[931] HOKUS_191128_381.JPG

[932] HOKUS_191128_387.JPG

[933] HOKUS_191128_389.JPG

[934] HOKUS_191128_392.JPG

[935] HOKUS_191128_395.JPG

[936] HOKUS_191128_398.JPG

[937] HOKUS_191128_401.JPG

[938]

HOKUS_191128_402.JPG

[939] HOKUS_191128_405.JPG

[940] HOKUS_191128_408.JPG

[941] HOKUS_191128_411.JPG

[942] HOKUS_191128_413.JPG

[943] HOKUS_191128_416.JPG

[944] HOKUS_191128_419.JPG

[945] HOKUS_191128_422.JPG

[946]

HOKUS_191128_425.JPG

[947] HOKUS_191128_429.JPG

[948] HOKUS_191128_431.JPG

[949]

HOKUS_191128_434.JPG

[950] HOKUS_191128_437.JPG

[951] HOKUS_191128_440.JPG

[952] HOKUS_191128_441.JPG

[953]

HOKUS_191128_444.JPG

[954]

HOKUS_191128_447.JPG

[955] HOKUS_191128_450.JPG

[956] HOKUS_191128_452.JPG

[957] HOKUS_191128_457.JPG

[958] HOKUS_191128_460.JPG

[959] HOKUS_191128_464.JPG

[960]

HOKUS_191128_465.JPG

[961]

HOKUS_191128_469.JPG

[962] HOKUS_191128_475.JPG

[963]

HOKUS_191128_477.JPG

[964]

HOKUS_191128_482.JPG

[965] HOKUS_191128_488.JPG

[966] HOKUS_191128_492.JPG

[967] HOKUS_191128_495.JPG

[968] HOKUS_191128_498.JPG

[969] HOKUS_191128_500.JPG

[970] HOKUS_191128_504.JPG

[971] HOKUS_191128_507.JPG

[972]

HOKUS_191128_510.JPG

[973] HOKUS_191128_516.JPG

[974] HOKUS_191128_520.JPG

[975] HOKUS_191128_521.JPG

[976]

HOKUS_191128_525.JPG

[977] HOKUS_191128_527.JPG

[978] HOKUS_191128_530.JPG

[979]

HOKUS_191128_536.JPG

[980] HOKUS_191128_539.JPG

[981] HOKUS_191128_540.JPG

[982] HOKUS_191128_546.JPG

[983] HOKUS_191128_548.JPG

[984] HOKUS_191128_551.JPG

[985] HOKUS_191128_554.JPG

[986] HOKUS_191128_557.JPG

[987] HOKUS_191128_558.JPG

[988] HOKUS_191128_560.JPG

[989] HOKUS_191128_563.JPG

[990] HOKUS_191128_565.JPG

[991] HOKUS_191128_568.JPG

[992] HOKUS_191128_571.JPG

[993] HOKUS_191128_579.JPG

[994] HOKUS_191128_585.JPG

[995] HOKUS_191128_588.JPG

[996] HOKUS_191128_592.JPG

[997] HOKUS_191128_595.JPG

[998] HOKUS_191128_596.JPG

[999] HOKUS_191128_600.JPG

[1000] HOKUS_191128_603.JPG

[1001] HOKUS_191128_609.JPG

[1002] HOKUS_191128_615.JPG

[1003]

WHISWC_190626_001.JPG

[1004]

WHISWC_190626_005.JPG

[1005] WHISWC_190626_008.JPG

[1006] WHISWC_190626_011.JPG

[1007]

WHISWC_190626_014.JPG

[1008] WHISWC_190626_018.JPG

[1009] WHISWC_190626_022.JPG

[1010] WHISWC_190626_025.JPG

[1011] WHISWC_190626_030.JPG

[1012]

WHISWC_190626_033.JPG

[1013] WHISWC_190626_036.JPG

[1014] WHISWC_190626_039.JPG

[1015] WHISWC_190626_043.JPG

[1016]

WHISWC_190626_049.JPG

[1017] WHISWC_190626_051.JPG

[1018] WHISWC_190626_054.JPG

[1019] WHISWC_190626_057.JPG

[1020] WHISWC_190626_059.JPG

[1021] WHISWC_190626_063.JPG

[1022]

WHISWC_190626_068.JPG

[1023] WHISWC_190626_071.JPG

[1024] WHISWC_190626_075.JPG

[1025] WHISWC_190626_078.JPG

[1026] WHISWC_190626_081.JPG

[1027] WHISWC_190626_084.JPG

[1028] WHISWC_190626_086.JPG

[1029] WHISWC_190626_092.JPG

[1030] WHISWC_190626_095.JPG

[1031]

WHISWC_190626_098.JPG

[1032] WHISWC_190626_100.JPG

[1033]

WHISWC_190626_103.JPG

[1034] WHISWC_190626_105.JPG

[1035]

WHISWC_190626_108.JPG

[1036] WHISWC_190626_111.JPG

[1037] WHISWC_190626_115.JPG

[1038] WHISWC_190626_118.JPG

[1039] WHISWC_190626_121.JPG

[1040] WHISWC_190626_123.JPG

[1041] WHISWC_190626_126.JPG

[1042]

WHISWC_190626_128.JPG

[1043] WHISWC_190626_130.JPG

[1044] WHISWC_190626_132.JPG

[1045] WHISWC_190626_135.JPG

[1046]

WHISWC_190626_137.JPG

[1047]

WHISWC_190626_141.JPG

[1048] WHISWC_190626_144.JPG

[1049] WHISWC_190626_147.JPG

[1050] WHISWC_190626_153.JPG

[1051] WHISWC_190626_157.JPG

[1052] WHISWC_190626_162.JPG

[1053] WHISWC_190626_167.JPG

[1054]

WHISWC_190626_172.JPG

[1055] WHISWC_190626_175.JPG

[1056]

WHISWC_190626_177.JPG

[1057]

WHISWC_190626_181.JPG

[1058] WHISWC_190626_183.JPG

[1059] WHISWC_190626_186.JPG

[1060] WHISWC_190626_190.JPG

[1061] WHISWC_190626_194.JPG

[1062] WHISWC_190626_202.JPG

[1063]

WHISWC_190626_212.JPG

[1064] WHISWC_190626_215.JPG

[1065] WHISWC_190626_218.JPG

[1066] WHISWC_190626_222.JPG

[1067] WHISWC_190626_225.JPG

[1068] WHISWC_190626_228.JPG

[1069]

WHISWC_190626_231.JPG

[1070] WHISWC_190626_233.JPG

[1071] WHISWC_190626_236.JPG

[1072] WHISWC_190626_239.JPG

[1073] WHISWC_190626_241.JPG

[1074] WHISWC_190626_245.JPG

[1075]

WHISWC_190626_250.JPG

[1076] WHISWC_190626_253.JPG

[1077] WHISWC_190626_257.JPG

[1078]

WHISWC_190626_259.JPG

[1079] WHISWC_190626_267.JPG

[1080] WHISWC_190626_269.JPG

[1081]

WHISWC_190626_272.JPG

[1082] WHISWC_190626_276.JPG

[1083]

WHISWC_190626_281.JPG

[1084] WHISWC_190626_285.JPG

[1085] WHISWC_190626_288.JPG

[1086]

WHISWC_190626_294.JPG

[1087] WHISWC_190626_295.JPG

[1088] WHISWC_190626_300.JPG

[1089] WHISWC_190626_305.JPG

[1090] WHISWC_190626_309.JPG

[1091] WHISWC_190626_312.JPG

[1092] WHISWC_190626_313.JPG

[1093] WHISWC_190626_329.JPG

[1094]

WHISWC_190626_331.JPG

[1095]

WHISWC_190626_335.JPG

[1096] WHISWC_190626_337.JPG

[1097]

SIFGSW_180620_001.JPG

[1098]

SIFGSW_180620_008.JPG

[1099] SIFGSW_180620_012.JPG

[1100]

SIFGSW_180620_016.JPG

[1101] SIFGSW_180620_021.JPG

[1102]

SIFGSW_180620_022.JPG

[1103] SIFGSW_180620_025.JPG

[1104]

SIFGSW_180620_030.JPG

[1105] SIFGSW_180620_032.JPG

[1106] SIFGSW_180620_035.JPG

[1107] SIFGSW_180620_037.JPG

[1108] SIFGSW_180620_039.JPG

[1109] SIFGSW_180620_042.JPG

[1110] SIFGSW_180620_046.JPG

[1111]

SIFGSW_180620_048.JPG

[1112] SIFGSW_180620_051.JPG

[1113] SIFGSW_180620_056.JPG

[1114] SIFGSW_180620_068.JPG

[1115] SIFGSW_180620_073.JPG

[1116] SIFGSW_180620_075.JPG

[1117] SIFGSW_180620_079.JPG

[1118] SIFGSW_180620_082.JPG

[1119] SIFGSW_180620_089.JPG

[1120] SIFGSW_180620_093.JPG

[1121]

SIFGSW_180620_097.JPG

[1122] SIFGSW_180620_099.JPG

[1123] SIFGSW_180620_109.JPG

[1124]

SIFGSW_180620_111.JPG

[1125]

SIFGLP_180613_001.JPG

[1126]

SIFGLP_180613_011.JPG

[1127]

SIFGLP_180613_020.JPG

[1128] SIFGLP_180613_023.JPG

[1129]

SIFGLP_180613_030.JPG

[1130]

SIFGLP_180613_035.JPG

[1131] SIFGLP_180613_038.JPG

[1132] SIFGLP_180613_046.JPG

[1133] SIFGLP_180613_051.JPG

[1134] SIFGLP_180613_056.JPG

[1135]

SIFGLP_180613_062.JPG

[1136]

SIFGLP_180613_069.JPG

[1137] SIFGLP_180613_071.JPG

[1138] SIFGLP_180613_076.JPG

[1139] SIFGLP_180613_082.JPG

[1140] SIFGLP_180613_085.JPG

[1141]

SIFGLP_180613_087.JPG

[1142]

SIFGLP_180613_090.JPG

[1143] SIFGLP_180613_093.JPG

[1144] SIFGLP_180613_104.JPG

[1145] SIFGLP_180613_106.JPG

[1146] SIFGLP_180613_109.JPG

[1147] SIFGLP_180613_113.JPG

[1148]

SIFGFI_141105_001.JPG

[1149]

SIFGFI_141105_009.JPG

[1150] SIFGFI_141105_014.JPG

[1151] SIFGFI_141105_018.JPG

[1152] SIFGFI_141105_020.JPG

[1153] SIFGFI_141105_026.JPG

[1154]

SIFGFI_141105_029.JPG

[1155] SIFGFI_141105_034.JPG

[1156] SIFGFI_141105_039.JPG

[1157] SIFGFI_141105_043.JPG

[1158] SIFGFI_141105_048.JPG

[1159] SIFGFI_141105_054.JPG

[1160]

SIFGFI_141105_057.JPG

[1161]

SIFGFI_141105_061.JPG

[1162]

SIFGFI_141105_070.JPG

[1163] SIFGFI_141105_073.JPG

[1164] SIFGFI_141105_077.JPG

[1165] SIFGFI_141105_080.JPG

[1166] SIFGFI_141105_084.JPG

[1167] SIFGFI_141105_087.JPG

[1168]

SIFGFI_141105_092.JPG

[1169] SIFGFI_141105_097.JPG

[1170] SIFGFI_141105_103.JPG

[1171] SIFGFI_141105_107.JPG

[1172] SIFGFI_141105_118.JPG

[1173] SIFGFI_141105_132.JPG

[1174] SIFGFI_141105_139.JPG

[1175] SIFGFI_141105_142.JPG

[1176] SIFGFI_141105_149.JPG

[1177] SIFGFI_141105_154.JPG

[1178] SIFGFI_141105_162.JPG

[1179] SIFGFI_141105_169.JPG

[1180] SIFGFI_141105_172.JPG

[1181] SIFGFI_141105_186.JPG

[1182] SIFGFI_141105_188.JPG

[1183]

SIFGBW_140512_002.JPG

[1184] SIFGBW_140512_005.JPG

[1185] SIFGBW_140512_013.JPG

[1186] SIFGBW_140512_016.JPG

[1187]

SIFGBW_140512_020.JPG

[1188]

SIFGBW_140512_024.JPG

[1189] SIFGBW_140512_027.JPG

[1190] SIFGBW_140512_033.JPG

[1191] SIFGBW_140512_037.JPG

[1192] SIFGBW_140512_041.JPG

[1193] SIFGBW_140512_046.JPG

[1194] SIFGBW_140512_053.JPG

[1195] SIFGBW_140512_057.JPG

[1196] SIFGBW_140512_059.JPG

[1197] SIFGBW_140512_062.JPG

[1198] SIFGBW_140512_066.JPG

[1199] SIFGBW_140512_071.JPG

[1200]

SIFGBW_140512_073.JPG

[1201] SIFGBW_140512_076.JPG

[1202] SIFGBW_140512_080.JPG

[1203] SIFGBW_140512_083.JPG

[1204]

SIFGBW_140512_087.JPG

[1205]

SIFGBW_140512_094.JPG

[1206] SIFGBW_140512_100.JPG

[1207] SIFGBW_140512_105.JPG

[1208] SIFGBW_140512_110.JPG

[1209]

SIFGSY_130615_001.JPG

[1210]

SIFGSY_130615_007.JPG

[1211]

SIFGSY_130615_023.JPG

[1212]

SIFGSY_130615_035.JPG

[1213]

SIFGSY_130615_041.JPG

[1214]

SIFGSY_130615_052.JPG

[1215]

SIFGSY_130615_061.JPG

[1216]

SIFGSY_130615_072.JPG

[1217]

SIFGSY_130615_081.JPG

[1218] SIFGSY_130615_098.JPG

[1219] SIFGSY_130615_108.JPG

[1220] SIFGSY_130615_116.JPG

[1221] SIFGSY_130615_126.JPG

[1222] SIFGSY_130615_133.JPG

[1223] SIFGSY_130615_141.JPG

[1224]

SIFGWN_130217_001.JPG

[1225] SIFGWN_130217_010.JPG

[1226] SIFGWN_130217_016.JPG

[1227] SIFGWN_130217_020.JPG

[1228] SIFGWN_130217_026.JPG

[1229] SIFGWN_130217_034.JPG

[1230] SIFGWN_130217_037.JPG

[1231] SIFGWN_130217_043.JPG

[1232] SIFGWN_130217_048.JPG

[1233] SIFGWN_130217_053.JPG

[1234] SIFGWN_130217_059.JPG

[1235] SIFGWN_130217_064.JPG

[1236] SIFGWN_130217_070.JPG

[1237] SIFGWN_130217_075.JPG

[1238] SIFGWN_130217_081.JPG

[1239] SIFGWN_130217_094.JPG

[1240] SIFGWN_130217_098.JPG

[1241]

SIFGAG_040109_23.JPG

[1242]

SIFGAG_040109_29.JPG

[1243]

SIFGAG_040109_38.JPG

[1244] SIFGAG_040109_48.JPG

[1245] SIFGAG_040109_53.JPG

[1246] SIFGAG_040109_61.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. IMAGIN_240318_001.JPG: The following pictures are from the page 2024_03_18C2_SIFG_Imagined DC -- Freer Gallery of Art -- Exhibit: Imagined Neighbors: Japanese Visions of China, 1680–1980 (87 photos from 03/18/2024)
2. RAKU_240318_01.JPG: The following pictures are from the page 2024_03_18C1_SIFG_Raku DC -- Freer Gallery of Art -- Exhibit: Knotted Clay: Raku Ceramics and Tea (26 photos from 03/18/2024)
3. WHIST_231123_001.JPG: The following pictures are from the page 2023_DC_SIFG_Whistler DC -- Freer Gallery of Art -- Exhibit: Whistler: Streetscapes, Urban Change (110 photos from 2023)
4. WHIST_231123_004.JPG: Whistler Streetscapes, Urban Change James McNeill Whistler (1834-1903) famously championed the surface beauty of his artworks over their narrative content. However, throughout his career, Whistler visualized social and economic change. Dating from the mid-1880s onward, the artist's streetscapes coincided with the rise of modern retail and ambitious civic projects that demolished historic neighborhoods across Europe. The old quarters where Whistler lived and worked throughout the continent experienced relentless redevelopment that displaced poor residents and squeezed them into ever more squalid conditions. Whistler pioneered a distinct modernist approach that distanced both artist and audience from the grim realities of inner-city upheaval. Museum founder Charles Lang Freer (1854-1919) believed that Whistler's modestly scaled street scenes were "superficially, the size of your hand, but artistically, as large as a continent." Whistler: Streetscapes, Urban Change explores the complexity of these scenes that expose the struggles of the working poor while romanticizing poverty for middle- and upper-class art markets. Whistler's diminutive shop fronts and streetscapes reward close looking: the details in each abstracted composition reveal the complex social dynamics of nineteenth-century city life. Unless otherwise noted, all works are the gift of Charles Lang Freer. Whistler: Streetscapes, Urban Change is a project of the Lunder Consortium for Whistler Studies and is made possible with support from the Lunder Foundation.
5. WHIST_231123_008.JPG: Drawing Near Highly detailed narrative pictures were the norm when Whistler helped pioneer a new mode of abstraction by radically simplifying his shop fronts and streetscapes, often pulling close to the picture plane, then cropping and flattening images as if they were stage sets. Whistler's compositional strategy lent a sense of continuity to his glimpses of street life. His scenes in all mediums tend to be sketchy and static, almost suspended in time. Commercial signage over doorways and in windows is sometimes but not always legible. Often this signage teases the viewer to interpret the work, or it might provide clues about the nature of the enterprise depicted. The partially finished, semi-transparent figures populating Whistler's images are often shown peering into windows. They signal not only the artist's general invitation to look but also his understanding that works of art are merchandise for sale, like the goods offered in many of his shop-front windows.
6. WHIST_231123_011.JPG: Boulevard Poissoni�re, Paris (left) 1897. Etching; ink on paper. F1905.1 Whistler etched this relaxed view of Parisians in late spring or early summer. His urban subjects are enjoying what he called "perfect weather in this most lovely city." The empty foreground leads the eye to five men dozing on a double bench. Beyond them, a row of shops edges a boulevard bordered with leafy trees. In this late, rare example-only three impressions are recorded-Whistler explores the decorative repetition of awnings and windows to create a pleasing pattern across the composition.
7. WHIST_231123_016.JPG: Exeter Street (right) 1887. Etching; ink on paper. F1903.158 After studying London city directories, scholars have surmised that Whistler's image of a busy grocery store depicts the shop of James Herbert Wilson, a greengrocer at 33 Exeter Street in Chelsea. Next door was a dairyman named Richard Gold. Whistler enlivened this cropped and flattened scene with an elegant Regency-era bow window adorned with his butterfly signature.
8. WHIST_231123_020.JPG: Nocturne: Cremorne Gardens, No. 3 1875-77. Oil on canvas. F1919.12a-b Pale rectangles of light punctuate the darkness in this Nocturne, part of Whistler's Cremorne Gardens series. Whistler offers a glimpse of a couple in evening dress leaving a theater or restaurant-a gesture to the business of sex work that flourished at this pleasure resort on Chelsea's west edge. The built environment-the dimly lit porch, sanded pathways, and secluded supper boxes-would play a larger role in the shop fronts and streetscapes. Whistler's first streetscape painting featured the dingy gridded windows of a junk shop. Amid the clutter for sale within, a framed picture represents what Whistler called "art relegated to the curiosity shop."
9. WHIST_231123_023.JPG: The Square House, Amsterdam 1889. Etching and drypoint; ink on paper. F1906.113 The Dance House: Nocturne
10. WHIST_231123_027.JPG: The Dance House: Nocturne 1889. Etching; ink on paper. F1906.117 Whistler's depictions of evening entertainments include Nocturne: Cremorne Gardens, No. 3, nearby, and etched images like these. The Square House captured buildings in Amsterdam's red-light district. The same view by night in The Dance House: Nocturne makes a more explicit link to the activities going on inside. Rectangles of light pierce the gloom as they do in the Cremorne painting. An inscription on The Square House indicates Whistler chose this proof for Freer's collection. The Cremorne Nocturne was the last Whistler oil painting that Freer acquired before his death, and The Dance House: Nocturne entered Freer's collection around the same time.
11. WHIST_231123_031.JPG: Nocturne: Black and Red-Back Canal, Holland 1883-84. Watercolor on paper. F1902.159a-b Whistler skillfully applied watercolor washes to enliven his cropped and flattened grid with richly glowing reds and yellows. He included two figures, one in black and the other in white, perhaps alluding to the couple furtively leaving the London pleasure garden in Nocturne: Cremorne Gardens, No. 3, nearby. Once again, Whistler is the discreet observer of aspects of modern life many considered improper.
12. WHIST_231123_037.JPG: The Grey House 1889. Oil on wood panel. F1903.182a-b In this image, Whistler focused on a scene not far from his Amsterdam hotel. Located on the picturesque Palmgracht, a street bordering the little Jordaan canal in the center of the city, the gray house also appears in two Whistler etchings of the same date: The Embroidered Curtain, on view in the next gallery, and the rare Jews' Quarter, Amsterdam, one of the few Amsterdam etchings not in the Freer Gallery's collection. These works, centered around the theme of shop fronts and streetscapes, showcase Whistler's skill in many different mediums.
13. WHIST_231123_043.JPG: Cutler Street, Houndsditch 1887. Etching; ink on paper. F1903.153 A child in the foreground of this East End image wears a mask- ostensibly a reference to Halloween or Guy Fawkes Day, but also implying the veiled layers of meaning in Whistler's work. A sign reading "B. Abrahams" hangs over the entrance to a rag shop. Benjamin Abrahams, the shop's owner, belonged to a large Jewish population in London. Though Jewish people in London were targets of anti-Semitism, Whistler's gaze remains neutral and reveals no obvious prejudice as he engaged in "slumming"-considered a gentleman's pastime in the 1880s.
14. WHIST_231123_047.JPG: Clothes-Exchange, Houndsditch, No. 2 1887. Etching; ink on paper. F1889.4 Whistler's interior view of an iron and glass building located in Houndsditch, part of London's East End, pictures the lively trade in secondhand, cast-off, and pawned clothing. Wholesale and retail purchasers included not only shopkeepers but also artisans, clerks, and even gentlemen. In August 1877, a reporter spotted Whistler "sketching the picturesque corners of 'Cloth Fair," adding, "the artist has an eye for business...and 'slumming' is a pursuit much indulged in by the �lite of society." John Thomson's close-up photograph captures an old clothes shop in another neighborhood about three miles west of Houndsditch.
15. WHIST_231123_052.JPG: Nocturne: Trafalgar Chelsea-Snow 1875-76. Oil on canvas. F1908.169a-b Square, Long before Whistler arrived in London, the open fields and market gardens south and west of Chelsea Common had given way to urbanization. This chilly scene was first exhibited in 1876 as A Winter Fog. Built in 1810, only five years after the famed battle it was named after, Trafalgar Square in Chelsea consisted of blocks of apartments laid out around a garden, an attempt at gentrification that stood until about 1930, when a mixture of houses and villas replaced the dwellings Whistler painted. In 1938, the spot was renamed Chelsea Square to avoid confusion with Westminster's more familiar Trafalgar Square, built in 1830. Place names, like streetscapes, are subject to urban change.
16. WHIST_231123_057.JPG: The Little Nurse 1895. Oil on wood panel. F1904.74a-b In autumn 1895, Whistler brought his cancer-stricken wife to the village of Lyme Regis on the Dorset coast, far from London's polluted bustle. The sea air did not improve her condition, but after she returned to the city, the artist stayed in Dorset and worked to raise money for her treatments. Whistler did not use what is now the title of this painting. However, scholars have suggested that the topic of a nurse might have resonated with him during this difficult time.
17. WHIST_231123_060.JPG: The Butcher's Shop (left) 1888-95. Oil on wood panel. F1903.181a-b References to the works of renowned Dutch artists imbue Whistler's scenes with the patina of the past. He often beautified his glimpses of modern life with formal elements derived from recognized Old Masters. French impressionist painter Edgar Degas later described Whistler's exploitation of seventeenth-century Dutch sources as "traveling on the road to Holland." The Butcher's Shop nods to Rembrandt's oil painting, The Slaughtered Ox, a work the Louvre acquired during Whistler's student days in Paris.
18. WHIST_231123_065.JPG: The Butcher's Dog (bottom right) 1896. Transfer lithograph; ink on paper. F1896.81
19. WHIST_231123_068.JPG: Boutique de Boucher-Saverne (top right) 1858. Watercolor, pencil, gouache on paper. F1898.156 Even in his late work, Whistler remained true to subjects he had first explored during his travels along the Rhine River decades earlier with works such as Boutique de Boucher-Saverne. Echoing the Rhine watercolor, the London lithograph depicts the picturesque building housing another butcher's shop and a dog sitting patiently in front of a window filled with succulent joints of meat.
20. WHIST_231123_072.JPG: Gold and Orange: The Neighbours 1895-1901. Oil on wood panel. F1913.66a-b Gold and Orange: The Neighbours shares part of its title with Henry W. Nevinson's Neighbours of Ours, a work of reform literature published in 1895, the year Whistler began working on this painting. Nevinson offered character sketches drawn from his experiences living among the disadvantaged in Whitechapel, writing about the East Enders he met as neither caricatures nor statistics but as men and women who were "almost as distinct and individual as in a village." Whistler's figures, in contrast, are generalized. They wear the voluminous skirts and aprons of the laboring classes, but their features are nearly indistinguishable in this heavily reworked panel, and Whistler keeps his distance from harsh social realities. In typical fashion, the picture garnered praise for its "exceptional beauty" and "striking" color arrangement, while the figures in the doorway attracted little attention.
21. WHIST_231123_077.JPG: Instability and Unrest Whistler's interest in touring poor neighborhoods was not shared universally among his middle- and upper-class patrons. Many linked impoverished people to the Irish troubles of the 1870s and 1880s and with workers' demonstrations in London's East End that culminated in the Bloody Sunday massacre of November 1877. Numerous financial panics and railroad and banking scandals also destabilized markets, worsening the divide between classes. Though Whistler refused to caricature poor and working-class communities, the artist's images were by no means a call for reform. Pared-down architecture and anonymous subjects allowed Whistler's works to retain broad commercial appeal. They differed sharply from the efforts of his more socially progressive peers whose works, while no less stylized, presented the public with intimate views of destitution to inspire social change.
22. WHIST_231123_079.JPG: Petticoat Lane 1887. Etching; ink on paper. F1904.164 Whistler etched Petticoat Lane, a street noted for its shops selling used clothes but also notorious for pickpockets, thieves, and the odd serial killer. Yet his image of children playing in the street is so charming and innocent that only the title might evoke the site's unsavory history.
23. WHIST_231123_090.JPG: Drury Lane 1880-81. Etching; ink on paper. F1887.17 Among the English views published in the "Second Venice Set" (1886), Drury Lane recycles the graphic formula seen in The Beggars-Winter below. Even less defined than the Venetian beggars, impoverished children here occupy a flat, otherwise empty foreground with angular shop windows visible beyond. One critic called the work "a curious vista view, seen through a gateway, of the dirty, dismal, but not unpicturesque- looking houses of Drury-lane."
24. WHIST_231123_097.JPG: The Beggars-Winter 1879. Chalk and pastel on paper. F1902.175a-b Described by a newspaper journalist as "a sketch in which the smallest colouring relieves the black and grey," this drawing may have served as a study for an etching of the same subject. Beggars lurk in a shadowy passageway leading into a courtyard near the artist's Venetian lodgings. Here, Whistler identified neither the actual location nor the models, altering the figures several times as he worked through seventeen states of the related etching, The Beggars. By the seventeenth state, the adult figure at right had become an old woman.
25. WHIST_231123_100.JPG: Nocturne: Grey and Silver- Chelsea Embankment, Winter 1879. Oil on canvas. F1902.143a-b Despite Whistler's title, this lyrical canvas gives no hint of the disruption caused by the building of the Chelsea Embankment between 1871 and 1874. Instead, Whistler focused on the unusually bitter winter weather. Exhibited at the Glasgow Institute of the Fine Arts shortly after it was completed, Whistler's view of Battersea Reach across the river from Chelsea elicited praise for its beauty rather than the subject it depicted: "In the distance are the lamps of the houses on the riverbank, glimmering through the night air like fireflies. The shadowy outlines of the composition [offer] great suggestiveness and knowledge of effect, while the colour is wonderfully deep and harmonious in tone."
26. WHIST_231123_107.JPG: Churchyard 1887. Transfer lithograph; ink on paper. F1906.139 Founded as an Augustinian priory in 1123, St. Bartholomew's numbered among the three oldest churches in London. A preservation society photographed its churchyard a decade before Whistler created his lithograph. Parts of the building occasionally served as commercial enterprises, including a blacksmith's shop and a printing shop. Whistler's image turned away from the church itself to capture the Cloth Fair's adjacent seventeenth-century buildings, where weavers and cloth merchants had been working for several centuries. Caught in shifting light and shadow, tilted tombstones convey the sense of time past and passing.
27. WHIST_231123_111.JPG: Savoy Pigeons 1896. Transfer lithograph; ink on paper. F1902.125 Whistler's beloved wife, Beatrix Godwin Whistler, spent her last days in London's Savoy Hotel overlooking the Thames. This lithograph was published only a month after her death in 1896. Whistler's distant view captures Westminster Bridge and the houses of Parliament. A related lithograph, By the Balcony, depicts the ailing Beatrix reclining on a couch, but that image remained private-only six examples are recorded. A touching memorial from the bereaved artist to his wife, Savoy Pigeons reached more than three thousand subscribers to the illustrated magazine The Studio. Whistler knew that pigeons mate for life.
28. WHIST_231123_120.JPG: Whistler's Cities, Our City Whistler's compelling images encourage us to consider how the arts bridge the past and the present. The works in this exhibition reflect the uncertainties of metropolitan life the artist witnessed in Europe a century ago, from the growth of department stores and the shuttering of small-scale commerce to the demolition of historic buildings and the displacement of urban poor and working-class residents. Whistler's visions of these profound changes can help us understand the pressures and opportunities that rapid urban development is bringing to Washington, DC, today. We invite you to use the Smithsonian Hi App and look for this icon hi to hear residents and leaders from Anacostia, a neighborhood just a few miles from this museum, connect Whistler's works to their own experiences in present-day Washington. Visit hi.si.edu on your phone or scan the QR code. Dr. David Park Curry is an independent scholar and the guest curator of this exhibition, his third Whistler exhibition staged at the museum's Freer Gallery of Art. John A. Johnson is a poet, playwright, and founder of Verbal Gymnastics Theater Company Ronald Moten is a peace activist, political advisor. advocate for his native Washington, DC. and founder of the city's Go Go Museum. Scott Kratz is the senior vice president of Building Bridges Across the River and the director of the 11th Street Bridge Park. Melani N. Douglass is a healer, conceptual artist. and curator as well as the founder of the Family Arts Museum
29. WHIST_231123_123.JPG: Nocturne: Battersea Bridge 1872-73. Chalk and pastel on paper. F1904.64a-c Battersea Bridge was the first on the Thames to be lit at night, initially by oil lamps and later by gas. In his pastel, Whistler has ignored this early urban improvement, relying upon the bright yellow light cast by a full moon, echoed by the illuminated clock tower of Chelsea Old Church. A few other shore lights along with a sprinkling of stars and their reflections conjure the shimmering, silvery dusk. By the time Whistler executed this image, the rickety structure was one of only two surviving wooden bridges over the Thames. By 1890, the old Battersea Bridge was gone.
30. WHIST_231123_126.JPG: Bridges Old and New From the time Whistler moved to London in 1859 until his death in 1903, developers erected fifteen new bridges crossing the Thames, all intended to facilitate increased railroad, vehicular, and pedestrian traffic for the growing city. Though his father was an engineer who built bridges in the United States and in Russia, the artist kept new iron and steel structures at a distance, muting their disruption to the historic fabric of the city. The constant noise of traffic moving across the bridges must have been deafening, but Whistler silenced the racket in seemingly placid paintings, drawings, and prints that offered widespread audience appeal.
31. WHIST_231123_128.JPG: Old Hungerford Bridge 1861. Etching and drypoint; ink on paper. F1898.325 Distanced by open water, a graceful suspension footbridge dominates this scene of a construction site. Opened in 1845, the original Hungerford Bridge connected London's South Bank to a produce market at Charing Cross on the Strand. A railway company purchased the footbridge in 1859, two years before Whistler etched this print. In 1864, the new railroad bridge and Charing Cross railway station opened, obliterating both the footbridge and the produce market.
32. WHIST_231123_134.JPG: Old Putney Bridge 1879. Etching and drypoint; ink on paper. F1898.372 Whistler likely observed this picturesque view from the water, floating next to a couple enjoying a leisurely day on the river. Until Putney Bridge opened in 1729, there was no other crossing along the fourteen-mile stretch from London Bridge to Kingston-upon-Thames. By 1880, however, Putney Bridge had decayed severely. Shortly after Whistler etched this nostalgic scene, the city replaced the structure with a granite bridge designed by Sir Joseph Bazalgette, engineer of the Thames Embankment.
33. WHIST_231123_139.JPG: Nocturne: Silver and Opal- Chelsea 1884. Oil on wood panel. F1902.146a-b A suspension bridge floats as a flat gray arc barely discernable through mist and fog. Opened in 1858 and initially named after Queen Victoria, the structure featured a suspended roadbed hanging from four towers adorned with large lamps. Here, the lamps cast no light, and the towers are almost invisible. The bridge was renamed after being deemed unsound, an attempt to distance the queen from any potential calamities. Whistler's elegant title, however, is a subtle reference to the monarch, who was particularly fond of opals.
34. WHIST_231123_144.JPG: Waterloo Bridge 1896. Transfer lithograph; ink on paper. F1896.80 From the balcony of his suite in London's Savoy Hotel, Whistler looked out over the Victoria Embankment's elegant curve, which swept under Waterloo Bridge's stone arches. The bridge opened in 1817 to commemorate the Battle of Waterloo, a British victory over Napoleon in 1815 that was marred by horrific casualties. Proofs annotated by Whistler as "Waterloo Dawn" indicate that he recorded a quiet, early morning scene. The chaos of demolition and construction is as muted as the long-ago celebration of the brutal battle.
35. WHIST_231123_153.JPG: London Bridge 1877. Drypoint; ink on paper. F1898.358 Whistler recorded a single stately stone arch of the new London Bridge, opened in 1831 to replace a bridge dating to medieval London. Years of negotiations over properties on both sides of the river were required before the bridge-deemed the symbol of an honorable British merchant-could be erected. The city had already cleared houses and shops a century before to ease congestion, and this project similarly required the demolition of many existing buildings. The construction also presaged further urban disruption when the city built the embankments from 1864 to 1874.
36. WHIST_231123_157.JPG: The Steps 1880. Chalk and pastel on paper. F1917.4a-b In this quiet corner of Venice, women and children appear in relaxed stances. Some string beads or make lace for sale to the tourists crowding the city's sites. The lack of detail at the edges of the sheet creates a frieze of figures; all the excitement is carried by small passages of vibrant color. Whistler wrote to his mother, "The people with their gay gowns and handkerchiefs-and the many tinted buildings for them to lounge against or pose before, seem to exist especially for one's pictures—and to have no other reason for being!" Quaint local motifs, including artisan studios, shops, and market stalls, abounded in Venice. Whistler continued to use these motifs back in London as he advanced his streetscape project.
37. WHIST_231123_160.JPG: The Rialto (left) 1879-80. Etching and drypoint; ink on paper. F1887.22 Hounded by creditors, the bankrupt Whistler fled to Venice in 1879 to start rebuilding his finances. In this Italian etching, the artist took care to spell out a butcher shop's sign reading "Vendita Carna," or "flesh for sale." His viewers may or may not have understood this sly reference to Shylock's demand for "a pound of flesh" in exchange for an ill- advised loan in Shakespeare's The Merchant of Venice (1596-98).
38. WHIST_231123_165.JPG: Bead Stringers (right) 1880. Crayon and pastel on paper. F1905.124a-b A young bead stringer sits at the near end of a narrow alley in Venice's Castello district. A light gray fa�ade broken by a dark doorway stands at the far end of the passage. Bits of clean linen flutter on the lines like pennants, and a checkered patch of turquoise and deep green pulls the eye through the constricted space toward brightly clad figures in the distance. Whistler's touches of pastel sparkle like the little glass beads Venetian women strung for sale to tourists.
39. WHIST_231123_172.JPG: Nations of Shopkeepers Scottish economist Adam Smith dismissed Britain as "a nation of shopkeepers" in 1776. The expatriate Whistler offered a wider perspective. Shuttling back and forth across the English Channel for nearly half a century, the artist offered an international view of specialty shops and old-fashioned trades. Witnessing the rise of modern merchandising in both London and Paris, Whistler pictured individual shops purveying all kinds of goods just as such businesses were being crushed by department stores. Whistler sought out small independent businesses, such as butchers, bakers, fishmongers, greengrocers, and vendors of flowers, nuts, sweets, wine, and liquor. He recorded little shops selling used furniture, birdcages, newspapers, books, prints, cheap boots, preowned clothing, and expensive jewelry. Other enterprises providing personal services also caught his eye, including laundresses, dressmakers, and barbers. Throughout his career, Whistler was particularly drawn to disheveled rag-and-bone shops filled with secondhand junk, including the occasional framed artwork. Whistler went so far as to try his hand at shopkeeping with his own short-lived gallery called The Blue Butterfly.
40. WHIST_231123_244.JPG: A Polite Distance The surface beauty of Whistler's images distanced them from their modern life sources. After his bankruptcy in 1877, the artist targeted new audiences, exploiting the market for quaint scenes by layering subjects drawn from modern life with formal elements that detached the final compositions from any clear social narrative or commentary. Adopting a non-threatening small scale, he looked to generate salable pieces quickly, sometimes in rapidly applied watercolor or pastel, sometimes in the form of etchings or lithographs that could be reproduced. When working in oils, Whistler applied his pigments to little wooden panels about the size of a cigar-box top. The artist's formulaic renditions of old-fashioned commercial neighborhoods regularly obscure the location and the nature of a shop's business. By filtering the realities of urban life through an aesthetic screen, Whistler acknowledged that well-off patrons who witnessed poverty daily had no desire to confront down-and-out destitution in their own homes.
41. WHIST_231123_246.JPG: Chelsea Shops: Yellow and Grey 1884. Oil on wood panel. F1902.149a-b Whistler's most formally advanced shop fronts and streetscapes feature strict geometries, suppressed detail, flattened spaces, and close cropping. Here, only a few figures dot the sidewalk; the artist set out early to paint in a city notorious for its traffic. One critic at the time described this panel as "a precious little gem," while another scorned "Mr. Whistler's rapid, suggestive studies of low-browed houses, shops, and the picturesque of drabs, yellows, dirty brick, and dropping plaster." The two comments illustrate the range of reactions to urban decay in the British capital.
42. WHIST_231123_254.JPG: An Orange Note: Sweet Shop 1884. Oil on wood panel. F1904.315a-c When it was exhibited in 1884, the critical praise this panel received must have been sweet to Whistler's ears as he labored to jump-start his career after a humiliating bankruptcy. Artist Walter Sickert deemed it a "most remarkable" if "simple" subject, adding "for tone and wonderful breadth of detail, which gives us the contents even of the bottles, this little gem can hold its own with canvases a hundred times its size, and will doubtless become historical as one of the most beautiful, refined, and powerful creations by the author of the 'Peacock Room."
43. WHIST_231123_256.JPG: Variations in Pink and Grey: Chelsea 1871-72. Oil on canvas. F1902.249a-b Between 1864 and 1874, London razed a host of historic buildings to create the Victoria, Albert, and Chelsea Embankments to house the city's new sewer system. Construction altered the topography of the city, claiming much of the riverbank for public gardens and new commercial and residential structures. In Whistler's painting, wooden fences-abstracted to resemble a Japanese folding screen-hide the chaos of urban renewal from the elegant figures promenading in the foreground.
44. WHIST_231123_260.JPG: Harmony in Brown and Gold: Old Chelsea Church 1884. Oil on wood panel. F1902.152a-b The distinctive tower of an old church dating to 1157 pinpoints the view of Chelsea from the Battersea shore across the Thames. In 1884, a British newspaper praised the work for leaving "no sense of incompleteness" with its "perfect harmony of low-toned colour."
45. WHIST_231123_266.JPG: Blue and Emerald: Coal Mine 1884. Oil on wood panel. F1902.153a-b Coal fueled Britain's industrialization even as it fouled its cities. Londoners leaving for the country claimed to be "going out of the Smoke." The air is clear in this rural scene, exhibited in Paris in 1887 as La Mine abandon�e, "the abandoned mine." Whistler's French title also slyly proposed that he and artists like him were leaving behind the overworked themes and styles of academic painting for new approaches.
46. WHIST_231123_270.JPG: A Little Red Note-Dordrecht 1884. Watercolor on paper. F1908.15a-b Whistler punctuated this vista across the Oude Maas, a river in the Netherlands, with a picturesque old-fashioned windmill. As is often the case, Whistler's title prioritizes visual style (the "red note") over accurate geography. The windmill was in fact located in Welgelegen in Zwindrecht, a town lying about seven kilometers west of Dordrecht.
47. WHIST_231123_274.JPG: An Invitation to Look The Golden Screen, Whistler's magisterial image of his mistress Joanna Hiffernan, is awash with richly colored fabrics and objects from Asia. The painting is a spirited riff on a familiar genre: a white sitter ensconced among seemingly exotic and fashionable objects. The painting's cropped, asymmetrical composition, its flattened space, and its densely patterned surface are aspects of Chinese and Japanese art that Whistler would soon integrate more subtly into his shop fronts. The painting visualizes the process of shopping and collecting. In the decades before the explosion of commercial dealerships, Whistler and other artists used their studios as points of sale-literally as shops. The figures who populate Whistler's urban scenes often stare into shop windows, echoing Hiffernan's utter absorption in a work of art while offering Whistler's audience an invitation simply to look.
48. WHIST_231123_276.JPG: Caprice in Purple and Gold: The Golden Screen 1864. Oil on wood panel. F1904.75a
49. WHIST_231123_283.JPG: The Lime-Burner 1859. Etching and drypoint; ink on paper. F1905.113 When The Lime-Burner was exhibited in 1860, Whistler identified both the man in the etching, William Jones, and his workshop on Wapping High Street. Workers in this dangerous occupation burned limestone, shells, and chalk to make lime, a caustic product used in agriculture and heavy industry. The City of London eventually banned such toxic enterprises and relegated the work to large factories farther down river, putting small companies such as this one out of business.
50. WHIST_231123_291.JPG: Grand' Place, Brussels 1887. Etching and drypoint; ink on paper. F1903.246 The main square in Brussels, officially named Grote Markt (Big Market), offers a beautiful view beloved by tourists who visit the Belgian capital, as Whistler did in 1887. Unlike Whistler's London subjects, Grand' Place captures seventeenth-century houses united behind a monumental fa�ade. Within, craftguilds comprising carpet makers, tanners, millers, cartwrights, sculptors, and stone cutters drove the economic life of Brussels. Whistler also includes a sign reading "Sale de Vent," indicating a sale room or auction house, to layer the modern business of art atop the historic guildhalls.
51. WHIST_231123_295.JPG: The Embroidered Curtain 1889. Etching and drypoint; ink on paper. F1906.126 Whistler's two-month stay in Amsterdam yielded some of his finest etchings that unite carefully observed detail with geometric abstraction. Visible through open doors and windows, figures crowd this stage-like scene on a canal near Whistler's hotel. An elaborately patterned curtain behind a tall window gives the work its title, while a tiny Dutch sign over a basement door reads "Water te Vuur" ("Water for Sale"), signaling a small business common in Amsterdam in which people paid a penny for a bucket of water or a few glowing coals. The city filled in the canal and demolished these buildings a few years after Whistler's visit, but a surviving photograph confirms the accuracy of the composition.
52. WHIST_231123_299.JPG: Chelsea Children 1897. Watercolor on paper. F1902.116a-c Victorian reformers promoted art and education as paths toward economic betterment for poor and working-class Britons. At the Royal Academy in 1863, Whistler encountered William MacDuff's painting Shaftsbury (Lost and Found), in which a boy points out a portrait of the seventh Lord Shaftsbury, Anthony Ashley-Cooper, nicknamed "the poor man's Earl." Ashley-Cooper devoted his life to promoting education for disadvantaged children, and the gesturing youngster wears the uniform of a school the Earl helped found. In Chelsea Children, Whistler sidestepped such a specific political narrative, transforming the trope of figures peering into shop windows into an invitation for his viewers simply to look. Children cluster before a window filled with works of art. One child stands apart, gazing into a neighboring fishmonger's shop under a sign reading "Stewed Eels," an inexpensive dish associated with London's poor residents. The appeal of curious children helped sanitize the threat the urban poor seemed to pose to middle- and upper-class urbanites.
53. WHIST_231123_306.JPG: Bird-Cages, Chelsea 1887. Etching and drypoint; ink on paper. F1903.30 In each of these prints, a figure turns away from the viewer to contemplate the goods on offer. Here, "W. Jones" is inscribed over a doorway and "Amber" on a sidewalk theater poster. This image depicts the storefront of Henry Newmarch, a bird-cage maker whose shop on Pimlico Road stood next to Walter Jones, a hairdresser. Cages reinforce the geometric composition of the cropped, stage- like streetscape. "Amber" refers to The Amber Heart, a play at the Lyceum Theatre starring famed Victorian actress Ellen Terry, once the mistress of Whistler's architect E. W. Godwin.
54. WHIST_231123_310.JPG: Antony's Print Shop, Rue de Seine 1894-1900. Etching: ink on paper. F1906.133 When printed, an etched image on a copper plate is reversed, but here, Whistler etched a tiny shop sign, "Antony," so it would read correctly. The artist teased viewers with this clue to the precise location of the print shop, located at 34 rue de Seine in Paris's Latin Quarter. Pictures displayed in the window reinforce the geometric structures of the composition.
55. WHIST_231123_313.JPG: Little Court 1880-81. Etching and drypoint; ink on paper. F1887.14 The London streetsweeper was an icon of urban poverty who figured in Victorian genre paintings, comic songs, commercial advertisements, and magazine illustrations like this one. Whistler's artistic style distanced the viewer from the realities of life for the city's poor residents. In Little Court, a small boy holding a broom nearly disappears as one third of the space has been swept clean of all detail.
56. WHIST_231123_317.JPG: Regent's Quadrant 1880-81. Etching and drypoint, ink on paper. F1905.196 In his 1883 Arrangement in White and Yellow exhibition, Whistler positioned Regent's Quadrant immediately following Little Court, powerfully contrasting the humble courtyard with an elegant commercial thoroughfare familiar to his wealthy clients. Regent's Quadrant (1814-25) was one of the city's first planned developments. The area's cramped shops were eventually deemed restrictive to commerce, and by 1895, it was entirely redeveloped. None of the original buildings in Whistler's etching survived.
57. WHIST_231123_322.JPG: The Barrow - Quartier des Marolles, Brussels 1887. Etching and drypoint; ink on paper. F1888.9 Whether by design or by accident, Whistler's small, stage-like, close-cropped images echo urban photographs by John Thomson, a documentarian of lower- and working-class London neighborhoods. The Barrow recalls Thomson's Cheap Fish of St. Giles from the book Street Life in London. The book included articles juxtaposed with photographs "taken from life," meant to provide "unquestionable accuracy" of the urban poor's marginal existence. Yet, like Whistler's images, these photographs were carefully staged.
58. WHIST_231123_325.JPG: Newspaper-Stall, Rue de Seine 1893. Etching and drypoint; ink on paper. F1906.130 An air of excitement suffuses the figures clustered around this French newspaper stall. Whistler etched the scene only a year after Paris's Mus�e du Luxembourg purchased the artist's famous painting of his mother, solidifying his professional standing. By then, Whistler's command of the written word and his skillful manipulation of the popular press, already evident in his manifesto "The Red Rag" (1878), were established tools in his crusade against the conservative art establishment. His witty compendium of letters to editors and critics, The Gentle Art of Making Enemies, first appeared in 1890; it was revised and widely distributed in 1892.
59. WHIST_231123_330.JPG: The Manager's Window, Gaiety Theatre 1896. Ink on paper. F1896.76 Whistler kept a firm grasp on the interlocking dynamics of performance, publicity, and prosperity. One of his earliest cropped, geometric streetscapes pictured the Gaiety Theatre. He revisited this motif in 1896, two years after theater manager George Edwardes premiered the comedy The Shop Girl, ushering in a form of musical entertainment suitable for respectable Victorian audiences. The heroine, Bessie Brent, is an underpaid store employee who believes her job will never reward her financially or romantically. Yet she eventually inherits one million dollars and finds true love, solidifying the "noble institution" of the retail warehouse, the precursor to the modern department store.
60. WHIST_231123_336.JPG: The Barber's Shop, Chelsea 1886. Etching; ink on paper. F1905.338 Distanced by an empty street occupying half the composition, a dark archway sheltering several figures breaks a stage-like row of shops. On the far right, boots for sale hang above a man standing in an open doorway. Cropped, flattened facades at left boast gridded windows, but the goods for sale are indistinct. Signage identifies the enterprise on the left as a barber's shop, recalling Whistler's carefully tended coiffure of dark curls accented by his distinctive white streak, or "feather." On the sidewalk, two young girls appear to look at a poster advertising a play, another reminder of the performative nature of Whistler's career.
61. WHIST_231123_341.JPG: Under the Cathedral, Blois 1888. Etching; ink on paper. F1906.125 A carefree touristic spirit imbues many of the picturesque images Whistler created during his honeymoon trip to France in 1888. The distinctive single tower of the Cath�drale Saint-Louis de Blois, a sixteenth-century landmark, towers over a narrow street at the bottom of the hill. Open doors and windows conjure old-fashioned shops at street level, but their precise businesses are unclear.
62. WHIST_231123_344.JPG: Booth, Market Place, Loches 1888. Etching; ink on paper. Purchase-funds provided by Mr. and Mrs. Willard G. Clark and the Charles Lang Freer Endowment, FSC-GR-653 The tiny, picturesque town of Loches on the Loire River in Touraine, France, was another stop on Whistler's honeymoon tour. An old-fashioned market booth appears in reverse in this rare etching, but Whistler has included a legible poster advertising a new alcoholic beverage, Byrrh. Created only two years before the etching was made, Byrrh was first marketed as a health drink. It soon became a popular French aperitif and is still in production.
63. WHIST_231123_348.JPG: Anti-Scrape Whistler created his shop fronts and streetscapes just as civic construction projects obliterated crowded historic districts jammed with ancient buildings. Many of the structures he depicted are no longer standing. Endless demolition gave rise to numerous preservation-minded projects and organizations. The best known, London's Society for the Protection of Ancient Buildings, has been in continuous operation since 1877. Dubbed "Anti-Scrape" by its cofounder, artist and designer William Morris, the society advocated for the sensitive preservation and repair of old buildings. Whistler was a reluctant participant in the chaos of urban renewal, but his growing suite of images featuring historic structures earned him a somewhat undeserved reputation as a historic preservationist by the end of his life.
64. WHIST_231123_350.JPG: Flower Market: Dieppe 1885. Watercolor on paper. F1907.171a-b French writer �mile Zola dubbed Les Halles "the belly of Paris." The complex consisted of a group of colossal glass and iron pavilions containing the city's central food market, eliminating crowded outdoor stalls. As such centralized commercial spaces took hold in Paris and London, Whistler turned instead to scenes of life in provincial towns. Painted in Normandy, Flower Market: Dieppe celebrated the delights of old-fashioned shopping through an exquisite orchestration of colors.
65. WHIST_231123_354.JPG: Marbles 1886-87. Etching and drypoint; ink on paper. F1903.31 Marbles records poor children playing an ancient popular game in a shop-front gutter. This etching was made at a time when cheap, commercially manufactured marbles had become widely available. Whistler ignores any suggestion of petty gambling, which was often associated with the urban poor, playing to his privileged audience of conflicted urbanites striving to balance good business with goodwill.
66. WHIST_231123_359.JPG: The Village Sweet Shop 1886. Etching; ink on paper. F1906.107 A nineteenth-century education reformer denounced the sweet shop as "the child's public house," asserting that "it abounds in all poor neighbourhoods and serves as an excellent training in those habits of heedless self-indulgence which are the root of half the misery of the slums." Whistler's sympathetic image, on the other hand, is closer to novelist Elizabeth Gaskell's description of a provincial sweetshop in Cranford (serialized 1851-53), where genteel characters practice "elegant economy" to obscure "the vulgar fact that we were, all of us, people of very moderate means."
67. WHIST_231123_362.JPG: The Market-place, Vitr� 1893. Transfer lithograph; ink on paper. F1894.7 Along with the colored image displayed below, this black-and-white print celebrating a busy open-air market is one of seven lithographs recording Whistler's travels with his wife in Brittany during the summer of 1893.
68. WHIST_231123_365.JPG: Red House, Paimpol 1893. Transfer lithograph; ink on paper. F1894.14 Whistler's title cites Paimpol, a Breton town north of Vitr�, but the actual location of this timbered French house remains uncertain. The artist takes pleasure in the structure's details, emphasizing the geometries of the old building with his judicious use of red and gray inks to enhance the otherwise black drawing. Whistler told his London printer, Thomas Way, "You will see the value of the three colours and that it does not want more."
69. WHIST_231123_370.JPG: Billingsgate 1859. Etching and drypoint; ink on paper. F1898.278 Among the most widely distributed of all Whistler's Thames etchings, Billingsgate was initially begun in 1859. As his shop-front project gathered energy, he published this print three times between 1878 and 1882. Docked fishing boats nearly obscure the distinctive stone arches of new London Bridge, symbol of the "honourable British merchant" completed in 1831. By the time Whistler published his print, the fish market and its clock tower, visible at left, had already been torn down and replaced by an even larger building.
70. WHIST_231123_375.JPG: Temple Bar 1877. Etching; ink on paper. F1903.265 At first glance, Temple Bar might seem at odds with Whistler's shop-front project, but when this gate was dismantled to make way for more modern buildings, it was carefully numbered, stored, and sold. In 1880, the London landmark was installed at Theobalds Park, the estate of Valerie Susan Langdon. Langdon was a former bar girl who married into money and commissioned Whistler to create several portraits, including the one illustrated here, to legitimize her new social status.
71. WHIST_231123_379.JPG: The Adam and Eve,' Old Chelsea 1879. Etching and drypoint; ink on paper. F1893.29 The Adam and Eve was a local riverside pub in London, demolished to make way for the Chelsea Embankment, which opened in May 1874. Four years after the picturesque building was destroyed, Whistler looked backward, relying chiefly on photographs to reconstruct a detailed and commercially appealing image complete with a tiny mud lark, a scavenger searching for salable junk on the river bottom at low tide.
72. WHIST_231123_385.JPG: Wych Street, London 1887. Etching; ink on paper. F1903.263 Whistler created this etching a year after this photograph on the right was published. His work does not include the bookshops and other enterprises photographer Alfred Bool captured. Seen in reverse, the upper stories of the old buildings seem to float, a disembodied presence soon to be eradicated entirely by the London County Council's redevelopment of the area.
73. WHIST_231123_391.JPG: Hotel Colbert, Windows 1891. Transfer lithograph; ink on paper. F1906.159 Whistler sought out old neighborhoods in London and abroad, preferably close to his residence. Visiting Paris in 1891, he could easily walk from his elegant hotel to visit a decaying seventeenth-century townhouse, photographed thirty years earlier by Charles Marville. Whistler followed Marville's lead, focusing on two of the interior court's sculpted panels. Whistler must have worn a hard hat: demolition on the street had begun in December 1888.
74. WHIST_231123_394.JPG: Little Smithfield 1875. Etching; ink on paper. F1901.19 Here, two young boys occupy the foreground, their backs turned upon crooked, half-timbered old buildings with tiny windows. Nearby, the huge Metropolitan Market opened in 1869 and was celebrated in the press for its design, in contrast to Smithfield's seventeenth-century houses.
75. WHIST_231123_403.JPG: Variations in Flesh Colour and Green - The Balcony 1864-73. Oil on wood panel. F1892.23a-b In 1892, Freer acquired his first major Whistler oil painting. Colorful kimono-clad models occupy a balcony overlooking the River Thames while listening to music played on a Japanese shamisen, a traditional stringed instrument. A single standing figure leans over the rail, contemplating the drab factories on the opposite riverbank. She invites us to look at and assess the industrial developments that enriched art collectors, including Frederick Leyland, a shipping magnate and the original owner of the Peacock Room, and Charles Lang Freer, who made his wealth in the railroad car business.
76. MOUNT_230427_01.JPG: The following pictures are from the page 2023_DC_SIFG_Mounting DC -- Freer Gallery of Art -- Exhibit: A Journey of Taste: Freer and Japanese Scroll Mounting (19 photos from 2023)
  A JOURNEY OF TASTE Freer and Japanese Scroll Mounting This exhibition considers the relationship between Japanese paintings and the tradition of scroll mounting within the museum's Freer Gallery of Art collection. A Japanese scroll mounting is both a decorative framework and a structural support that is essential for the connoisseurship, display, and preservation of fragile artworks made from paper and silk. Different mounting styles evolved over time in relation to the artworks and how they were used as well as in response to changing artistic conventions. Within this rich tradition, patrons, artists, scroll mounters, and collectors also developed individual styles, choosing the materials and formats to mount artworks according to their taste. Following this practice, museum founder Charles Lang Freer (1854-1919) developed a distinct personal aesthetic for remounting his East Asian paintings as part of a holistic vision for displaying his collections of Asian and American art in his namesake gallery. This selection of hanging scrolls and panels represents Freer's taste, a range of historic styles, and the evolving tradition of mounting interpreted by four generations of mounter-conservators at the Freer Gallery. There are two labels for each artwork, one that describes the painting and another that describes its mounting. We invite you to explore these mountings and their relationship not only to the works displayed here but also to Chinese and Japanese works throughout the museum. Mounting styles have evolved as a result of changing artistic conventions and the ways in which artworks have been used.
77. MOUNT_230427_11.JPG: A JOURNEY OF TASTE Subtle and Imperfect: Freer, Tea, and Antiquarian Taste Charles Lang Freer was still collecting prints by James McNeill Whistler (1834-1903), but his focus turned to warmly glazed Japanese ceramics and colorful paintings of nature and genre scenes. His contacts with dealers and other collectors led him to appreciate understated and imperfect artworks that were characteristic of Japanese tea taste. Coarse textures, worn surfaces, and subtle tonalities of mottled ceramic glazes drew the interest of Japanese tea practitioners beginning in the sixteenth century. Subsequent generations inherited and celebrated this tea aesthetic. In this gallery, an antique Korean tea bowl bears golden cracks that have been decorated with motifs of autumn grasses and flowers. The pitted, crater-like surface of a deer's lead body heightens the refined polish of gold on a lacquered writing box. The mounting for a letter combines fine and rough brocades with plain raw silk. This taste for flaws encouraged visual and material intimacy with all the details of a given artwork. Even a blemish can be a beauty mark in the eye of the beholder. The three objects in this gallery represent the evolution of Charles Lang Freer's taste, which changed as his collection of Asian art grew.
78. MOUNT_230427_45.JPG: Japanese Mounting Styles The styles, materials, and methods of scroll mounting first traveled from China to Japan along with Buddhism around 1,300 years ago. Japanese mounting styles diversified over centuries, and they were first codified as "formal," "semiformal," and "informal" during the fifteenth century. These three categories were further subdivided to create the eight standard formats pictured on the right. The formality, or "ranking," of a mounting is indicated by the number of decorative borders that surround the artwork, the proportions of those borders, and the types of materials and roller knobs that are used. Paintings and calligraphy are also organized into a hierarchy determined by the subject matter, creator, and artistic style, among other factors, which correlates to suitable mounting styles. For example, religious images of mandalas or Buddhas receive the most elaborate, formal mountings. These may have up to three complete borders of luxurious, colorful fabrics and golden knobs. Popular images, including bird and flower paintings and portraits, are given a semiformal mounting with partial borders and less ornate materials like damask fabrics or ivory knobs. Sketches, letters, and other less formal artworks are matched with informal mountings with fewer, narrower borders and simpler materials that include plain fabrics, decorated papers, and wooden knobs.
79. WORDS_230427_001.JPG: The following pictures are from the page 2023_DC_SIFG_Words DC -- Freer Gallery of Art -- Exhibit: Words of Wisdom: Buddhist Calligraphy from Japan (33 photos from 2023)
  WORDS OF WISDOM Buddhist Calligraphy from Japan Writing arrived in Japan with Buddhism around the year 552. In an effort to forge a political alliance through faith, the Korean kingdom of Baekje dispatched a delegation to Japan that brought with it handheld Buddhist sculptures and sutras in literary Chinese, the arrival of which had an enormous effect on Japan's cultural evolution. Prior to that moment, Japan had not yet developed a written language of its own and instead relied on sophisticated techniques of oral transmission. Not only did the simultaneous arrival of Buddhism and the written language change the religious system of the country but it also introduced a new method of expressing personal thoughts, larger concepts, and political power. Writing charted a new course for Japan's intellectual, linguistic, political, and artistic trajectory. The country suddenly faced the challenges and possibilities that came with the gigantic corpus of Buddhist and secular texts, as well as the accompanying fabric of artistic, architectural, and literary expression. Writing arrived with Buddhism in Japan, changing the country's history forever.
80. WORDS_230427_057.JPG: Monarchical Mistakes Copying a scripture is considered an act of religious devotion with much karmic merit. Today, people from all backgrounds are able to copy sutras, but the lack of general education in ninth-century Japan enabled only the uppermost classes to be literate enough to painstakingly write out such texts. Many sutras were copied in the scriptoria of Buddhist monasteries, but here, emperor Saga (reigned 809-823) is said to have made this facsimile. Note how he missed one character that was added in smaller script afterward. The sutra states that chanting its text alone would help stop anyone's suffering.
81. WORDS_230427_078.JPG: Too Dark in Here? You might be wondering why the gallery is so dark. Good question! There are many reasons for this. The fragile pigments and materials that comprise Japanese art were not made for the brightly lit white-cube spaces of many modern museums. The Freer Gallery features a unique combination of artificial illumination curated by our expert technicians and filtered natural light that enters through the ceiling windows. The sunlight intensifies and fades depending on the time of day and the season. As a result, you get to experience the works anew depending on the weather and the time of year you visit. That combination may result in darker spaces than you are used to, but the twilight is the closest environment to the original context in which traditional Japanese art was made. It allows brushstrokes, materials, and other different aspects of a work to blend together into an organic, coherent whole.
82. WORDS_230427_107.JPG: Bells and Whistles Like many other religious traditions, Buddhism is a faith of sound. Temples are filled with incantations of sutras, with metal gongs and bells that are struck during ceremonies as a way to accentuate the chanting and provide metronomic rhythm. In the practice of Esoteric Buddhism, called Mikkyo ("concealed" or "secret" teaching) in Japanese, priests perform elaborate rituals involving implements such as these bronze bells. The types of bells on display would be struck on their outer surface with a small metal stick. Imagine the resonating sound of the bells in this gallery, where each shape and each size would trigger a different tune.
83. EGYPT_230312_001.JPG: The following pictures are from the page 2023_DC_SIFG_Egypt DC -- Freer Gallery of Art -- Exhibit: A Collector's Eye: Freer in Egypt (78 photos from 2023)
  A Collector's Eye Freer in Egypt
84. EGYPT_230312_011.JPG: A Close Look at Egyptian Glass
85. EGYPT_230312_056.JPG: Blue: The Eternal Color
86. EGYPT_230312_078.JPG: Egyptian Colored Glass
87. EGYPT_230312_153.JPG: An Eclectic Collection
88. EGYPT_230312_155.JPG: Freer's Journey through Egypt
89. EGYPT_221220_01.JPG: The following pictures are from the page 2022_DC_SIFG_Egypt DC -- Freer Gallery of Art -- Exhibit: A Collector’s Eye: Freer in Egypt (Preview gallery) (20 photos from 2022)
  Head of a pharoah Egypt, ca 2675-2130 BCE
90. EGYPT_221220_16.JPG: Coming This Winter A Collector’s Eye Freer in Egypt Opening January 28, 2023 A short distance from the steps of the Freer Gallery of Art in Washington, DC, rises the Washington Monument, one of the city’s most distinct icons and an embodiment of America’s attraction to Egypt’s ancient past. Like many cultured nineteenth-century Americans, Charles Lang Freer was intrigued by ancient Egypt. Between 1906 and 1909, he visited the country three times on his way to destinations further east. These voyages were crucial in nurturing his interest in ancient Egyptian art, which to him was the “greatest art in the world.” During these years, he acquired a range of works, including the renowned Washington Codex—one of the oldest Bibles in the world—a digital copy of which will be on view in the gallery. He also collected an exceptional group of New Kingdom Egyptian glass vessels, a Byzantine jewelry set, amulets, and hundreds of beads, many of which will be seen in this exhibition for the first time.
91. EGYPT_221220_21.JPG: Funerary mask Egypt, ca 1539-1190 BCE
92. EGYPT_221220_37.JPG: Statuette of a standing woman dressed in chiton and peplos Rock crystal
93. FINK_221124_05.JPG: Pigeons at Senso-ji
94. FINK_221124_11.JPG: Pigeons at Senso-ji Watanabe Seitei 1877
95. RINPA_221124_05.JPG: Rinpa: Creativity Across Time and Space September 17, 2022 – February 5, 2023 The Japanese painting movement now known as Rinpa was a loose association of artists that began around the dawn of the seventeenth century and continued into the nineteenth century. Their aesthetic came to define an almost stereotypical image of Japanese art consisting of stylized forms in bright colors. We invite you to explore a selection of paintings and ceramics by several generations of Rinpa artists from our collection.
96. RINPA_221124_07.JPG: Wisteria and Other Flowers Fukae Roshu 18th century
97. RINPA_221124_13.JPG: Peonies and Butterfly Sakai Hoitsu early 19th century
98. RINPA_221124_19.JPG: Moon and Autumn Plants Sakai Hoitsu early 19th century
99. RINPA_221124_25.JPG: Pink and White Flowers and Straw Coverings Sakai Hoitsu early 19th century
100. RINPA_221124_27.JPG: Chrysanthemums Inen Seal 1600-30
101. RINPA_221124_44.JPG: Poppies and Butterfly Suzuki Kiitsu early to mid-19th century
102. FINK_220828_001.JPG: The following pictures are from the page 2022_DC_SIFG_Feathered DC -- Freer Gallery of Art -- Exhibit: Feathered Ink (91 photos from 2022)
  Feathered Ink
103. FINK_220828_144.JPG: Feathered Ink
104. RINPA_220828_09.JPG: The following pictures are from the page 2022_DC_SIFG_Rinpa DC -- Freer Gallery of Art -- Exhibit: Rinpa: Creativity Across Time and Space (19 photos from 2022)
  Preparing for the new exhibit (which was overdue).
105. TESSAI_220828_001.JPG: The following pictures are from the page 2022_DC_SIFG_Tessai DC -- Freer Gallery of Art -- Exhibit: Meeting Tessai: Modern Japanese Art from the Cowles Collection (24 photos from 2022)
  Meeting Tessai: Modern Japanese Art from the Cowles Collection
106. ZEN_220313_005.JPG: The following pictures are from the page 2022_DC_SIFG_Zen DC -- Freer Gallery of Art -- Exhibit: Mind Over Matter: Zen in Medieval Japan (74 photos from 2022)
107. ZEN_220313_009.JPG: Zen in Medieval Japan
108. ZEN_220313_014.JPG: The Rise of Zen
109. ZEN_220313_017.JPG: Across Time and Space
110. ZEN_220313_023.JPG: Voices of Zen
111. ZEN_220313_027.JPG: Mind Over Matter
112. ZEN_220313_037.JPG: Colors of Zen
113. ZEN_220313_100.JPG: Against the Tide
114. ZEN_220313_106.JPG: Chan and Zen
115. ZEN_220313_127.JPG: Apex of Expressions in Ink
116. ZEN_220313_160.JPG: Zen for Every Age
117. ZEN_220313_180.JPG: Sesshu
118. ZEN_220313_219.JPG: Painting Mysteries
119. ZEN_220313_221.JPG: The Diversity of Zen Painting
120. ZEN_220313_245.JPG: Collecting Arhats
121. FALCON_220206_004.JPG: The following pictures are from the page 2022_DC_SIFG_Falcons DC -- Freer Gallery of Art -- Exhibit: Falcons: The Art of the Hunt (34 photos from 2022)
122. FALCON_220206_010.JPG: Falcons: The Art of the Hunt
123. HOKUS_210828_038.JPG: A Freer Classic
124. HOKUS_210828_103.JPG: Hokusai Today
125. HOKUS_210821_001.JPG: Hokusai's Brush
126. HOKUS_210821_013.JPG: Rats and Rice Bales Rice bales are traditional emblems of wealth in pictures of the popular god Daikoku, one of the Seven Gods of Good Fortune. Daikoku is not shown, but his association with this symbol of wealth, which he usually protects, may be one of many meanings embedded in this unusual picture. Perhaps it represents the fragility of accumulated wealth or possibly competition for survival among social groups or classes. This image may have expressed such meanings more vividly in the aftermath of the devastating Tenpo famine (1833-36).
127. HOKUS_210821_026.JPG: The Lute and White Snake of Benten (Sarasvati), dated 1847
128. HOKUS_210821_032.JPG: Handscroll with Miscellaneous Images, 1839
129. HOKUS_210821_052.JPG: Traveler beside a Tree, 1847
130. HOKUS_210821_066.JPG: If I Lived to be 110
131. HOKUS_210821_102.JPG: The Final Decade
132. HOKUS_210821_107.JPG: Generous support for the Japanese programs has been provided by Mitsubishi Corporation
133. HOKUS_210821_112.JPG: Fisherman, 1849
134. HOKUS_210821_125.JPG: Woodcutter, 1849
135. HOKUS_210821_134.JPG: Studies of men of different ages
136. HOKUS_210821_141.JPG: Summer sake drinkers
137. HOKUS_210821_142.JPG: Young Crow and Maple Leaves
138. HOKUS_210821_146.JPG: A man with a fan, butterflies, and a bowl of water
139. HOKUS_210821_159.JPG: Rooster
140. HOKUS_210821_166.JPG: Goose flying in front of the moon
141. HOKUS_210821_191.JPG: Fisherman Tossing Bait
142. HOKUS_210821_197.JPG: Forces of Nature
143. HOKUS_210821_201.JPG: Breaking Waves, 1847
144. HOKUS_210730_004.JPG: The following pictures are from the page 2021_DC_SIFG_Hokusai DC -- Freer Gallery of Art -- Exhibit: Hokusai: Mad about Painting (172 photos from 2021)
145. HOKUS_210730_021.JPG: Studying the Sea This sketch shows how Hokusai examined the character of the ocean and tried to convey it in the hanging scroll before you. Posed bravely amid tempestuous waves, a fisherman gazes firmly into the distance, his eyes fixed on the sea and its bounty. Floating above his head is Hokusai's second attempt at rendering the face, this time in a three-quarter view. Hokusai never forgot the ocean is Japan's lifeline and constant companion.
146. HOKUS_210730_030.JPG: Forces of Nature
147. HOKUS_210730_035.JPG: Breaking Waves, 1847 A Great Wave
148. HOKUS_210730_042.JPG: A Great Wave
149. HOKUS_210730_059.JPG: Painting Prints
150. HOKUS_210730_063.JPG: One Hundred Poets, One Poem Each Explained by the Nurse (Hyakunin isshu uba ga etoki), Fujiwara no Asatada
151. HOKUS_210730_070.JPG: Updating the Past
152. HOKUS_210730_074.JPG: One Hundred Poets, One Poem Each Explained by the Nurse (Hyakunin isshu uba ga etoki), Fujiwara no Koretada, mid 1830s
153. HOKUS_210730_083.JPG: One Hundred Poets, One Poem Each Explained by the Nurse (Hyakunin isshu uba ga etoki), Egyō Hōshi, mid-1830s
154. HOKUS_210730_153.JPG: Kiyowara no Fukayabu, number 36 from the series, One Hundred Poets, One Verse Each, as Explained by the Nurse, ca 1834
155. HOKUS_210730_168.JPG: From Beginning to End
156. HOKUS_210730_234.JPG: Portrait of a Courtesan Walking Dressed in brilliantly decorated, billowing robes, a courtesan struts forward, lifting her skirt to expose her lacquered platform shoe (geta). The energetic, mannered contour lines in this painting are characteristic of Hokusai's work during the decade after 1810, when he used the artistic name "Taito," with which he signed this painting. Hokusai's painting style evolved markedly during his long and productive career; this work is significantly different from "Courtesan" (see F1903.129), which he painted about two decades earlier. In the earlier painting, the kimono flows over the woman's body, emphasizing her elongated form, whereas in this image, voluminous layers of kimono form a striking and dominant pattern of color and line.
157. HOKUS_210730_246.JPG: Woman Holding a Tobacco Pipe Above the figure of the girl is a comic ode signed Shoku Sanjin: Uzumi-bi no Shita ni sawarade Yawaraka ni Ii-yoran koto no Hatabako no gana. This is a play upon words signifying the wish that he might in some gentle way make tobacco convey his love.
158. HOKUS_210730_253.JPG: A girl holding a letter behind her back
159. HOKUS_210730_258.JPG: A young woman in rich, elegant attire-thought to be a geisha (entertainer)-is shown from the side, her head in exact profile. Her lifting one toe and leaning back slightly give the suggestion of motion. Perhaps she responds to music playing at a party or simply makes a stylish entrance. Thickly swelling ink lines in a variety of tones describe the outlines and folds of the geisha's costume, visually implying the weight and sheen of the rich silk fabrics. The single most bravura line, done at some speed, snakes around to create the hem of the skirts. All the detailing of the head and face, from the tiny lines for eyebrow, eye, nostril, and lip to the oiled hair that coils around the hairpins, is abbreviated, yet the result is vividly alive. This apparently simple painting reflects Hokusai's mastery of brushwork and his ability to convey movement in his figure paintings.
160. HOKUS_210730_275.JPG: Hokusai or Not?
161. HOKUS_210730_278.JPG: True or False
162. HOKUS_210730_281.JPG: Egret on a Bridge Post
163. HOKUS_210730_293.JPG: Shrimp and fish (seafood)
164. HOKUS_210730_300.JPG: Young Man, ca 1795-98 At first glance, the figure here appears to be a woman, but the hairstyle confirms that this is a handsome young man, known during the Edo period as a wakashu. The surcoat (haori) and bamboo hat (kasa) suggest he is on an outing about town. The composition and the depiction of the figure in full profile, otherwise unusual in Japanese painting, are typical of Hokusai's work during his Sori period. An illustration in the catalogue of the Hokusai exhibition organized in Tokyo in 1900 by American scholar Ernest Fenollosa indicates that to the right of the present paper was once an additional area that contained an inscription by a certain Kitoku. Presumably this section was removed during a later remounting.
165. HOKUS_210730_306.JPG: Crustaceans
166. HOKUS_210730_318.JPG: A Seated Man Looking at Potted Peonies
167. HOKUS_210730_325.JPG: Dragon and Clouds, 1844
168. HOKUS_210730_338.JPG: Hokusai's Books
169. HOKUS_210730_364.JPG: Seated courtesan
170. HOKUS_210730_376.JPG: A Cloth Merchant
171. DEWING_191128_001.JPG: The following pictures are from the page 2019_DC_SIFG_Dewings DC -- Freer Gallery of Art -- Exhibit: Dewing's Poetic World (37 photos from 2019)
172. DEWING_191128_005.JPG: Dewing's Poetic World
173. DEWING_191128_010.JPG: The Carnation, 1893
174. DEWING_191128_019.JPG: The Pearl, ca 1894
175. DEWING_191128_043.JPG: Study of a Head, 1898
176. DEWING_191128_048.JPG: Portrait in Blue, 1898
177. DEWING_191128_059.JPG: The Dewing Type
178. DEWING_191128_062.JPG: La Comedienne, 1906
179. DEWING_191128_068.JPG: Yellow Tulips, 1908
180. DEWING_191128_078.JPG: A Portrait, 1902
181. DEWING_191128_086.JPG: Community in Cornish
182. DEWING_191128_093.JPG: The Garland, ca 1916
183. DEWING_191128_097.JPG: Two Women Kitagawa Utamaro
184. DEWING_191128_103.JPG: Utanosuke of Matsubaya Kitagawa Utamaro
185. DEWING_191128_112.JPG: Girl with Lute, 1904-1905
186. DEWING_191128_125.JPG: The Lute, 1904
187. DEWING_191128_134.JPG: Before Sunrise, 1894-95
188. DEWING_191128_143.JPG: After Sunset, 1892
189. DEWING_191128_155.JPG: Tommy and Stanny
190. DEWING_191128_160.JPG: The Blue Dress, 1892
191. DEWING_191128_168.JPG: Nude figure seated on the ground, ca 1894
192. DEWING_191128_172.JPG: On Top of the World Julia "Dudie" Baird, featured here, was an actress and artist's model in New York City during the Gilded Age. She also posed for the renowned sculptor Augustus Saint-Gaudens for his thirteen-foot-tall statue of Diana, the Roman goddess of the hunt. From 1893 to 1925, that statue topped the original Madison Square Garden, designed by Dewing's friend Stanford White.
193. HOKUS_191128_001.JPG: The following pictures are from the page 2019_DC_SIFG_Hokusai DC -- Freer Gallery of Art -- Exhibit: Hokusai: Mad about Painting (178 photos from 2019)
194. HOKUS_191128_022.JPG: Katsushika Hokusai
195. HOKUS_191128_025.JPG: Youth Ages 1-19 Shunro Ages 20-35
196. HOKUS_191128_031.JPG: Sori Ages 36-38 Hokusai Ages 39-54
197. HOKUS_191128_034.JPG: Taito Ages 55-60 Iitsu Ages 61-70
198. HOKUS_191128_038.JPG: Iitsu Ages 71-74 Manji Ages 75-90
199. HOKUS_191128_044.JPG: Painting Prints
200. HOKUS_191128_048.JPG: Fujiwara no Okikaze ca. mid-1830s
201. HOKUS_191128_051.JPG: Updating the Past
202. HOKUS_191128_054.JPG: Kisen Hoshi ca. mid-1830s
203. HOKUS_191128_064.JPG: Semimaru ca. mid-1830s
204. HOKUS_191128_067.JPG: Yozen-in ca. mid-1830s
205. HOKUS_191128_075.JPG: Fun'ya no Yasyhide ca. mid-1830s
206. HOKUS_191128_086.JPG: Oe no Chisato ca. mid-1830s
207. HOKUS_191128_089.JPG: Ki no Tomonori ca. mid-1830s
208. HOKUS_191128_094.JPG: Ukon ca. mid-1830s
209. HOKUS_191128_099.JPG: Kiyohara no Motosuke ca. mid-1830s
210. HOKUS_191128_104.JPG: Ki no Tsurayuki ca. mid-1830s
211. HOKUS_191128_111.JPG: Fujiwara no Tadahira ca. 1834 From Paper to Wood -- and Gone A colorful image is the final product of the woodblock printing process. The preparatory drawing for this particular print was attached to the wood and then destroyed in cutting the block, a common sacrifice in producing woodblock prints. The Freer Gallery of Art acquired two such prints in 2012, illustrating the museum's continuing commitment to building our Hokusai collection.
212. HOKUS_191128_119.JPG: Forces of Nature
213. HOKUS_191128_123.JPG: Legendary Beings early 19th century
214. HOKUS_191128_134.JPG: Thunder god 1847 In the upper right portion of this painting is the Thunder God, who beats the drums carried on his back during storms. Japanese painters enjoyed depicting this deity among rolling clouds and sparks of lightning. Hokusai's painting reflects his virtuosity in capturing the latent energy of the deity as he hovers among black clouds splattered with ink to express the violence of the storm. A phenomenally prolific artist, Hokusai produced sketches, paintings, prints, and the illustrations for more than two hundred woodblock-printed books during his lifetime. This work, which gives his age as 88 (by Western calculation, 87), displays the skill and energy that he retained even in the last years of his life.
215. HOKUS_191128_153.JPG: From Beginning to End
216. HOKUS_191128_163.JPG: Hokusai's Books
217. HOKUS_191128_166.JPG: Band of Bandits in Print In many ways, this book represents the print version of Hokusai's unfinished handscroll of the same subject, also in this gallery. Notice how the rugged figures and tense atmosphere echo the painting. Hokusai was a sought-after illustrator; publishers vied for his contributions, since his pictures along often turned printed publications into bestsellers. As a result, Hokusai was called upon to produce a significant number of illustrations for literary works.
218. HOKUS_191128_169.JPG: Bestselling Outlaws Illustrated stories of underdogs and well-meaning villains were incredibly popular in the Edo period. Chushingura, the famous story of teh forty-seven ronin (masterless samurai), was blockbuster material. Rendered as plays for kabuki and puppet theaters, Chushingura was a constant presence in early modern popular culture. The vivid coloration in Hokusai's illustrated version of the story by Sakuragawa Jininari (1762-1833) contrasts with the unfinished state of Ehoh Suikoden.
219. HOKUS_191128_171.JPG: Get Your Groove On
220. HOKUS_191128_206.JPG: Manga Doodles The word manga means "doodles" or "idle jottings." This series of books carries the name of a major genre of Japanese contemporary culture. Many books by Hokusai share the nature of today's manga as social commentaries. Hokusai manga, however, were above all introduced to show off the breadth of his artistic skill.
221. HOKUS_191128_223.JPG: Crazy About Sketching Achieving such exceptional skill at drawing and painting figures resulted from Hokusai's voracious appetite for sketching anything and everything. Hundreds of sketches by his hand reveal his painting process. This sketch of a courtesan, for example, could have been the model for a similar painting on the facing wall.
222. HOKUS_191128_235.JPG: Courtesan ca. 1796-98 The woman portrayed in this early painting by Hokusai holds the edge of her garment in her mouth, a gesture that signifies passion, perhaps inspired by the love letter she clutches in her right hand. Her sinuous pose, curved like a reversed "S", is highly stylized and closely resembles the pose portrayed in The Princess from the Land of Porcelain, painted by James McNeill Whistler (1834-1903) and exhibited in the Freer gallery's Peacock Room. Whistler's work reflects many ideas from his observation of Japanese art. Both Whistler's Princess and this painting by Hokusai were purchased in 1903 by Charles Lang Freer, who is likely to have recognized the similar pose in the Japanese work. Hokusai, a prolific painter and designer of woodblock prints and printed books, enjoyed extraordinary popularity in Japan during his later years. His work became well-known to European and American collectors and artists during the second half of the nineteenth century.
223. HOKUS_191128_243.JPG: Woman Holding a Fan ca 1810-11
224. HOKUS_191128_253.JPG: Landscape ca. 1801-1802
225. HOKUS_191128_260.JPG: Pumpkin Vine and Horsefly ca 1825-33 Hokusai painted this small work after he reached the age of sixty. Its composition, brushwork, and color demonstrate perfect technical control. The inclusion of a flying insect resembles the formula that Hokusai adopted in his "Large Flowers" print series in the 1830s. This painting was among the first group of Hokusai works purchased by Charles Lang Freer in 1898. Freer had already developed a taste for the simple compositions and pleasing colors of paintings by artists such as Ogata Korin (1658-1716), who introduced a style of painting from Kyoto to Edo in the early eighteenth century.
226. HOKUS_191128_264.JPG: Clam Gatherers on the Shore After Katsushika Hokusai 19th century
227. HOKUS_191128_275.JPG: True or False
228. HOKUS_191128_281.JPG: Band of Bandits
229. HOKUS_191128_305.JPG: Pounding Rice for Moochi Inscription: Momomoto Hinamaro ca 1822
230. HOKUS_191128_311.JPG: Two Entertainers Strolling on the New Year ca 1798-1801
231. HOKUS_191128_319.JPG: Blossoming Plum Branches after 1796
232. HOKUS_191128_328.JPG: Various Scenes
233. HOKUS_191128_402.JPG: A Freer Classic
234. HOKUS_191128_425.JPG: Hokusai Today
235. HOKUS_191128_434.JPG: Autumn at Asakusa Viewing Cherry Blossoms at Ueno Park Hishikawa Moronobu 17th century
236. HOKUS_191128_444.JPG: Before Hokusai
237. HOKUS_191128_447.JPG: Autumn at Asakusa Viewing Cherry Blossoms at Ueno Park Hishikawa Moronobu 17th century
238. HOKUS_191128_465.JPG: The Final Decade
239. HOKUS_191128_469.JPG: River Landscape: Ferry Boat and Mount Fuji 1842 Hokusai was eighty-three years old when he painted this landscape of Mount Fuji, which was an prominent subject of his prints and paintings in his later years. The composition follows a formula derived from Chinese landscape painting in which distant elements are placed higher in the composition. Here, Mount Fuji is at the highest, most distant point, but the focal scene of human activity -- a boat loaded with passengers and cargo sweeping across the water -- is in the foreground. This work displays many characteristics of Hokusai's original style of landscape painting: a distinctive color palette of yellows, blues, and greens; expert control of composition, line, and thin application of ink and color; and the use of dots of various tonalities to depict landforms and trees.
240. HOKUS_191128_477.JPG: Boy Viewing Mount Fuji 1839
241. HOKUS_191128_482.JPG: Zhong Kiu (Shoki) Killing a Demon Attributed to Katsushika Hokusai dated 1842
242. HOKUS_191128_510.JPG: Ascending Dragon Descending Dragon 1845
243. HOKUS_191128_525.JPG: Celebrated architect Frank Lloyd Wright once owned this set of three books, reflecting his interest in Hokusai and ukiyo-e prints. Initially produced between 1834 and around 1849, the set includes Hokusai's take on a hundred views of Mount Fuji, Japan's sacred peak. The final pages of the third volume contain the artist's personal declaration that he began sketching at the age of six and hoped to live to 110 in order to achieve true mastery in painting.
244. HOKUS_191128_536.JPG: If I Lived to be 110
245. WHISWC_190626_001.JPG: The following pictures are from the page 2019_DC_SIFG_Whistler_WC DC -- Freer Gallery of Art -- Exhibit: Whistler in Watercolor (94 photos from 2019)
246. WHISWC_190626_005.JPG: A New Beginning
247. WHISWC_190626_014.JPG: St. Ives
248. WHISWC_190626_033.JPG: Paper Surfaces
249. WHISWC_190626_049.JPG: Southend
250. WHISWC_190626_068.JPG: Domestic Interiors
251. WHISWC_190626_098.JPG: Honeymoon in France
252. WHISWC_190626_103.JPG: Freer's First Watercolor
253. WHISWC_190626_108.JPG: Venice Sojourn
254. WHISWC_190626_128.JPG: Bridges
255. WHISWC_190626_137.JPG: Rhineland Sketches
256. WHISWC_190626_141.JPG: Early Works
257. WHISWC_190626_172.JPG: In the News
258. WHISWC_190626_177.JPG: Hidden Behind the Painting
259. WHISWC_190626_181.JPG: In the Studio
260. WHISWC_190626_212.JPG: Visualizing Night
261. WHISWC_190626_231.JPG: The Peacock Room
262. WHISWC_190626_250.JPG: Street Scenes
263. WHISWC_190626_259.JPG: Experimentation
264. WHISWC_190626_272.JPG: Choppy Channel
265. WHISWC_190626_281.JPG: Changes
266. WHISWC_190626_294.JPG: Shopfronts
267. WHISWC_190626_331.JPG: Whistler in Watercolor
268. WHISWC_190626_335.JPG: Whister in Watercolor
269. SIFGSW_180620_001.JPG: The following pictures are from the page 2018_DC_SIFG_Spreading DC -- Freer Gallery of Art -- Exhibit: Spreading the Word: Buddhist Art in Japan (28 photos from 2018)
  Buddhist Art in Japan Spreading the Word For centuries after the Historical Buddha's death, his followers continued to share his teachings, the dharma. Crossing land and sea, disciples, monks, and pilgrims carried the dharma from its origins in India across Asia. Even before the teachings were in written form, the talks and sermons of these charismatic messengers planted the seeds of Buddhism in distant cultures. Over a thousand years later, in the sixth century, monks from Korea and China brought the dharma to Japan. This exhibition highlights a few of the devout Buddhists who were revered for their roles as teachers, scholars, and patrons of Buddhism in Japan. Among them is a prince who was later worshiped as an incarnation of a bodhisattva. These religious leaders also include priests who journeyed vast distances to seek great teachers, to introduce Buddhist schools from China, and to express spiritual ideas through scholarship, calligraphy, and painting. Their movement across borders created particular synergy between Chinese and Japanese literature, art, architecture, and tea drinking, a practice that began in Zen monasteries to aid meditation.
270. SIFGSW_180620_008.JPG: Zen Buddhist Comes to Japan
271. SIFGSW_180620_016.JPG: Bokuseki: Calligraphy by Zen Masters
272. SIFGSW_180620_022.JPG: Obaku Zen Comes to Japan
273. SIFGSW_180620_030.JPG: China's Imagined Wilds
274. SIFGSW_180620_048.JPG: Personal Practices of Buddhist Priests
275. SIFGSW_180620_097.JPG: A Human Bodhisattva
276. SIFGSW_180620_111.JPG: Personal Practices of Buddhist Priests
277. SIFGLP_180613_001.JPG: The following pictures are from the page 2018_DC_SIFG_Screens DC -- Freer Gallery of Art -- Exhibit: For Love of Place: Japanese Screens (23 photos from 2018)
  For Love of Place
278. SIFGLP_180613_011.JPG: Blossoming Plum and Camellia in a Garden Kano Koi, d 1636
279. SIFGLP_180613_020.JPG: Someone Else's Garden
280. SIFGLP_180613_030.JPG: Mount Fuji and Matsubara Point Kano Tan yu, 1669
281. SIFGLP_180613_035.JPG: Ink Snow
282. SIFGLP_180613_062.JPG: Cryptomeria and Cedar in Snow Japan
283. SIFGLP_180613_069.JPG: Grandeur at Human Scale
284. SIFGLP_180613_087.JPG: Pine Tree, Autumn Foliage, and Flowers in Snow Bamboo and Plum Blossoms in Early Spring Japan, 17th century
285. SIFGLP_180613_090.JPG: Resilient Friendship
286. SIFGFI_141105_001.JPG: The following pictures are from the page 2014_DC_SIFG_Fine DC -- Freer Gallery of Art -- Exhibit: Fine Impressions: Whistler, Freer, and Venice (35 photos from 2014)
287. SIFGFI_141105_009.JPG: Fine Impressions: Whistler, Freer, and Venice On a November day in 1887, museum founder Charles Lang Freer (1854–1919) walked into a New York City art gallery and purchased the entire Second Venice Set, a suite of twenty-six etchings by the American expatriate artist James McNeill Whistler (1834–1903). Freer, an industrialist from Detroit, Michigan, had amassed a fortune manufacturing railroad cars. A burgeoning aesthete, he had been collecting prints by contemporary European artists for several years, but works by Whistler were not among his earliest acquisitions. Despite the artist's rising reputation among American collectors, Freer was not impressed. "Why anyone in the world should make any fuss over Whistler as an artist" was beyond him. Freer's feelings changed suddenly when he was invited to the apartment of Howard Mansfield, a fellow collector, to inspect some especially "fine impressions" of Whistler's etchings. Mansfield recalled Freer was "comfortably seated, with a large cigar, which he never lighted," but as one portfolio after another of Whistler's work was brought out, Freer leaped from his chair and paced around the room "uttering large adjectives." "My purchasing began the day thereafter," Freer later confided, "and has continued ever since whenever opportunity has offered." When Freer "discovered" the Venice etchings, he had never traveled to Italy. The sites and subjects of the prints were of little significance to him. Instead, he was enthralled by Whistler's originality: the technical mastery and innovations of form that evoked light, atmosphere, texture, and color in the linear, monochromatic medium of printmaking. Hoping to purchase new works directly from the artist, Freer paid an unannounced call on Whistler during a business trip to London in 1890. Over the next thirteen years, the two men developed a close friendship, and Whistler helped Freer amass what the artist called "a fine collection of Whistlers -- perhaps the collection." Ultimately, that "fine collection of Whistlers" became part of a larger, cross-cultural collection of Asian and American art that Freer bequeathed to the Smithsonian in 1906.
288. SIFGFI_141105_029.JPG: Whistler's Venice When Freer purchased the Second Venice Set from the art dealer M. Knoedler and Company in 1887, the prints were among the most up-to-date examples of Whistler's work on the market. Venice was a timeworn artistic subject, but Whistler's approach was fresh and original. Claiming to have "learned to know a Venice in Venice that the others never seem to have perceived," Whistler tended to avoid notable landmarks and familiar topographical views. Instead, he sought out back canals, obscure buildings, and shadowy doorways, often depicting them in the shimmering light of early dawn or the gathering darkness of night. Whistler's first and only visit to Venice commenced in the fall of 1879, when his professional and personal fortunes were at their lowest ebb. Hoping to recover from financial troubles -- the result of a falling-out with his patron Frederick Leyland over the Peacock Room and a disastrous lawsuit against the art critic John Ruskin -- Whistler accepted a commission from a London art gallery to produce twelve etchings of Venetian scenes over the course of three months. Captivated by the city's loveliness and obsessed with the technical details of his craft, Whistler remained in Venice for more than a year. He returned to London with a hundred pastels and a handful of oil paintings. The fifty etchings he produced, Whistler declared, "are far more beautiful in subject and more important in interest than any" he had yet created.
289. SIFGFI_141105_057.JPG: Making the Venice Etchings Although Whistler had achieved his earliest critical success as an etcher, it was only during his time in Venice that he developed a truly experimental approach that enabled him to create aesthetic effects comparable to the painted Nocturnes of the 1870s. Utilizing a radically attenuated, skeletal line, he enveloped selected areas of the composition in films of plate tone, using ink left on the etching plate to suggest color, light, and atmosphere. He discovered his subjects while strolling on foot or floating in a gondola, and he drew the initial composition onto the plate seated before his chosen motif. Later, he refined and varied each image, sometimes returning months or even years later to make subtle linear changes that resulted in a new "state." Whistler often combined the distinct processes of etching and drypoint on a single copper plate. For etching, he covered the plate with a waxy black coating, or ground, and drew on it with sharpened dentist tools. Generally, the plate is then placed in an acid bath that "bites" into the copper where the ground has been removed. Whistler, however, poured the acid directly from a bottle onto his design. He used a feather to move the acid over the plate, "coaxing" out the lines and achieving different degrees of depth and tonal variations within a single line. Then, he cleaned off the ground and often added drypoint by drawing directly on the copper plate. Drypoint creates a velvety fragile line that Whistler frequently used to add details or texture in darkly shadowed areas. He then inked the cleaned plate and selectively wiped it to vary the amount of plate tone. Dampened paper was placed on the plate and run through a printing press, producing a mirror image of the composition. Consequently, Whistler's views, drawn on site, appear in reverse when printed. Unlike many graphic artists, Whistler undertook every aspect of the printing process himself. After printing, he trimmed the paper to the plate line, leaving a tiny tab that he inscribed with his signature butterfly and imp to indicate he had printed the work. These qualities enthralled Freer in 1887, but when Whistler first exhibited these prints seven years earlier, one critic characterized them as "another crop of Mr. Whistler's little jokes."
290. SIFGFI_141105_061.JPG: A Crane Style of Ogata Kōrin Edo period, 19th century Japan Ink and color on paper F1887.1 Nearly from the beginning of his career as a connoisseur-collector, Freer cultivated the habit of cross-cultural comparison and juxtapositions. These objects are among the earliest Japanese works to enter Freer's collection. He purchased the fan from a New York dealer in the winter of 1887. Later that same year he acquired the Second Venice Set of prints by Whistler. In 1892 he bought his first Asian ceramics, including this Satsuma ware bottle. Freer said its underglaze design reminded him of a "Whistlerian landscape." The decoration's spare composition, textured surface, and delicate linearity echo similar formal qualities in Whistler's prints.
291. SIFGFI_141105_070.JPG: Fine Impressions: Whistler, Freer, and Venice
292. SIFGFI_141105_092.JPG: Marketing the Venice Etchings Whistler first presented his Venetian subjects in a series of highly theatrical solo exhibitions staged in London between 1880 and 1883. The most influential was Arrangement in White and Yellow, which opened at the Fine Arts Society in the winter of 1883 and subsequently traveled to six cities in the United States, including New York and Detroit, Freer's hometown. It featured fifty-one recent etchings displayed in an artist-designed setting that was as noteworthy and original as the works on display. The prints were enclosed in plain white frames and hung against white felt walls accented with stenciled citron-yellow designs of lines and butterflies. Yellow draperies and furnishings and choice bits of Asian pottery carried the theme into ambient space. Whistler even devised a yellow and white uniform for a roving gallery attendant, who sold the specially designed brown-covered catalogue. When the show travelled to the United States the following fall, the American press heralded it as "startlingly novel" and "the most important exhibition of [Whistler's] work yet seen." Freer's future colleague Howard Mansfield was among the most enthusiastic visitors to the exhibition. By the time he met Freer three years later, Mansfield owned more than three hundred works on paper by Whistler. In 1886 the London firm of Dowdeswell and Dowdeswell contracted with Whistler to publish A Set of Twenty-Six Etchings, a selection of Venice subjects culled from Arrangement in White and Yellow. Buoyed by the favorable reception of his work, Whistler and his publishers energetically marketed the Second Venice Set to dealers and collectors in the United States.
293. SIFGBW_140512_002.JPG: The following pictures are from the page 2014_DC_SIFG_BW DC -- Freer Gallery of Art -- Exhibit: Bountiful Waters (26 photos from 2014)
294. SIFGBW_140512_020.JPG: The "Large Fish" Prints by Utagawa Hiroshige At the peak of his artist career, Utagawa Hiroshige (1797-1858) designed two groups of prints in the full-sheen oban format depicting a wide variety of fishes and crustaceans. In all but two images, in which fish are swimming in water, Hiroshige presented the fish and crustaceans as still-life images accompanied by seasonal plants. Original verses composed for these prints by prominent contemporary poets accompany each image. Both the images and the poems contain references to the seasonal abundance of aquatic delicacies in Japanese cuisine. The inspiration for producing these large-scale, full-color designs is likely to have been two full-color woodblock printed books exhibited in the case at the center of this room. Although untitled, Hiroshige's twenty designs are known collectively as the "Large Fish" prints. They were published in two series -- in 1832-34 by Nishimuraya Yohachi (Eijudo) and in 1840-42 by Yamada Shojiro (Yamasho). The earlier group of designs was privately commissioned as a luxury limited edition, probably by a poetry circle, and mounted as an album. When commercial printings were released to the market, the popularity of the "Large Fish" prints created a huge demand that was met by reprintings, often with slight variations, and, in the Meiji period, by copies printed from new blocks.
295. SIFGBW_140512_024.JPG: Printing block for Hirame and Mebaru Utagawa Hiroshige, ca 1840-42
296. SIFGBW_140512_073.JPG: Aquatic Life in Japanese Art of the Late Edo Period Natural life became an important subject of Japanese woodblock prints during the eighteenth century, when realistic renderings of plants, birds, animals, and aquatic life from European and Chinese sources were introduced to Japan through limited trade restricted to the port of Nagasaki. Japanese artists relied on circulating books and hand copies to study detailed nature drawing. Their work reflects different degrees of knowledge of the actual animals, but a few artists may have studied actual specimens. Shown in this room are full-color printed books illustrating varieties of fishes, published in 1778 and 1802 respectively. In the 1830s, colorful single-sheet woodblock prints depicting nature subjects gained wide-spread popularity in urban Japan. Landscape series such as Katsushika Hokusai's Thirty-six Views of Mount Fuji and Utagawa Hiroshige's Fifty-three Stations along the Tokaido revitalized public demand for prints of new subjects. During the same period, both Hiroshige and Hokusai also created striking, close-up images of birds, flowers, and other natural subjects. Their designs fueled a boom in commercial publication of nature prints, which was supported by many other artists. Featured in this gallery are a full set of twenty prints of fish with accompanying poems by Hiroshige and other works by Hokusai and his followers. They illustrate not only the importance of aquatic life among the Japanese, but also their appreciation of the beauty in glistening fishes brought forth from their bountiful waters.
297. SIFGBW_140512_087.JPG: Bountiful Waters: Aquatic Life in Japanese Art: The Japanese islands form a long archipelago whose climate ranges from subarctic to subtropical, a diverse environment hospitable to a wide variety of plant and animal life. According to ancient legend, a male and female god descended from heaven and gave birth to the islands and the deities (kami) of the mountains, rivers, and trees. Seasonal plants and wildlife in the mountains and plains provided humans with sustenance, plentiful rainfall ensured an abundant harvest from the land and waters as well. Numerous types of fishes and crustaceans flourish in the surrounding seas and in freshwater rivers, streams, lakes, and ponds. Modern archaeologists have excavated prehistoric fishhooks and harpoon heads made of bone and antler horn from coastal shell mounds. These indicate a detailed knowledge of the varieties and habits of area fishes and shellfish and methods for their capture. In modern times, aquatic plants and animals remain staples of Japanese diet and cuisine. Distinctive preparation methods highlight the freshness and beauty of seasonal fishes. Sliced uncooked fish glistens as sashimi and sushi; the unique taste of each is highlighted by simple salt-broiling and braising. This exhibition gathers together for the first time paintings, woodblock prints, illustrated books, and ceramics depicting aquatic life in the collection of the Freer Gallery of Art. Most of these works were gifts from museum founder Charles Lang Freer (1854-1919) and other generous donors. Highlights include the first showing and the full series of twenty woodblock prints of fishes and crustaceans by Hiroshige in the next room and other works donated by John Fuegi and Jo Francis over a period of nearly twenty years.
298. SIFGBW_140512_094.JPG: Dish in the form of Mount Fuji Edo period, 1790-1868
299. SIFGSY_130615_001.JPG: The following pictures are from the page 2013_DC_SIFG_Sylvan DC -- Freer Gallery of Art -- Exhibit: Sylvan Sounds: Freer, Dewing, and Japan (15 photos from 2013)
  Sylvan Sounds: Freer, Dewing, and Japan "For those who have the power to see beauty, all works of art go together, whatever their period." - -- Charles Lang Freer Charles Lang Freer, the founder of this museum, believed fundamental aesthetic connections exist between the art of different cultures and historical epochs. His collection of Asian antiquities and American art of the Aesthetic movement reflects a cosmopolitan ideal based on cross-cultural interchange and formal affinities in color, texture, and mood. When Freer embarked on his first trip to Asia in 1894, he already owned a significant collection of Japanese ceramics and woodblock prints, many of which complemented the landscape paintings by Dwight Tryon and Thomas Dewing that decorated his home in Detroit. Following his return from Japan the next year, Freer began to expand his collection of Japanese art to include painted screens and hanging scrolls that relate to his preference for the work of Whistler and Dewing. A leading artist of the day, Dewing was known for his subtly toned, enigmatic paintings of women in sparsely appointed interiors or in atmospheric landscapes. He enjoyed a close relationship with Freer, advising the collector on interior decoration, gardening, and acquisitions of Asian art. Freer acquired many of these works from 1896 to 1900, when he connection with Dewing and Japan was strongest.
300. SIFGSY_130615_007.JPG: After Sunset, 1892 Thomas Dewing
301. SIFGSY_130615_023.JPG: Before Sunrise, 1894-95 Thomas Dewing
302. SIFGSY_130615_035.JPG: Lion Dance of the New Year Kitagawa Utamaro
303. SIFGSY_130615_041.JPG: Beauties of the Seven Autumn Grasses Kitagawa Utamaro
304. SIFGSY_130615_052.JPG: The Lute. 1904 Thomas Dewing
305. SIFGSY_130615_061.JPG: Landscape: Three Young Women at the Matsuchiyama Attributed to Torii Kiyonaga
306. SIFGSY_130615_072.JPG: Young Woman with a Cage of Fireflies Standing on a Verandah in a Moonlit Garden, ca 1770 Shiba Kokan
307. SIFGSY_130615_081.JPG: The Four Sylvan Sound, 1896-97 Thomas Dewing
308. SIFGWN_130217_001.JPG: The following pictures are from the page 2013_DC_SIFG_Neighborhood DC -- Freer Gallery of Art -- Exhibit: Whistler's Neighborhood: Impressions of a Changing London (17 photos from 2013)
  Whistler's Neighborhood: Impressions of a Changing London Nowhere in England could you find better material for pictures than in Chelsea... but it was then practically owned by James McNeill Whistler. There were his little shops, his rag shops, his green-grocer shops, and his sweet shops; in fact, so nearly was it all his, that after a time he sternly forbade other painters to work there at all. James McNeill Whistler (1834–1903) lived in London's Chelsea neighborhood from 1863 until his death. Bordering the River Thames, Chelsea was home to artists, aristocrats, tradesmen, and paupers. Whistler depicted the storefronts and street life outside his door and captured a section of the city that was undergoing a dramatic transformation in the 1880s. Historic buildings were razed and replaced with mansions for the upper class, forcing the poor into squalid conditions. The Thames Embankment, a major public works project designed to improve river navigation and provide underground sewers, changed the topography of Chelsea by claiming much of the riverbank for public gardens and new residential buildings. The diminutive etchings in Whistler's Neighborhood: Impressions of a Changing London, which also features watercolors and small oil paintings, underscore the immediacy of the artist's quick impressions of his evolving neighborhood. Together, the works form a panorama of Chelsea in the 1880s. The above was from http://www.asia.si.edu/explore/american/whistlers-neighborhood/intro.asp
309. SIFGAG_040109_23.JPG: The following pictures are from the page 2004_DC_SIFG_Avant DC -- Freer Gallery of Art -- Exhibit: Mr. Whistler's Galleries: Avant-Garde in Victorian London (6 photos from 2004)
  Portrait of Whistler With a Hat (1857-58) by James Whistler, oil on canvas Whistler's prints were often compared favorably to those of Rembrandt van Rijn. Here, wearing a large beret, the young Whistler identifies himself with known images of Rembrandt. In this early self-portrait, painted using the dark palette and rich impasto characteristic of the Dutch master's work, Whistler exhibits the strategic role-playing that he used to draw attention to himself and his art throughout his career.
310. SIFGAG_040109_29.JPG: Mr Whistler's Galleries: Avant-Garde in Victorian London "Now my rooms are pictures in themselves." -- James McNeill Whistler James McNeill Whistler (1834-1903) is most often remembered as a painter and printmaker but he was also an important designer of both private and public interiors. "Harmony in Blue and Gold: The Peacock Room" (1876-77) is Whistler's best-known interior. Originally designed as the dining room in the London home of a wealthy shipping magnate, it is now permanently installed in this museum. But few of Whistler's contemporaries would have had access to "The Peacock Room" or any of his other private interiors. Whistler's designs for temporary public exhibitions, on the other hand, were both accessible and influential. When Whistler arrived in Paris to study art in 1855, public and private art installations were usually hung "salon style." Paintings were displayed close together, frame to frame, wall to wall, and floor to ceiling. Beginning in the 1870's, Whistler organized a series of innovative and provocative installations that presented his own work as he wished it to be seen. Drawing public attention to his art, these installations also promoted his ideas about interior decoration, playing a crucial role in the transformation of exhibition practice. Many elements of Whistler's installations are now commonplace, including his use of indirect lighting, color-coordinated walls, uniform framing, elegant spacing, special seating, and neutral floor coverings. While Whistler did not invent any of these features, his ability to asestheticize them was unequalled. His highly publicized installations challenged contemporary exhibition practice, hastening the decline of the salon-style hang and paving the way for the sparer installations found in most galleries and museums today. In the early 1880's, Whistler began to title his installations, suggesting that he had come to think of them as independent works of art. The first two installations to be given titles were the "Arrangements in White and Yellow," created for an exhibition of etchings in 1883, and the "Arrangement in Flesh Colour and Grey," designed for an exhibition of oil paintings, watercolors, and pastels in 1884. "Mr . Whistler's Galleries" highlights Whistler's contribution to this history of exhibition design by displaying new versions of those groundbreaking installations.
311. SIFGAG_040109_38.JPG: Scherzo in blue -- The Blue Girl One of the most perplexing decisions we had to make in creating our version of Whister's "Arrange in Flesh Colour and Grey" concerned "Scherzo in blue -- The Blue Girl," which was the only large painting included in the 1884 exhibition. Period reviews suggest that "The Blue Girl" was hung in the most prominent location in the gallery, in the middle of the back wall, facing the entrance. Whistler's correspondence suggests that he intended to juxtapose the large painting with the sixty-six small paintings, drawings, pastels -- stars of different magnitudes, grouped around a blue moon -- a lifesize full-length portrait, called by the artist "Scherzo in blue -- The Blue Girl." Many reviewers complained about Whistler's treatment of the model's face, and Whistler eventually destroyed the painting, although his first biographers published a photo of it in 1911. Faced with a choice between including no large portrait and the "wrong" large portrait, we decided to make Whistler's "Arrangement in White and Black" the focal point of our installation. "Arrangement in White and Black" was completed a few years before "The Blue Girl." The model is a few years older than the model in the destroyed painting and the color is very different, but it is a life-sized image of similarly assertive young woman. By substituting "Arrangement in White and Black" for the destroyed painting, we were able to recreate the play of scale that was integral to Whistler's conception of the 1884 installation.
Multi Column: Number of columns of thumbnails to appear per page (normally defaults to 3): [1 col] [2] [3] [4] [5] [6] [7] [8] [9] [10]
AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
Same Subject: Click on this link to see coverage of items having the same subject: [(Smithsonian) Freer Gallery of Art] [Display ALL (Smithsonian) Freer Gallery of Art photos] [Museums (Art)]
Connection Not Secure messages? Those warnings you get from your browser about this site not having secure connections worry some people. This means this site does not have SSL installed (the link is http:, not https:). That's bad if you're entering credit card numbers, passwords, or other personal information. But this site doesn't collect any personal information so SSL is not necessary. Life's good!
Limiting Text: You can turn off all of this text by clicking this link: [Thumbnails Only]
Photo Contact: [Email Bruce Guthrie].