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

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

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

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIFG_170101_01.JPG: These telecommunications rigs have been showing up all over the Mall over the last couple of months -- American History, Air and Space, the Capitol, here, etc -- in preparation of the Trump inauguration. They expected a lot more people to show up than actually came and most of them weren't in the correct places for the bigger women's march the next day.
2. SIFG_171011_028.JPG: The redesigned signage has the regular sign but some items have an additional red sign which documents how the piece related to Freer.
3. SIFG_171011_031.JPG: Breakfast in the Loggia John Singer Sargent
4. SIFG_171011_043.JPG: This Dear Mountain
5. SIFG_171011_046.JPG: Pictures for a Museum
6. SIFG_171011_050.JPG: Modern Women
7. SIFG_171011_061.JPG: A Perfect Harmony
8. SIFG_171011_066.JPG: Dirty Pictures
9. SIFG_171011_074.JPG: Nocturne: Trafalgar Square, Chelsea -- Snow James MacNeill Whister
10. SIFG_171011_078.JPG: Dreams of Beauty
11. SIFG_171011_081.JPG: The Piano Thomas Dewing (American, 1851–1938) United States, 1891 Oil on wood panel H x W: 50.8 x 67.5 cm Gift of Charles Lang Freer, F1906.66 Originally titled The Musician, this painting is the first of several works by Dewing that suggest a connection among music, reverie, and aesthetic attention. It depicts the model Minnie Clark seated before a piano in an otherwise empty room. Her brunette hair, black dress, and massive dark piano contrast sharply with the opalescent green of the interior. Thinly painted areas in various tones of green balance the visual weight of the piano and the female figure on the right. The skewed perspective is tilted in the manner of the Japanese prints that Dewing admired and collected. As a result, the illusionistic rendering of space is attenuated, reduced to a flickering violet shadow at the right and a few saturated strokes of greenish blue pigment at the lower left. Both of these passages suggest where the floor and wall meet, but they also function as chromatically significant surface details. Such emphasis on a decorative rendering of space recalls the atmospheric style of James McNeill Whistler, to whom Dewing's paintings and pastels were often compared by contemporary critics and collectors.
12. SIFG_171011_089.JPG: Points of Contact
13. SIFG_171011_093.JPG: Nocturne in Blue and Gold: Valparaiso James McNeill Whistler
14. SIFG_171011_101.JPG: Nocturne: Blue and Silver -- Battersea Reach James McNeill Whistler
15. SIFG_171011_107.JPG: Rediscovering Korea's Past: Korean Ceramics October 14, 2017 – Indefinitely Today we admire the translucent gray-green celadon glaze on Korean ceramics of the Goryeo period as one of the great achievements of world potters. It is startling to realize that once this ware was all but forgotten. In Korea a millennium ago tastes changed. Other styles of ceramics replaced celadon in temples, palaces, and homes of the elite. In the late nineteenth century, long-respected tombs of royal figures and nobility from the Goryeo period (935–1392) became vulnerable to looting. Celadon and other cherished possessions of the deceased, preserved as burial offerings, were plundered and sold in the antiquities market. American doctor and diplomat Horace Newton Allen witnessed this rediscovery while he lived in Seoul from 1884 to 1905, and he formed his own sizeable collection of celadon, it seems, from objects on the open market. Charles Lang Freer purchased Allen's collection in 1907. This large acquisition sparked Freer's deep interest in this distinguished Korean ware. In turn, Allen, Freer, and other early collectors inspired generations of scholars to clarify the styles and dating of Goryeo celadon. Archaeologists have now identified and excavated the kiln complexes at Gangjin and Buan, which produced the finest celadon wares during the Goryeo dynasty.
16. SIFG_171011_111.JPG: Shades of Green
17. SIFG_171011_114.JPG: Missionary, Doctor, Diplomat, Collector
18. SIFG_171011_118.JPG: Setting the Bar: Arts of the Song Dynasty October 14, 2017 – Indefinitely China's Song dynasty established many prototypes in government, society, and the arts. A system of schools and examinations for entering public office led to an efficient, centralized government headed by the emperor but staffed by well-educated commoners. Emerging as a class of scholar-officials, who were both artists themselves and consumers of art, these men looked to ancient tradition as a source for moral principle and creative inspiration. At the same time, a spirit of inquiry and close examination of nature led to advances in art and science. Widespread gains in literacy and disposable income also stimulated growth in the arts. Elegance and refinement in form, line, and color characterize the visual arts of China during the Song dynasty. As new technology enhanced ceramic production and the number of kilns rose, fresh approaches to decoration developed. The rise of ink painting paralleled a taste for monochrome ceramic glazes. A multitude of other painting styles and techniques emerged as well, with a strong preference for realistic detail, modulated colors, and individualized faces and postures.
19. SIFG_171011_126.JPG: Not Cracked, but Crackled
20. SIFG_171011_128.JPG: Art of Song Ceramics
21. SIFG_171011_132.JPG: The Art of Drinking
22. SIFG_171011_138.JPG: Ceramics: A Few Key Terms
23. SIFG_171011_147.JPG: Freer | Sackler Where Asia Meets America
24. SIFG_171011_154.JPG: In the Shadow of an Apocalypse
25. SIFG_171011_166.JPG: What's Inside?
26. SIFG_171011_173.JPG: Lust as Weapon
27. SIFG_171011_175.JPG: Lord of Burning Desire
28. SIFG_171011_177.JPG: Bits and Pieces Come to Life
29. SIFG_171011_191.JPG: The Beginnings of Buddhism in Japan The two objects in this exhibition exemplify the birth of Buddhism in Japan. In 552, the Korean kingdom of Baekje sent the Japanese court sacred texts (sutras) and a gilt bronze sculpture, thought to be similar to the one on view. The Japanese, whose native gods did not have visible forms, were impressed by images of Buddhist deities and stories of their powers, as related in the sutras. Early adopters of Buddhism at court built temples and sponsored ceremonies, lectures, and the copying of sutras. In the mid-eighth century, Emperor Shōmu mandated a nationwide system of official temples. He also commissioned a more than fifty-foot-tall gilt bronze sculpture of the cosmic buddha for the Tōdaiji temple in Nara, the imperial capital. The sutra segment in this exhibition is traditionally called Ōjōmu (Great Shōmu) in the emperor's honor.
30. SIFG_171011_201.JPG: A Sacred Masterwork
31. SIFG_171011_210.JPG: The Infant Buddha
32. SIFG_171011_219.JPG: A Knife Carved from a Meteor
33. SIFG_171019_071.JPG: A Unique Discovery
34. SIFG_171019_075.JPG: Art and Industry: China's Houma Foundry
35. SIFG_171019_078.JPG: Unlocking Secrets
36. SIFG_171019_100.JPG: Powerful Patrons
37. SIFG_171019_115.JPG: Fit for a King
38. SIFG_171019_132.JPG: Many Hands, One Goal
39. SIFG_171019_146.JPG: Magic Mountains
40. SIFG_171019_165.JPG: Afterlife: Ancient Chinese Jades
41. SIFG_171019_174.JPG: Status Symbols
42. SIFG_171019_195.JPG: Stone Age Metropolis
43. SIFG_171019_203.JPG: Like Slicing a Loaf of Bread
44. SIFG_171019_211.JPG: Fairest of Stones
45. SIFG_171019_219.JPG: Viceroy Duanfang
46. SIFG_171019_224.JPG: Ahead of His Time
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- 2016_DC_SIFG: DC -- Freer Gallery of Art -- Not Covered Elsewhere (6 photos from 2016)
- 2013_DC_SIFG: DC -- Freer Gallery of Art -- Not Covered Elsewhere (21 photos from 2013)
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- 2006_DC_SIFG: DC -- Freer Gallery of Art -- Not Covered Elsewhere (37 photos from 2006)
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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)]
2017 photos: Overnight trips this year: Civil War Trust conferences in Pensacola, FL, Chattanooga, TN (via sites in Alabama, Louisiana, Mississippi, and Tennessee) and Fredericksburg, VA, a family reunion in The Dells, Wisconsin (via sites in Ohio, Indiana, and Wisconsin), New York City, and my 12th consecutive San Diego Comic Con trip (including sites in Arizona). Ego strokes: For some reason, several of my photos have been published in physical books this year which is pretty cool. Ones that I know about: "Tarzan, Jungle King of Popular Culture" (David Lemmo), "The Great Crusade: A Guide to World War I American Expeditionary Forces Battlefields and Sites" (Stephen T. Powers and Kevin Dennehy), "The American Spirit" (David McCullough), "Civil War Battlefields: Walking the Trails of History" (David T. Gilbert), "The Year I Was Peter the Great: 1956 — Khrushchev, Stalin's Ghost, and a Young American in Russia" (Marvin Kalb), and "The Judge: 26 Machiavellian Lessons" (Ron Collins and David Skover). Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Number of photos taken this year: just below 560,000.
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