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The Freer Gallery: A Tapestry of Asian Artistry

Journey through millennia of cultural heritage and artistic mastery, exploring a curated collection spanning continents.

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About the Freer Gallery

Freer Gallery of Art
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Established 1923
Location 1050 Independence Avenue
Washington, D.C.
Coordinates 38°53′18″N 77°1′39″W / 38.88833°N 77.02750°W / 38.88833; -77.02750
Director Chase F. Robinson
Public transit access Smithsonian
Website www.asia.si.edu
Freer Gallery Of Art
National Register of Historic Places
National Historic Landmark
Front entrance to the Freer Gallery of Art
Built 1923
Architect Platt, Charles A.
Architectural style Late 19th and 20th century revivals, Florentine Renaissance
NRHP reference No. 69000295
Added to NRHP June 23, 1969

The Freer Gallery of Art, an esteemed institution within the Smithsonian Institution in Washington, D.C., is dedicated to the exhibition and study of Asian art. It functions as part of the National Museum of Asian Art, alongside the Arthur M. Sackler Gallery. This partnership fosters the largest Asian art research library in the United States, housing collections that span East Asia, South Asia, Southeast Asia, the Islamic world, the ancient Near East, and ancient Egypt. Notably, it also preserves a significant collection of American art, including James McNeill Whistler's iconic "The Peacock Room."

The museum operates year-round, with a unified administrative staff overseeing both the Freer and Sackler galleries. It is recognized among the most visited art museums globally. The Freer's collection comprises over 26,000 objects, representing 6,000 years of human artistic endeavor, from Neolithic artifacts to modern pieces. Its holdings include ancient Egyptian sculptures, Near Eastern ceramics, Chinese paintings and ceramics, Korean pottery, Japanese screens, Persian manuscripts, and Buddhist sculptures.

The Freer|Sackler offers extensive public programming, including films, lectures, concerts, and symposia, often held in the Eugene and Agnes E. Meyer Auditorium. A significant portion of the collection is accessible online, with digitized archives, photographs, and research materials available to scholars and the public alike. The museum also participates in the Google Art Project, providing virtual access to select artworks.

A Legacy of Vision: The Gallery's History

Founding Vision

The Freer Gallery of Art was established through the visionary philanthropy of Charles Lang Freer, a Detroit-based industrialist and discerning art collector. Freer, a devoted patron of James McNeill Whistler, envisioned a public repository for his extensive collection of Asian art, funds for its construction, and an endowment for its continued study and acquisition. His generous bequest, accepted by the Smithsonian Institution in 1906, stipulated that only objects from his permanent collection could be exhibited and that these works would remain accessible to scholars.

Freer's relationship with architect Charles A. Platt resulted in an Italian Renaissance-inspired building, a testament to Freer's aesthetic preferences. Construction commenced in 1916, with a temporary halt due to World War I, culminating in the gallery's public opening in 1923. The building itself, constructed from granite, limestone, and marble, reflects a classical elegance. Freer's personal control over the collection's curatorial aspects continued until his death, a condition that initially presented challenges for the Smithsonian but was ultimately facilitated by President Theodore Roosevelt's personal interest.

Construction and Evolution

The gallery's architectural design by Charles A. Platt draws inspiration from Italian palazzos, creating a serene and stately environment for the displayed art. Construction, initiated in 1916, was completed in 1921, with the museum opening its doors in 1923. Initially serving as the Smithsonian's inaugural fine arts museum, the Freer's collection has grown substantially, nearly tripling Freer's original donation through strategic acquisitions and gifts. A significant renovation in the 1990s expanded exhibition and storage space by connecting the Freer with the Arthur M. Sackler Gallery via an underground exhibition hall, enhancing the visitor experience and curatorial capabilities.

The Freer underwent a major renovation concluding in 1993, which integrated it architecturally and functionally with the adjacent Arthur M. Sackler Gallery. This expansion significantly increased the public space to 39,039 square feet. The original structure, including the Eugene and Agnes E. Meyer Auditorium, remains preserved. The museum closed for further extensive renovations in January 2016 and successfully reopened in October 2017, showcasing refreshed galleries and improved facilities.

A World of Art: The Collections

Diverse Holdings

The Freer Gallery of Art houses an exceptionally diverse collection, encompassing over 26,000 objects that span 6,000 years of human artistic endeavor. Its scope extends from the Neolithic period to contemporary works, with a primary focus on the rich artistic traditions of Asia. The collections are meticulously organized by region and historical period, offering a comprehensive survey of cultural achievements.

  • American Art: Featuring the world's foremost collection of works by James McNeill Whistler, including the renowned "Peacock Room," alongside significant pieces by Thomas Dewing, Winslow Homer, John Singer Sargent, and others.
  • Ancient Egyptian Art: Showcasing stone sculptures and wooden artifacts from the Old Kingdom period.
  • Ancient Near Eastern Art: Including ceramics and metalwork from regions like Persia and Mesopotamia.
  • Arts of the Islamic World: A broad range of objects from the 9th to the 17th centuries, featuring ceramics, metalwork, manuscripts, and textiles.
  • Chinese Art: Notable for its paintings, ceramics, and jade carvings from various dynasties.
  • Japanese Art: Including folding screens, ceramics, and Buddhist sculptures.
  • Korean Art: Showcasing pottery and porcelain from distinct historical periods.
  • South Asian & Himalayan Art: Featuring sculptures, paintings, and decorative arts from India, Nepal, and Tibet.
  • Southeast Asian Art: Including stone sculptures from Java and ceramics from Vietnam.
  • Biblical Manuscripts: A significant collection of ancient texts, including early Christian manuscripts.

The Peacock Room

A centerpiece of the Freer's American art collection is James McNeill Whistler's opulent "Harmony in Blue and Gold: The Peacock Room," commonly known as "The Peacock Room." Originally a dining room designed for British shipping magnate F. R. Leyland, this elaborate interior was created by Whistler between 1876 and 1877. Freer acquired the room in 1904, recognizing its artistic significance and its connection to Whistler's aesthetic principles. Installed permanently at the Freer after Freer's death, the room has undergone several conservation and restoration projects to preserve its intricate details and vibrant motifs.

The Peacock Room is a masterful example of total interior design, featuring intricate peacock motifs, gilded ornamentation, and a striking color palette. Its creation was marked by a famously contentious relationship between Whistler and Leyland over artistic control. Freer's acquisition ensured its preservation and public display, making it a focal point for understanding Whistler's artistic vision and the aesthetic movements of the late 19th century. The room's conservation history highlights the ongoing efforts to maintain its delicate materials and complex decorative scheme.

Curated Displays: Exhibitions

Featured Exhibitions

While the Freer's permanent collection adheres to founder Charles Lang Freer's stipulation against borrowing or lending, the gallery consistently presents internationally recognized exhibitions derived from its own vast holdings. These exhibitions are curated to highlight specific themes, artists, or cultural periods, offering deep dives into particular aspects of Asian and American art history. The depth and quality of these displays underscore the significance of the Freer's collection.

The Freer Gallery of Art is renowned for its rotating and temporary exhibitions that draw from its extensive permanent collection. These exhibitions provide scholarly insights and thematic explorations, showcasing the breadth of Asian art, from ancient Chinese bronzes and Japanese screens to Islamic manuscripts and Indian sculptures. The gallery also features significant American art, particularly works by Whistler and his contemporaries. These curated displays are central to the museum's mission of engaging the public with the art and cultures of Asia and the United States.

Preserving Heritage: Archives & Library

Archival Treasures

The Freer|Sackler Archives serve as a vital repository for over 120 significant manuscript collections, crucial for understanding the intersection of Asian art and culture with Western engagement. The core of the archive comprises the personal papers of founder Charles Lang Freer, including his meticulous purchase records, diaries, and correspondence with prominent figures like artists, dealers, and collectors. This collection offers invaluable primary source material for art historical research.

Beyond Freer's papers, the archives house the extensive research materials of archaeologist Ernst Herzfeld, documenting his work in Samarra, Persepolis, and Pasargadae. Additionally, collections from figures such as Carl Whiting Bishop, Dwight William Tryon, Myron Bement Smith, Benjamin March, and Henri Vever are preserved. The archives also hold over 125,000 photographs of Asia dating from the 19th and early 20th centuries, including significant photographic collections of Japan, China (featuring Empress Dowager Cixi), and Iran.

The Premier Asian Art Library

The Freer|Sackler Library stands as the most comprehensive research library dedicated to Asian art in the United States. Open to the public without appointment, its collection exceeds 86,000 volumes, including approximately 2,000 rare books. A substantial portion of the library's holdings are cataloged in Asian languages, reflecting its specialized focus. Established from Charles Lang Freer's initial donation of four thousand monographs and periodicals, the library continues to expand its collection through active acquisition programs, maintaining the highest standards for scholarly resources.

Relocated to the Arthur M. Sackler Gallery in 1987, the library now supports the scholarly and educational activities of both museums. Its resources are invaluable for collection development, exhibition planning, publications, and research projects. The library's published and unpublished materials cover a wide spectrum of Asian art and archaeology, including painting, sculpture, architecture, prints, manuscripts, books, and photography, making them accessible to museum staff, external researchers, and the visiting public.

Engaging the Public: Programs

Cultural Enrichment

The Eugene and Agnes E. Meyer Auditorium, located within the Freer Gallery, serves as a versatile venue for a wide array of free public programs. These events are designed to enrich the cultural understanding and appreciation of Asian arts and heritage. The programming includes musical concerts, dance performances, scholarly lectures, chamber music recitals, and dramatic presentations, fostering a dynamic engagement with the arts.

The gallery is particularly noted for its film series, which offers diverse cinematic explorations of Asian cultures, including specialized festivals such as the Korean Film Festival and the Iranian Film Festival. More recently, the museums have introduced "Asia After Dark," an initiative that opens the museum space for evening events featuring live music, culinary experiences, and other cultural activities. Additionally, daily drop-in tours provide guided insights into featured exhibitions and specific thematic elements within both the Freer and Sackler galleries, complemented by public lectures that offer in-depth perspectives from prominent artists and scholars.

Advancing Knowledge: Scholarship

Academic Hub

The Freer Gallery has long been a distinguished center for advanced scholarship concerning Asia. Beyond its public lectures and symposia, the museum actively contributes to academic discourse through its co-publication of Ars Orientalis with the University of Michigan's Department of History of Art. This peer-reviewed annual journal disseminates scholarly articles and reviews on the art and archaeology of Asia, the ancient Near East, and the Islamic world.

In collaboration with the Metropolitan Center for Far Eastern Art Studies in Kyoto, Japan, the Freer and Sackler Galleries present the Shimada Prize, recognizing distinguished scholarship in East Asian art history. The institution also supports academic pursuits through various fellowships, including the Andrew W. Mellon Fellowship, the Anne Van Biema Fellowship (Japanese Visual Arts), the Iran Heritage Foundation (IHF) Fellowship (Persian art), the Lunder Fellowship, the J. S. Lee Memorial Fellowship (Chinese Art), the Smithsonian Institution Fellowship, and the Freer Fellowship. These initiatives foster research and provide opportunities for emerging and established scholars.

Preserving Masterpieces: Conservation

Expertise in Asian Art Care

The Freer Gallery's commitment to conservation predates its public opening, with founder Charles Lang Freer engaging Japanese painting restorers to care for his collection. This early focus led to the establishment of the East Asian Painting Conservation Studio in 1932, which remains a leading facility in the United States for the specialized conservation of Asian paintings. The Technical Laboratory, founded in 1951, pioneered the application of scientific methods to the study of artworks within the Smithsonian.

In 1990, the Technical Laboratory and the East Asian Painting Conservation Studio merged to form the Department of Conservation and Scientific Research for both the Freer and Sackler Galleries. This integrated department is responsible for the meticulous care, treatment, and preparation of artworks for exhibition and transport. Conservators conduct technical examinations, collaborate on applied research with scientists, and contribute to the education of future conservation professionals through training and outreach programs, ensuring the long-term preservation of the collections.

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References

References

  1.  Linda Merrill, a former curator of American art at the Freer Gallery, editor of With Kindest Regards: The Correspondence of Charles Lang Freer and James McNeill Whistler, and co-author of Freer: A Legacy of Art.
  2.  Caemmerer, H. Paul. "Charles Moore and the Plan of Washington." Records of the Columbia Historical Society. Vol. 46/47 (1944/1945): 237-258, 256.
  3.  The Peacock Room
  4.  Conservation
A full list of references for this article are available at the Freer Gallery of Art Wikipedia page

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Disclaimer

This content has been generated by an AI model and is intended for informational and educational purposes only. It is based on publicly available data from Wikipedia and may not be entirely accurate, complete, or up-to-date. The Freer Gallery of Art is a Smithsonian Institution museum, and for the most current and official information, please refer directly to their website and official publications.

This is not an official publication of the Freer Gallery of Art or the Smithsonian Institution. The information provided here is not a substitute for professional art historical research, curatorial consultation, or direct museum engagement. Always consult official sources for definitive information.

The creators of this page are not affiliated with the Freer Gallery of Art or the Smithsonian Institution and are not responsible for any errors or omissions, or for any actions taken based on the information provided herein.