Charles Lang Freer Selected Papers
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Charles Lang Freer and His Gallery of Art : Turn-Of-The-Century Politics and Aesthetics on the National Mall
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2007 Charles Lang Freer and his gallery of art : turn-of-the-century politics and aesthetics on the National Mall. Patricia L. Guardiola University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Guardiola, Patricia L., "Charles Lang Freer and his gallery of art : turn-of-the-century politics and aesthetics on the National Mall." (2007). Electronic Theses and Dissertations. Paper 543. https://doi.org/10.18297/etd/543 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. CHARLES LANG FREER AND HIS GALLERY OF ART: TURN-OF-THE-CENTURY POLITICS AND AESTHETICS ON THE NATIONAL MALL By Patricia L. Guardiola B.A., Bellarmine University, 2004 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements F or the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky August 2007 CHARLES LANG FREER AND HIS GALLERY OF ART: TURN-OF-THE-CENTURY POLITICS AND AESTHETICS ON THE NATIONAL MALL By Patricia L. Guardiola B.A., Bellarmine University, 2004 A Thesis Approved on June 8, 2007 By the following Thesis Committee: Thesis Director ii DEDICATION In memory of my grandfathers, Mr. -
The Cornish Colony Highlights from the Collection the Cornish Colony Highlights from the Collection
THE CORNISH COLONY Highlights from the Collection THE CORNISH COLONY Highlights from the Collection The Cornish Colony, located in the area of Cornish, New The Cornish Colony did not arise all of apiece. No one sat down at Hampshire, is many things. It is the name of a group of artists, a table and drew up plans for it. The Colony was organic in nature, writers, garden designers, politicians, musicians and performers the individual members just happened to share a certain mind- who gathered along the Connecticut River in the southwest set about American culture and life. The lifestyle that developed corner of New Hampshire to live and work near the great from about 1883 until somewhere between the two World Wars, American sculptor Augustus Saint-Gaudens. The Colony is also changed as the membership in the group changed, but retained a place – it is the houses and landscapes designed in a specific an overriding aura of cohesiveness that only broke down when the Italianate style by architect Charles Platt and others. It is also an country’s wrenching experience of the Great Depression and the ideal: the Cornish Colony developed as a kind of classical utopia, two World Wars altered American life for ever. at least of the mind, which sought to preserve the tradition of the —Henry Duffy, PhD, Curator Academic dream in the New World. THE COLLECTION Little is known about the art collection formed by Augustus Time has not been kind to the collection at Aspet. Studio fires Saint-Gaudens during his lifetime. From inventory lists and in 1904 and 1944 destroyed the contents of the Paris and New correspondence we know that he had a painting by his wife’s York houses in storage. -
"GWIKS Lecture Series: Charles Lang Freer and the Collecting of Korean Art in the Early 20Th Century”
GWIKS Lecture Series Thursday Mar. 8, 2018 "GWIKS Lecture Series: Charles Lang Freer and the Collecting of Korean Art in the Early 20th Century” Charlotte Horlyck Smithsonian Institution Senior Fellow of Art History at the Freer|Sackler 2:00 – 3:30 PM Elliott School of International Affairs Room 503 The George Washington University 1957 E St. NW, Washington, DC 20052 ABOUT THE TALK This talk centers on the Korean collection of Charles Lang Freer (1854-1919), founder of the Smithsonian Institution's Freer Gallery of Art. Freer was a pioneering individual whose collection of Western and Asian art was among the most extensive of its time. This includes his collection of Korean artifact, which he began to acquire in 1896, culminating in around 450 objects, which are now housed in the Freer Gallery. The collection is significant not only for its quality and size, but because it exemplifies the rising interest in Korean art around the turn of the twentieth century. In the exploration of Freer's Korean pieces, some of the core issues that impacted and shaped the collecting of Korean art during this time will be addressed, including the availability of antiques, the development of scholarship on Korean cultural heritage, individual and institutional motivations for collecting Korean art, among other questions. SPEAKER Charlotte Horlyck was appointed Lecturer in Korean Art History at SOAS in 2007 and served as Chair of its Centre of Korean Studies from 2013 to 2017. Prior to taking up her position at SOAS, she curated the Korean collection at the Victoria and Albert Museum in London. -
Ann C. Gunter
Ann C. Gunter Bertha and Max Dressler Professor in the Humanities Professor of Art History, Classics, and in the Humanities Northwestern University Mailing address: Department of Art History 1800 Sherman Ave., Suite 4400 Evanston, IL 60201 Voice mail 847 467-0873 e-mail: [email protected] Education 1980 Columbia University Ph.D. 1976 Columbia University M.Phil. 1975 Columbia University M.A. 1973 Bryn Mawr College A.B. magna cum laude with departmental honors Professional Employment Bertha and Max Dressler Professor in the Humanities, Northwestern University, 2013– Professor of Art History, Classics, and in the Humanities, Northwestern University, 2008– Head of Scholarly Publications and Programs, Arthur M. Sackler Gallery and Freer Gallery of Art, Smithsonian Institution, 2004–08 Assistant Curator of Ancient Near Eastern Art, Arthur M. Sackler Gallery and Freer Gallery of Art, Smithsonian Institution (1987–92); Associate Curator (1992–2004); Curator (2004–08) Visiting Assistant Professor, Art History Department, Emory University, Atlanta (1986–87) Visiting Assistant Professor, Departments of Art History and Classics, University of Minnesota, Minneapolis (1981–85) Lecturer, Department of Near Eastern Studies, University of California, Berkeley (Winter– Spring 1981) Director, American Research Institute in Turkey at Ankara (1978–79) Fellowships, Grants, and Awards Visiting Professor (Directrice d’études), École Pratique des Hautes Études, University of Paris (lecture series to be presented in May 2016) Fritz Thyssen Stiftung 2000–01 -
American Institute for Conservation of Historic and Artistic Works 43Rd
Egyptian Glass at the Freer Gallery of Art American Institute for Conservation of Historic and Artistic Works 43rd Annual Meeting, May 13-16, 2015 Ellen Nigro, Ellen Chase, Blythe McCarthy Department of Conservation and Scientific Research, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution In 1909, Charles Lang Freer bought a collection of 1,388 ancient glass beads, vessels, and mosaic fragments in Cairo, Egypt from the antiquities dealer Giovanni Dattari. The objects are primarily XVIII Dynasty, Ptolemaic and Roman period Egyptian pieces, as well as many later Venetian and Islamic fragments. Although the collection varies in geographic origin and time period, all the pieces are colorful examples of fine craftsmanship, from intricate millifiori inlays to cast amulets and larger vessels. Until 2013, the collection was largely left unstudied and was inappropriately stored. As a result, the Department of Conservation and Scientific Research at the Freer Gallery of Art and Arthur M. Sackler Gallery is rehousing and researching the collection. This poster will focus on the storage project and the challenges associated with rehousing a large collection of small objects while touching on the historical and technical research. Technical Analysis The purpose of the technical study is to characterize the materials and techniques of the collection and to sort Research in the Freer Gallery Archives some of the objects by time and place according to the technical data. This study included the following techniques: Mr. Freer travelled to Egypt several times between • x-radiography of the vessels to assess the manufacture techniques 1907 and 1909, where he purchased this collection • qualitative x-ray fluorescence (XRF) spectroscopy to analyze lead content and colorants on a large number of of glass, as well as a number of faience pieces, objects within the collection manuscripts, and funerary objects. -
Direct PDF Link for Archiving
Kathleen Pyne On Women and Ambivalence in the Evolutionary Topos Nineteenth-Century Art Worldwide 2, no. 2 (Spring 2003) Citation: Kathleen Pyne, “On Women and Ambivalence in the Evolutionary Topos,” Nineteenth- Century Art Worldwide 2, no. 2 (Spring 2003), http://www.19thc-artworldwide.org/ spring03/225-on-women-and-ambivalence-in-the-evolutionary-topos. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2003 Nineteenth-Century Art Worldwide Pyne: On Women and Ambivalence in the Evolutionary Topos Nineteenth-Century Art Worldwide 2, no. 2 (Spring 2003) On Women and Ambivalence in the Evolutionary Topos by Kathleen Pyne In the decade following the Civil War evolutionary theory shook the foundations of America's self-identity as God's chosen people. On the one hand, Charles Darwin brought the scrutiny of positivist science to bear on biological issues, negating any human uniqueness, while on the other, Herbert Spencer translated evolution into a philosophy of human progress. Spencer's evolutionary philosophy, in particular, had a tremendous impact in the United States because it reconciled the new science with traditional beliefs; it preserved the belief in the special spiritual nature of humankind, as well as the existence of a spiritual realm. The purposefulness of human life on earth thus was upheld, in contrast to Darwin's negation of any human uniqueness. But as Gillian Beer has pointed out, evolutionary science abounded in metaphors and contradictory elements; it could be read as both an ascent and a descent of man. -
Charles Lang Freer and Indian Art
THE FREER HOUSE 71 East Ferry, Detroit, MI 48202 An International Landmark... A World Class Lecture Series 313-664-2500 From Traveler to Aesthete: Charles Lang Freer and Indian Art by Brinda Kumar, PhD Assistant Curator Department of Modern and Contemporary Art Metropolitan Museum of Art, New York, NY Sunday, June 4, 2017, 2:00 pm LECTURE Detroit Institute of Arts Marvin and Betty Danto Lecture Hall FREE with DIA admission 3:30-5 PM Reception & Tours Freer House 71 East Ferry Street, Detroit $10 General Admission Zayn al’-’Abidin $5 Students Artist Hanuman returns the $5 FAAC or Freer House Members mountain with the (pay at the door) four healing plants to the Himalayas. Co-Sponsor Folio from the Ramayana of Valmiki, Friends of Asian Arts & Cultures (FAAC), DIA vol. 2., South Asian, Mughal period, For information contact Rose Foster at: late 16th century, Freer Gallery of Art 313-664-2509 or [email protected] Detroit industrialist Charles Lang Freer’s passion for In- U.S. earlier that year, while his itinerary was in keeping with dia influenced the formation of one of the finest early col- similar travels by other American collectors such as Isabella lections of Asian art in America. Freer’s visionary aesthetic Stewart Gardner. ideas positioned Indian art as “fine art” in an era when it Although he visited India only once, Freer would con- was largely relegated in the West to being of only ethno- sider Indian art and culture to be “an important link in the graphic or decorative interest. chain” as he developed a collection of Asian and Near East- When Freer planned his first trip to Asia in 1894, his ern art. -
Rose Standish Nichols and the Cornish Art Colony
Life at Mastlands: Rose Standish Nichols and the Cornish Art Colony Maggie Dimock 2014 Julie Linsdell and Georgia Linsdell Enders Research Intern Introduction This paper summarizes research conducted in the summer of 2014 in pursuit of information relating to the Nichols family’s life at Mastlands, their country home in Cornish, New Hampshire. This project was conceived with the aim of establishing a clearer picture of Rose Standish Nichols’s attachment to the Cornish Art Colony and providing insight into Rose’s development as a garden architect, designer, writer, and authority on garden design. The primary sources consulted consisted predominantly of correspondence, diaries, and other personal ephemera in several archival collections in Boston and New Hampshire, including the Nichols Family Papers at the Nichols House Museum, the Rose Standish Nichols Papers at the Houghton Library at Harvard University, the Papers of the Nichols-Shurtleff Family at the Schlesinger Library at the Radcliffe Institute, and the Papers of Augustus Saint Gaudens, the Papers of Maxfield Parrish, and collections relating to several other Cornish Colony artists at the Rauner Special Collections Library at Dartmouth College. After examining large quantities of letters and diaries, a complex portrait of Rose Nichols’s development emerges. These first-hand accounts reveal a woman who, at an early age, was intensely drawn to the artistic society of the Cornish Colony and modeled herself as one of its artists. Benefitting from the influence of her famous uncle Augustus Saint Gaudens, Rose was given opportunities to study and mingle with some of the leading artistic and architectural luminaries of her day in Cornish, Boston, New York, and Europe. -
After Whistler: the Artist & His Influence on American Painting
LINDA MERRILL Emory University Art History Department Atlanta, Georgia 30322 404.727-0514 [email protected] Education University of London (University College), England PhD, History of Art, 1985 Dissertation: “The Diffusion of Aesthetic Taste: Whistler and the Popularization of Aestheticism, 1875– 1881.” Advisor: William H. T. Vaughan. Marshall Scholarship, 1981–84, awarded by the Marshall Plan Commemoration Commission of Great Britain for postgraduate study. Smith College, Northampton, Massachusetts AB, English, 1981. Summa cum laude, Phi Beta Kappa, with Highest Honors in English, 1981. Employment Emory University, Atlanta Senior Lecturer and Director of Undergraduate Studies in Art History, Fall 2016—present Lecturer and Director of Undergraduate Studies in Art History, Fall 2013-16 Freer Gallery of Art/Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C. Guest curator, with Dr. Robyn Asleson, of The Lost Symphony: Whistler and the Perfection of Art, January 16— May 30, 2016. Global Fine Art Award for Best Thematic Impressionist/Modern Exhibition 2016. National Endowment for the Humanities, Office of the Chairman, Washington, D.C. Humanities Administrator, November 2006–April 2007 (temporary appointment). High Museum of Art, Atlanta Margaret and Terry Stent Curator of American Art, 1998–2000 Freer Gallery of Art, Smithsonian Institution, Washington, D.C. Curator of American Art, 1997–98; Associate Curator of American Art, 1990–97; Assistant Curator of American Art, 1985–90. Hood College, Frederick, Maryland, Department of Art History Visiting Assistant Professor in Art History, Spring 1991, 1985–86. Publications Books After Whistler: The Artist & His Influence on American Painting. New Haven: Yale University Press and the High Museum of Art, 2003. -
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Susan Casteras, Chair Paul Berger Stuart Lingo Program Authorized to Offer Degree: Art History ©Copyright 2015 Kimberly E. Hereford ii University of Washington Abstract Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford Chair of the Supervisory Committee: Professor Susan Casteras Art History This dissertation examines representations in art of the Victorian woman in “altered states.” Though characterized in Victorian art in a number of ways, women are most commonly stereotyped as physically listless and mentally vacuous. The images examined show the Victorian female in a languid and at times reclining or supine pose in these representations. In addition, her demeanor implies both emotional and physical depletion, and there is both a pronounced abandonment of the physical and a collapsing effect, as if all mental faculties are withdrawing inward. Each chapter is dedicated to examining one of these distinct but interrelated types of femininity that flourished throughout British and American art from c. 1850 to c. 1910. The chapters for this dissertation are organized sequentially to demonstrate a selected progression of various states of consciousness, from the most obvious (the sleeping woman) to iii the more nuanced (the female Aesthete and the female medium). In each chapter, there is the visual perception of the Victorian woman as having access to otherworldly conditions of one form or another. -
Freer and Swami Vivekananda: Detroit and India
Freer and Swami Vivekananda: Detroit and India An exhibit from the historic Charles Lang Freer House, Merrill Palmer Skillman Institute, Wayne State University Image of Swami Vivekananda appears courtesy of Charles Lang Freer, 1909. Indies Services, Bhavnagar, Gujarat, India. Portrait by Alvin Langdon Coburn c. 1893. Freer Gallery of Art Archives, Smithsonian Institution. THE FREER HOUSE 71 E. Ferry Street, Detroit MI, 48202 | 313-664-2500 | www.mpsi.wayne.edu/freer/ Use or reproduction by permission only from The Freer House, Merrill Palmer Skillman Institute, Wayne State University. PHOTOS BY ALEXANDER VERTIKOFF THE FREER HOUSE The Freer House is considered to be one of the most important historic buildings in Michigan with its outstanding archi- tecture and history as “the original Freer Gallery of Art.” Today, parts of the building continue to serve as offices for child and family development faculty of the Merrill Palmer Skillman Institute/WSU, while major sections of the house serve as space for visitors, meetings and events. The Freer House features quarter-sawn oak paneling, built in cabinets and seating, and ornate decorative light fixtures and hardware. Reproductions of 11 paintings by the American artists, Dewing, Tryon and Thayer, have recently been installed in their original locations. Restoration goals include the revitalization of Freer’s historic courtyard gardens, restoration of the 1906 Whistler Gallery as an exhibition and meeting space, and creation of a public welcome and interpretative center for visitors in the former carriage house. Use or reproduction by permission only from The Freer House, Merrill Palmer Skillman Institute, Wayne State University. Freer and Swami Vivekananda Detroit and India Meghan Urisko, 2013 Research Kailey McAlpin, 2017 Research Catherine Blasio, Exhibit Designer William S. -
Augustus Saint-Gaudens's the Puritan Founders' Statues, Indian
Augustus Saint-Gaudens’s The Puritan Founders’ Statues, Indian Wars, Contested Public Spaces, and Anger’s Memory in Springfield, Massachusetts Author(s): Erika Doss Source: Winterthur Portfolio, Vol. 46, No. 4 (Winter 2012), pp. 237-270 Published by: The University of Chicago Press on behalf of the Henry Francis du Pont Winterthur Museum, Inc. Stable URL: http://www.jstor.org/stable/10.1086/669736 Accessed: 28-11-2016 15:01 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The University of Chicago Press, Henry Francis du Pont Winterthur Museum, Inc. are collaborating with JSTOR to digitize, preserve and extend access to Winterthur Portfolio This content downloaded from 129.74.116.6 on Mon, 28 Nov 2016 15:01:40 UTC All use subject to http://about.jstor.org/terms Augustus Saint-Gaudens’s The Puritan Founders’ Statues, Indian Wars, Contested Public Spaces, and Anger’s Memory in Springfield, Massachusetts Erika Doss Dedicated in 1887 in Springfield, Massachusetts, The Puritan is a large bronze statue of a menacing figure clutching a huge Bible. Commissioned as a memorial to Deacon Samuel Chapin (1595–1675), The Puritan was designed by Augustus Saint-Gaudens and erected in an urban park surrounded by factories and tenements.