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political, or economic issues". This belief is solidified by Freer's preference for subtle works that belied simple analysis. Freer also behaved unlike other patrons of his time. Beyond purchasing works, Freer developed friendships with the artists he supported and lent works from his collections to exhibitions, to provide the greatest professional exposure to the painters in his stable. There is also indication that Freer had been thinking of a museum project long before it was proposed to the
Smithsonian. In the summer of 1900, Freer traveled through
526:, 200 works of 19th century American masters, and 200 miscellaneous objects. The museum continued to acquire new works, adding nearly 2000 additional objects in its first fifty years. The historian Warren Cohen concludes that Freer and Ferguson were primarily responsible for the "golden age" of East Asian art collecting. Freer's money and taste and connoisseurship made it possible for the public to see and study a much more diverse body of art, and influenced the shift in American taste away from decorative and ornate works.
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316:. He left the bulk of his art collection, more than 5000 objects, to the federal government; it is now housed in the Freer Gallery of Art, Smithsonian Institution. Freer had no wife or children. The legacy of Charles Lang Freer is not just his wealth or art collection, but it is also his generosity as a patron to artists and the public. The boy who left school to work in a cement factory ultimately presented the United States its very first collection of
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London. It was not long before the artist and industrialist became fast friends, spending long stretches of time together traveling. Freer, during this period, also began amassing what would ultimately become the largest collection of
Whistler works in the world. The two remained close friends and confidantes until Whistler's death in 1903.
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In his most stringent restriction, Freer stated that the museum may not accept gifts of works of art for the permanent collection. The Museum was also forbidden to display works of art that were not part of the permanent collection. Finally, once brought into the permanent collection, no piece of art
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Although they met in the early 1890s, it wasn't until 1901 that Freer developed an important relationship with Ernest
Fenollosa, the son of a Spanish immigrant, and authority on the art of China and Japan. Fenollosa, who lived and worked in Japan from 1880 through 1890, taught Philosophy and Logic at
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prints from New York dealer, Frederick Keppel. His interests continued to grow in subsequent years through personal and professional connections. These relationships fundamentally shaped the collecting principles and philosophy of the collector. Two friendships, however, stand out for the effect they
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Freer's gift, provided not only his collection but also the building and initial endowment was the first of its kind in U.S. history. Despite this, Freer's initial bequest was thorough, including an inventory of 2,250 objects that Freer would retain until his death. It also outlined that Freer's new
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Freer spent part of his life in Capri where he owned the famous Villa
Castello, together with Thomas Spencer Jerome, a socialite, clubman and lawyer from Detroit. A detailed report of Freer life in Italy, at the time of the Capri renaissance, is testified in the book of Carlo Knight, The Tiberio's
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fan painting, occurred in 1887. This predates his established relationship with the painter. There is no reason to believe that Freer's taste, whether it predated
Whistler or not, was not influenced by his friend. His influence, however, may be seen in the other American artists collected by Freer.
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For nearly ten years, Fenollosa advised and Freer acquired voraciously. From 1901 to 1908, Freer purchased the majority of the
Japanese and Chinese paintings that he would later gift to the Smithsonian. Their partnership was lucrative, as Fenollosa's counsel gave Freer an edge in an increasingly
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Freer is famous not only for having been an industrialist and art collector, but also an avid writer. His personal communications (letters and telegrams) between himself and
Whistler have been published and are legendary in the art community. He also shared decades-long communications between
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bachelor pad belonging to lawyer and art collector, Howard
Mansfield, in 1887. According to Mansfield, when Freer saw Whistler's etchings, he was instantly drawn to the pieces the artist produced. Only three years later, in 1890, Freer introduced himself to Whistler, while on his first trip to
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Thomas Lawton and Linda
Merrill describe Freer's belief as a system in which "a masterpiece required neither explanation nor cultural context to communicate its message: its importance lay in its aesthetic integrity, not in the evidence it might incidentally provide about religious, social,
586:. The patron designated two additional funds to decorate and maintain the museum grounds, specifically interior and exterior ornamental gardens. Once met, Freer established further stipulations. Freer mandated that residuary incomes from his estate continue to support a scholarship for
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patentee and the first Freer to the United States. The third child of six, his family had little money. Freer's mother died when he was fourteen years of age. After the seventh grade, Freer left school and took a job in a cement factory. In the early 1870s, Freer was noticed by
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studies and acquire new works from Asia, Egypt, and the Middle East. Within the acquisition addition, Freer included a detailed stipulation. All new acquisitions must be approved by the Fine Arts
National Commission and a panel of the collector's close friends and confidantes.
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Freer is known for his collection of late nineteenth century American painting and Asian art, developed largely after his retirement in 1899. Yet, the industrialist had begun collecting art and prints sixteen years prior, in 1883, when Freer purchased a selection of
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In 1918 and 1919, Freer placed provisions in his will, further bolstering the structure he established in the 1906 gift. The first provision established an income stream, sourced from stocks and cash dividends, to ensure that the museum employed a highly skilled
225:, while working as a clerk in a general store. Hecker capitalized on Freer's accounting and organizational skills, hiring the young man as his paymaster and accountant in 1874. In the 1870s, a group of investors from Detroit decided to build a rail line in
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In the late 19th century, Freer's health declined markedly. The economic depression of the 1890s paired with the stress of Freer's position within the company caused both physical and psychological trauma to the industrialist. Freer was diagnosed with
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Whistler is commonly associated as being the inspiration for Freer's collection of Japanese prints and paintings. Although scholars debate why Freer began concentrating on collecting Asian Art, records indicate that his first purchase, a Japanese
285:, a nervous condition widespread among the upper-class in the United States. Treatment for neurasthenia included long periods of rest, and men were encouraged to pursue activities in the wilderness. Freer's treatment included outings in the
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offered him the curatorship of the recently developed Japanese Art department. Fenollosa's choice to divorce his wife in 1895 led to his subsequent resignation from the Museum of Fine Arts Boston in the summer of 1896.
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In addition to the 2,250 objects set promised in the original gift to the Smithsonian, Freer collected avidly for the duration of his life. In 1920, after his death, 9,500 objects were transferred from Detroit to
562:, championed the idea of a shaping Washington, DC into a beautiful capital city. His influence helped guide Freer's offer towards Washington. Negotiations continued for the next five months, stalled briefly by
229:; they hired Hecker to manage the project. Hecker brought the younger Freer along. Hecker's daughter, Anna Cynthia Hecker (1871-1923), would marry Freer's younger brother, Watson Marthis Freer (1863-1922).
293:. In addition to travel as a means of therapy, in the 1880s Freer started collecting art. In 1899, Freer retired from industry, focusing his time and efforts on collecting art and travel.
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LARSEN, INGRID (2011-01-01). ""DON'T SEND MING OR LATER PICTURES": Charles Lang Freer and the First Major Collection of Chinese Painting in an American Museum".
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Catalogue of a selection of art objects from the Freer collection exhibited in the new building of the National museum, April 15 to June 15, 1912
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in 1885. The business made both men wealthy and Peninsular became Detroit's second largest car manufacturer. In 1892, Peninsular merged with the
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161:(February 25, 1854 – September 25, 1919) was an American industrialist, art collector, and patron. He is known for his large collection of
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A few of these early patrons went on to establish collections similar in importance (if not necessarily volume) to that of Freer. See
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and applied what he learned to Japanese art and culture. Fenollosa published widely, both in English and Japanese, and in 1889 the
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competitive art market. In return, Freer organized speaking engagements for Fenollosa and acquired objects from the academic.
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a letter in which Freer outlined his initial bequest offer. James McMillan, Freer's friend, U.S. Senator, and partner in the
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173:, making him the first American to bequeath his private collection to the United States. To house the objects, including
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Pyne, Kathleen (1996-01-01). "Portrait of a Collector as an Agnostic: Charles Lang Freer and Connoisseurship".
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was Michigan's largest manufacturer. Seven years later, in 1899, Freer organized a 13-company merger, creating
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in Washington. The building cost a million dollars, all of which was paid by Freer. Completion was delayed by
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With Kindest Regards: The Correspondence of Charles Lang Freer and James McNeill Whistler, 1890–1903
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In 1879, using connections made in the railroad business and the financial backing of a group of
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From humble beginnings in the Hudson Valley to the Charles Lang Freer house, Detroit, Michigan
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Clark, Nichols (1979-01-01). "Charles Lang Freer: An American Aesthete in the Gilded Era".
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Exterior of the Freer Gallery, a part of the Smithsonian Institution, along the Mall at
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had on the collector and deserve further explanation. The first is with painter,
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Rhoades, Katharine Nash. “An Appreciation of Charles Lang Freer (1856–1919).”
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Freer, Charles Lang; Whistler, James McNeill (1995). Merrill, Linda (ed.).
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In addition to Whistler, Freer developed large collections of the artists
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East Asian Art and American Culture: A Study in International Relations
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Freer's philosophy was clear when it came to collecting. In their book
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himself and other important American art collectors and patrons.
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Lawyer - The Tragic Life and death of Thomas Spencer Jerome.
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The 1916 groundbreaking ceremony for the Freer Gallery of Art
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Records of the Columbia Historical Society, Washington, D.C
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Brunk, Thomas W. (1981). "A Note on Charles Lang Freer".
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acquisitions would stay with the patron until his death.
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In 1916, construction began on what is now known as the
1082:. New York: Columbia University Press. pp. 71–73.
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Mansfield, Howard (1935-01-01). "Charles Lang Freer".
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Charles Lang Freer, Pioneer Collector of Oriental Art
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711:Pope, John A. (1969). "The Freer Gallery of Art".
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554:On December 15, 1905, Freer sent U.S. President
418:. During his tenure in Japan, Fenollosa studied
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927:"Charles L. Freer, Art Collector, Dies"
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1179:"The Legacy of Charles L. Freer"
1177:George Bulanda (February 2008).
1125:. Smithsonian Institution Press.
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1159:About Charles Lang Freer
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441:Freer: A Legacy of Art,
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1025:(4): 54–68.
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981:(5): 16–31.
978:
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937:. Retrieved
933:
920:
903:
899:
854:(1): 75–97.
851:
847:
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813:
802:. Retrieved
798:
789:
764:
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734:2 (1957): 1.
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658:time capsule
651:
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435:Core Beliefs
429:
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383:Dwight Tyron
374:
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336:
310:
303:Gotham Hotel
300:
283:neurasthenia
279:
236:
199:
174:
158:
157:
116:74°00′21.2″W
113:41°55′24.4″N
79:(1919-09-25)
1205:1919 deaths
1200:1854 births
608:World War I
522:, 451 from
520:Middle East
514:, 513 from
403:Wilson Eyre
401:architect,
348:Old Masters
144:Businessman
128: /
1194:Categories
1115:References
1089:0231076444
804:2017-03-16
311:stroke of
196:Early life
163:East Asian
141:Occupation
51:1854-02-25
975:Parnassus
781:189344278
767:: 16–23.
685:Footnotes
454:Nuremberg
405:in 1890.
291:Catskills
269:in 1899.
214:New Paltz
191:Biography
939:29 March
912:23075931
906:: 6–38.
668:See also
518:and the
512:Egyptian
510:, 1,697
508:Japanese
318:Fine Art
313:apoplexy
287:Canadian
206:New York
202:Kingston
167:American
90:New York
63:New York
59:Kingston
1039:1594179
868:3046158
584:curator
504:Chinese
470:Cologne
466:Hamburg
458:Dresden
251:Detroit
1086:
1037:
995:771128
993:
910:
866:
779:
462:Berlin
450:Munich
446:Venice
393:, and
1035:JSTOR
991:JSTOR
930:(PDF)
908:JSTOR
864:JSTOR
777:S2CID
629:Other
619:1912
614:Works
588:Asian
524:Korea
516:India
378:Rimpa
297:Death
1084:ISBN
941:2012
656:, a
652:The
590:and
468:and
414:the
74:Died
45:Born
1027:doi
983:doi
856:doi
769:doi
179:by
1196::
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1143:.
1033:.
1023:11
1021:.
1003:^
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904:40
902:.
876:^
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852:79
850:.
838:^
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765:59
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751:^
721:^
693:^
645:,
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