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Kit Brooks
<p>The Japan Foundation Assistant Curator of Japanese Art Kit Brooks holds a PhD in Japanese art history from Harvard University (2017), studying under professors Yukio Lippit and Melissa McCormick. Specializing in prints and paintings of the Edo and Meiji periods, their primary research interests revolve around the reevaluation of &ldquo;eccentric&rdquo; artists of the eighteenth century, &#8230;</p>

Emma Natalya Stein
<p>Assistant Curator of South and Southeast Asian Art Emma Natalya Stein joined the Freer and Sackler as curatorial fellow for Southeast Asian art after completing her PhD in the History of Art at Yale University (2017). Her research centers on the relationship between sacred architecture and tropical landscapes in premodern South and Southeast Asia, with &#8230;</p>

The Mary and Cheney Cowles Collection
<p>p:empty{display:none;}h2.entry-title{line-height:1;font-size:1.375rem;font-weight:600;margin-bottom:0.5em;}.all-results p{margin-bottom: 0 !important;} The Mary and Cheney Cowles Collection is the most significant addition to the Japanese painting and calligraphy collections of the Freer Gallery of Art since the museums founding. The bulk of the gift of 260 works consists of early modern literati painting and calligraphy from the seventeenth to the early nineteenth &#8230;</p>

Strategic Plan 2020-2025: Director’s Letter
<p>In a world of intensifying global connections, kaleidoscopic perspectives, and virtual realities, where does one go to make sense of things? Museums are places where one can find ways&mdash;through seeing, comparing, and appreciating&mdash;to understand and appreciate varieties of human experience. Like maps, museums tell us both where to look and how to look. And just &#8230;</p>
a visitor looks at a japanese screen

Strategic Plan 2020-2025
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Whistler in Watercolor
<p>Online catalogue launches in November 2019 The Freer Gallery of Art is home to the worlds largest collection of watercolors by James McNeill Whistler. Originally acquired by museum founder Charles Lang Freer, the collection comprises more than fifty seascapes, figures, interiors, and nocturnes. This online catalogue introduces the artists vast creative output in watercolor and &#8230;</p>

The Buddhist protector Nechung Chogyong
<p>This dynamic Tibetan thangka, a painting on cloth made for meditative worship, combines the gruesome imagery of Himalayan wrathful beings with delicate details. Robust forms gracefully arch and swoop. Garments, hair, and ornaments respond to bodily movement. We can almost hear the beat of a drum and the open-mouthed roar of the deity who protects &#8230;</p>

Kaiunbashi Bridge (First National Bank in Snow)
<p>Arguably the series of prints Pictures of Famous Places in Tokyo (187681) is the most memorable and groundbreaking work by Kobayashi Kiyochika. It offers unique perspectives on sites in and around the capital city as it underwent vast physical and social change during the Meiji era (18681912). Kiyochika focused particularly on how the light created &#8230;</p>
Collage of textile fragments with Japanese writing and floral motifs.

Album of textile fragments
<p>The accordion-fold Japanese album preserves 314 fragments of Chinese and Japanese textiles dating from the fifteenth through the nineteenth century. Each fragment is labeled in ink on a separate slip of paper. Both sides of each page are used. This format is known as a meibutsugire-chō, album of fragments of famous textiles. The size of &#8230;</p>
Two men on a boat with dozens of seagulls in the air

Umesh and Sunanda Gaur Collection
<p>The addition of the thirty-four works in the Umesh and Sunanda Gaur Collection, with works by seventeen well-recognized artists from India and Pakistan, significantly expands the museums holdings of South Asian photography from the nineteenth century to the present. The subject matter and format of these photographs complement our archival collection of early Indian landscape &#8230;</p>