A Perfect Harmony: The American Collection in the Smithsonian’s Freer Gallery of Art

Title: A Perfect Harmony: The American Collection in the Smithsonian’s Freer Gallery of Art
Author List: Lee Glazer
Publisher: Freer Gallery of Art, Smithsonian Institution
Publication Date: 2013
Publication Type: book
Format: print (softcover)
Pages: 239
ISBN: 9780934686211
Collection Area(s): American Art
A Perfect Harmony book cover. Cover image: A painting of a woman in a light blue dress against a dark background. She looks to her left, hands on her hips.
Description:

American art occupied a key role in the collecting philosophy of Charles Lang Freer, the founder of one of the world’s foremost museums of Asian art. Indeed, it was an American, the expatriate artist James McNeill Whistler, who shaped Freer’s cross-cultural aesthetic philosophy. The two men met in 1890 and over the next thirteen years, Whistler helped Freer amass what the artist called “a fine collection of Whistlers!!—perhaps The collection.” Whistler also encouraged Freer to visit Asia and seek out “the story of the beautiful,” from which his own art was descended. Freer thus conceived of his museum as a monument to Whistler and the “points of contact” between East and West, ancient and modern, that he believed the artist’s work embodied. Freer’s relationships with Whistler and other American artists are the focus of A Perfect Harmony.

Related Exhibition

  • Detail of a painting of spring trees in a field, with an orange sun low in the sky over the horizon.

    A Perfect Harmony

    November 27, 2019–October 8, 2023

    Juxtaposing American and Asian art is a legacy of the founder of our museum, Detroit industrialist Charles Lang Freer. He believed in a universal language of beauty that resonated across time, space, and cultural diversity. Freer’s taste in American art was formed in the Gilded Age, but he favored refinement over ostentation. He disdained the avant garde abstraction that transformed American art after World War I. He forbade additions to his American collection after his death in 1919, and it remains a time capsule of Gilded Age aestheticism. Nevertheless, it was through American art of his own time that Freer developed the habits of quiet contemplation and intelligent comparison that he hoped to share with future generations of museum visitors.

    View Exhibition