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28collectingITISWELLKNOWNTHATCharlesLangFreer18541919awealthyrailroadindustrialistandartcollectorgitedtothenationhiscollectionoAsianandAmericanartalongwithamuseuminwhichtohouseitinWashingtonD.C.fg.11.YetewpeopleareawarethataterFreersettledhisdonationagreementwiththeederalgovernmentin1906overthecourseotherestohisliehealsogavesmallportionsohiscollectionasgitsorbequeststoseveralartinstitutionsandcollegemuseumsinthiscountry.1TheSmithCollegeMuseumoArtwasortunatetobeamongtheseinstitutionalrecipientswithFreersfrstgroupogitstotheHillyerArtGalleryasitwasthenknownconstitutingitsinauguralcollectionoAsianartin1913.SmithwasamongthefrstAmericancollegestoincludethestudyofneartswithinitsliberalartscurriculumwhosedesignwasdescribedinan1872prospectusbythetrusteesMoretimewillbedevotedthaninothercollegestoaestheticalstudytotheprinciplesonwhichthefneartsareoundedtotheartodrawingandthescienceoperspectivetotheexaminationothegreatmodelsopaintingandstatuary....2ToreachthisgoalSmithCollegeinstalledanartgalleryinCollegeHallbuiltin1875andmadeitsfrstacquisitionsooriginalartin1879.TheCollegealsooundeditsartdepartmentin1882andayearlaterdedicateditsnewartgallerytoWinthropHillyeralocalbusinessmanwhohadbequeathedasubstantialundtosupportitsconstructionandorthepurposeoacquiringoriginalart.In1886DwightWilliamTryon18491925asuccessulHartordbornlandscapepainterwasinvitedtoinstructstudioclassesandadviseonartacquisitionsfg.12.DuringhisthirtysevenyearsatSmithProessorTryontooktheleadineducatingwomenartistsandworkedwiththeCollegesfrstpresidentL.ClarkSeelye18371924toestablishafrsttiercollegeartmuseum.VISIONBEYONDBORDERSThLegcyofdwityoncalesfreerFANZHANG 29FIG.11.EdwardSteichen.American18791973.CharlesFreerc.191516.Photograph.CollectionofGeorgeEastmanHouseInternationalMuseumofPhotographyRochesterNewYork.FIG.12.MarceauStudioNewYork.DwightWilliamTryon1912.Cabinetphotograph.CharlesLangFreerPapersFreerGalleryofArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GiftoftheEstateofCharlesLangFreer. 30THELEGACYoFDWIGHTTRYoNANDCHARLESFREERSmithCllegesacquisitinFreersgitsandbequestsAsianartmainlyresultedrmTrynsassciatinwithFreerwhwashismajrpatrnandriendrmanyyears.TrynandFreerhadcmmninterestsinAmericanandAsianartandjintlycntributedttheCllegespineeringcmmitmenttdisplayingandacquiringAsianartattheturnthelastcentury.YetgiventheMuseumsstrengthsinnineteenthandtwentiethcenturyWesternarttheTrynFreerrelatinshipanditsrmativerleinestablishingalegacyexhibitingAsianartatSmithCllegehavebeenlargelyunexplredinthegeneralhistrytheMuseum.ThererethisessayandtheCollectingArtofAsiaexhibitinasawhleseekstrestretheplaceAsianartintheMuseumshistryandtestablisharmbaserbuildingnthegrundwrkthatTrynandFreerhadlaidtgether.FreernevermarriedbutpursuedhistruelveAsianthughthentermedorientalartwhichheenthusiasticallycllectedrmrethantwdecades.3Inacthiscllectingchicesrarelycnrmedtthsehiscntemprariesduringthelatenineteenthcentury.WhenmstAmericancllectrswerenlyinterestedinEurpeanmasterpaintingsandsculptureFreerbeganbycllectingcntempraryAmericanartandcusednaewartistshelikedincludingtheamusexpatriateartistJamesAbbttMcNeillWhistler18341903.AlthughlesswellknwnthanWhistlerDwightTrynwasalsakeymemberFreerscircleartistriendswhsewrksFreerpassinatelycllected.In1889FreerrstmetTryninNewYrkCitywhereTrynhadestablishedastudiaterspendingnearlyveyearsstudyingartinFrance.4InTrynsstudiFreerwasimmediatelyattractedtTrynsutdrscenesandpurchasedhisrstTrynpaintingTheRisingMoonAutumntheFreerGalleryanexceptinalwrkthatwuldsnhelpTrynwintwprincipalawardsininternatinalartexhibitins.5FreersaestheticsensibilityandtasterespndedwelltthesubtleclrsandcareullystructuredcmpsitinTrynspaintings.BelievingthatFreerwasnetheewpeplewhtrulyunderstdhiswrkTrynferedtdecratethewallpanelsthelivingandreceptinrmsinFreersDetrithmeaprpsalFreerhappilyacceptedin1891.AnxiustmeethispatrnsexpectatinsTrynspenttwyearsnishingasetsevenpaintingsthatincludedurseasnallandscapestwseascapesandanethereallandscape.6ThesepaintingscntributedtaharmniusatmspherethatFreersughttcreateinhishmewherehiscllectinsartweredisplayedin 31settingsdecratedinsubduedclrschemes.TheTnalistexperimentsTrynpursuedduringthislngprjectgreatlyshapedhislaterstylisticdevelpment.InparticularTrynmusthavecnsideredtheprinciplesAsianartinrdertcatertFreerstaste.WhilecmmentingnthesuccessulapplicatinclrsintherstpanelpaintingthisprjectSpringtimeTryntldFreerthattheclrandrmalelementsthispaintingremindedhimsmeveryldJapanesewrkswhichencuragedhissearchranindenableminglingrealandidealinthislandscapeg.13.7InthellwingyearsFreerbecameTrynsprincipalpatrnandassembledagrupmrethanseventywrksbythisartistwhicheventuallybecamesecndinsizenlythiscllectinWhistlerspaintings.FreerrepeatedlyexpressedhisadmiratinrtheevcativescenesandmdshitsdiferentseasnsandtimesdayinTrynslandscapeswhichhethughttenpssessedapeticsplendrrivalingnaturehersel.8AtthesuggestinartistandcllectrriendssuchasWhistlerFreertheninhisthirtiesbegantcllectJapaneseart.HisrstacquisitinqualitywasasmallanpaintingbyogataKrin1658-1716purchasedrmaNewYrkdealerin1887.9AttractedbytheaestheticprinciplestheorientFreerexpandedhiscllectinashisinterestgrewvertime.ItisntsurprisingthatthepaintingsbthWhistlerandTrynplayedakeyrleinshapingFreersvisinrcllectingAsianartallwinghimtbetterappreciatesubtletiesclrandtexturewithhiscultivatedeye.10TheelabratesuracequalityTrynswrkrinstanceFIG.13.DwightTryn.Springtime.1892.oilncanvas38x83in.96.8x211.4cm.FreerGalleryArtSmithsnianInstitutinWashingtnD.C.GitCharlesLangFreerF1893.14. 32THELEGACYoFDWIGHTTRYoNANDCHARLESFREERparticularlyattractedFreerleadinghimtcmpareTrynsDaybreakMaytheFreerGallerywithaJapaneseceramicpiecethatbelngedtthepainter.FreertldhimIthinkwhenyuputthenishingtuchesttheskyyumusthaveinmindthepinkushnthebigwhitebwl.11ThiscmmentcallstmindaphtgraphshwingFreerexaminingWhistlersVenusRisingfromtheSeasidebysidewithapieceBabylnianptteryandsearchingrparallelsinthesetwwrksverydierentriginsg.14.SimilarlyFreercmparedthesuraceTrynspaintingwiththeglazeJapaneseceramicsappreciatingTrynssubduedsuggestivelayersclrthatundtheirechinthetnalchangestheceramicglaze.LikeWhistlerwhcreativelyappliedrientalprinciplestexpressccidentaleelingTrynalssughttachievearesnanceclrandtextureinhislandscapepaintings.12InterestinglyalaterphtgraphthestudiinhisHarperleyHallapartmentshwsthatTryndisplayedAsianceramicsandprintsrmwhichheculddrawinspiratinwhilepaintingg.15.IndeedFreerwasamngtherstAmericancllectrswhlearnedtappreciateelementscmmnttheartstheWestandtheEastandtdedicatehimseltsharinghisinspiratinthrughhiscllectins.FreersriendandcnsultantinAsianartErnestFenllsa18531908rmerlythecuratrJapaneseartattheBstnMuseumFineArtsncedescribedFreerscllectinandrenedtastethiswayAmuralpaintingbyKanEitkuateabwlbyKenzanandanilseascapebyWhistlerachievesimilardelicatetnaleects.13InactthispineercllectrspecicallyaimedtacquirewrksthatwuldcreateaFIG.14.AlvinLangdnCburnAmerican18821966.CharlesL.FreercmparingWhistlersVenusRisingfromtheSeatanIslamicglazedpt1909.Platinumprint.CharlesLangFreerPapersFreerGalleryArtandArthurM.SacklerGalleryArchivesSmithsnianInstitutinWashingtnD.C.GittheEstateCharlesLangFreer.FIG.15.TryninhisstudiathisHarperleyHallapartmentNewYrkc.1920.FrmHenryC.WhiteTheLifeandArtofDwightWilliamTryonBstnHughtnMifin1930120. 33harmonyobeautiulsuracesormsandcolorsromdiferentregionsandculturespresentingabalancewithinhiscollectionandrevealinganultimatesenseobeautyg.16.14ThisruitulartisticsynthesisthereorebecameFreerspowerulpersonalstatementasaneccentriccollectoroAsianandAmericanart.FreersexperiencesotravelinginAsiaalsohelpedhimtoappreciateTryonsartandtondaspiritualresonancebetweentheEastandtheWest.InaletterwrittentoTryonromJapanwherehespenttwomonthssightseeingandviewingartinmanyamouscitiesFreersaidIalsosympathizewithyourafectionorthecharacteroNewEnglandscenerybutIthinkonegrowstogreaterintimacykeenerappreciationotheobjecthemostlovesaterhismemoryhasbeentonedbyotheragreeableimpressionsshadowyrecollectionsounknownplacesglimpsesoarawaycoastsandstrangehorizonsleaveamysterioussomethingwhichIthinkinpartisthebasisowhatwecalltheimagination....15SoonaterhisreturnromJapanin1907FreerreceivedTryonsnewpaintingTheSeaEveningwhichembodiedanoverwhelmingeelingothevastnessandpowerFIG.16.GeorgeR.Swain.American19th20thcentury.JamesMcNeillWhistlersPeacockRoominCharlesL.FreersDetroitresidencenorthwallLaPrincessedupaysdelaporcelaine1908.Glassnegative.CharlesLangFreerPapersFreerGalleryoArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GitotheEstateoCharlesLangFreer. 34THELEGACYoFDWIGHTTRYoNANDCHARLESFREERtheseag.17.ThesubtlegradatindarkblueinthisseascapealsrefectsacldausteritythatpssiblyinspiredTrynwhiletravelingtMaineearlierthatyear.InalettertTrynFreerexpressedhisexcitementabutthequalitythispaintingcmparingitttheamusmasterpieceshesawinKytItisawonderMarvelouslyconvincingtremendouslypowerulandextremelydignifed.Nothingcouldbemoretruthulandatthesametimesosubtle....CertainlyIhaveseennothingmoresuggestiveothatparticularmoodothesea.ThecoloringisverybeautiulanditsdirectnessrecallstheworkothegreatmastersotheearlyKanoschoolSesshuSessonandMasunobu.InoneothegreatKyototemplesthereisaninkpaintingoahugewaterallbyaSungpaintercalledOkamatsu....Ibelieveittobeoneothegreatestpicturesinexistence.YouIamsurewouldbeascinatedbyit.Itsgreatqualitiesaresimplicitylineandntanlightanddark....16FreerparticularlycmparedTryntnethebestAsianmastersWangWei699759Tang-dynastyChinacitingthewrkbthartistsassurcesspiritualinspiratin.InhisreplyTrynagreedthatartistsdierentculturesandperidsallhadtheabilitytcaptureinrmandcmpsitinthesubtleeectsnaturebecausetheyallbelngedtatimelesscmmunitycreativeindividuals.17IndeedtheartistandhispatrnsharedarenedtasteandbeliethatcametundamentallyshapetheirviewsarteducatinandcllectingtheFIG.17.DwightTryn.TheSeaEvening.1907.oilncanvas30x47in.76.2x121.8cm.FreerGalleryArtSmithsnianInstitutinWashingtnD.C.GitCharlesLangFreerF1907.151. 35greatartistictraditionsoWestandEasthadparallelsincapturingthewondersonatureandconveyingspiritualinspiration.AsadedicatedcollectorFreerbynomeansonlywishedtopossessworksoartassymbolsopersonalcultivationandwealth.Insteadheregardedhimselastheguardianoneexamplesoartwhichheintendedortheeducationandinspira-tionoothers.Inlate1904Freerproposedaplantogivemuchohiscollectiontothenationalongwithaundortheconstructionoagallerytohouseitandormakinguturepurchases.WiththehelpohisbrotherWilliamL.FreerandPresidentTheodoreRoosevelttheSmithsonianInstitutionacceptedhisproposalinearly1906.18IntheollowingyearsFreermanagedtoexpandhisdonationtothenationandamassedthemajorityohisAsiancollection.Heparticularlywishedorittobeusedtoteachstudentsandspeciedinhiswillthatspecialarrange-mentsbemadeorstudentsandscholarstoviewanyobjectsnotonexhibition.In1923theFreerGalleryoArtnallyopenedinWashingtonD.C.housingmorethan9000worksoneothelargestcollectionsoAsianartatthattime.AwareothededicationohisriendandthesignicanceohiscollectingmissionTryonintroducedFreertoapromisingexhibitionopportunitywithintheSmithcommunity.WithTryonshelpFreerorganizedtherstpublicexhibitionohisAsiancollectionattheHillyerArtGalleryinFebruary1897ayearaterhisinitialtriptoJapan.ThisexhibitionwhichincludedtwentysixJapanesepaintingsandourscreenpanelswasamongtheearliestAsianartexhibitionsinNewEngland.19AlocalnewspapertheDailyHampshireGazetteFebruary171897reportedthatthisexhibitionwasreceivedwithgreatenthusiasmbyNorthamptonresidentsandaboutsixhundredvisitorsattendedtheopening.ThepublicwasdelightedbytheantasticdisplayopaintingsinthelargegalleryandbytheexceptionalqualityoJapaneseartaboutwhichmostknewlittle.ThisresponseinspirednearbyWilliamsCollegetoinviteFreertobringhisshowtoitsowncampusthatsameyear.ThewarmreceptioninwesternMassachusettsaswellastherisingpublicinterestinJapaneseartencouragedFreertowithdrawcompletelyromtherailroadbusinessanddevotehimseloverthenexttwodecadestocollectingAsianart.FromtheircorrespondenceweknowthatTryonwasverypleasedthatFreeroferedthisintroductoryJapaneseartexhibitionasanopportunityortheSmith 36THELEGACYoFDWIGHTTRYoNANDCHARLESFREERcmmunitytappreciateartrmtherculturesandtheprinciplesitshareswithWesternart.HeparticularlypraisedanumberinterestingpaintingsincludingKurdaTksCarpwhichisnwattheFreerGalleryArtg.18.20InterestinglyTrynhimselwasalverbatingandshingandtenenjyedsummerutdractivitiesnthecastNewEngland.SurelyFreerwasrememberingthispastimehisldriendwhenhesentTrynaMingdynastyhangingscrllagiantjumpingcarpawrkthatTryneventuallygavettheMuseumin1921cat.n.9.21InfuencedbyFreerTrynalsbegantcllectJapaneseprintsandChineseceramicsinthemid1890sreceivingccasinalgitsvertheyearsaswellasabequestAsianantiquitiesrmFreer.ocurseFreerwasasignicantinfuenceinpersuadingTryntheimprtantrlethatartrmnnWesternculturesculdplayinthedevelpmentstudentsabilitytcreateandappreciateart.InalettertTrynFreerwrtetheappreciatinbeautyculdbestrengtheneddeepenedandbradenedbyintelligentcmparativestudysuggestingthatAsianartshuldbeusedthelpstudentsWesternartsearchrultimatebeauty.22TryncertainlyhadlearnedthrughFreersexhibitinthevalueAsianartrteachingstudentsanderingviewersinspiratinalmmentsespeciallyatatimewhentheArtsandCratsMvementbegantthriveinNewEngland.AsaresultinMarch1901FIG.18.KurdaTk.Japanese17851846.Carp.Edperidrsthal19thcentury.Hangingscrllinkandclrnsilk17x33in.44.9x85.8cm.FreerGalleryArtSmithsnianInstitutinWashingtnD.C.GitCharlesLangFreerF1896.92. 37TrynarrangedrFreerthaveasecndexhibitinintheHillyerArtGallerywhicheaturedthirtyveukiyoepaintingsrmFreersrecentacquisitins.23NtlngbereFreerhadpurchasedseveralgenrepaintingsrmthermerFenllsacllectinandwasparticularlyinterestedintheuncnventinalstylesandartisticinnvatinsukiyoeartists.ThusinsteadprvidinganensembleexamplesrmdierentschlsFreerchsetexhibitthesegenrepicturesterviewersthekeenerpleasureandmredirectknwledgetheaimsandmethdstheprincipalmasterstheschlwhichwasrsttbreakawayrmacademicpractices.24AterhissecndtriptJapanin1907FreerbecameincreasinglyinterestedinChineseartbecausehehadlearnedrmJapanesecllectrsthatitwasthesurceinspiratinrmanyJapaneseandKreanwrks.HealsundthatewcllectrswerecmpetingveranincreasingsupplyChineseartwhichwhencmparedtJapaneseartwasstillundervalued.TherereFreermadetwspeciallngtripstChinawhereheundmanyacquisitinpprtunitiesandbrughtbackalargegrupbeautiulantiquities.25BecausethemajritycllectrsdidntbthertmaketheirwnsearchinChinaFreerwasabletseizethepprtunitytbtainpaintingsbelievedtbewrksTangandSngpaintersacusthatheenthusiasticallypursuedrtheremainderhislie.26HweverinMay1911justamnthaterhisreturnrmChinaFreersueredasuddenstrkethatpreventedhimrmundertakinganyurtherinternatinaltravel.YethedidntlsehisstrngsensemissintbringwrksartrmtheFarEasttAmerica.InsteadtravelingtAsiahimselhenwcusednbuyingwrksrmdealersintheU.S.andagentsinAsia.HealsbegantassistthedevelpmentAsianartcllectinsinnewpublicandacademicmuseumsacrssthecuntryrexamplewithaspecialgitttheoberlinCllegeMuseumArtinthehpethatappreciatinAsianartwuldeventuallytakertwithincllegemuseumsinthiscuntry.27FreeralsshwedawillingnesstpreserveAsianartbjectsintheirriginalcntexts.HentnlyjinedinthesuccessullbbyingrtheAmericangvernmentsinspectinimprtedantiquitiestkeeputthsewithquestinableprvenancebutalsplannednundingaschlarchaelgytcnserveandexcavateantiquitiesinBeijing.28ItisinthiscntextthatSmithCllegereceiveditsrstgitAsianartrmFreerinJanuary1913agitcmprisingtwelvecarvedwdenandlacquerpanelswithvariusfralandguralsubjects.GiventhattheCllegepreviuslyhadalmstnAsianartTrynandAlredVanceChurchill18641949thechiecuratr 38THELEGACYoFDWIGHTTRYoNANDCHARLESFREERandrstdirectrtheHillyerArtGalleryweredeeplyawarethevalueFreersgitsandtheptentialrurtherassistancermthisgeneruscllectr.Snaterthearrivalhisgitstheyselectedsmethemtdisplayinthegallery.ThrughFreersintrductinLaurenceBinyn18691943keeperorientalprintsanddrawingsattheBritishMuseumwasinvitedtgivesixcnsecutivelecturesnorientalartatSmithinNvember1914.29TheCllegealsinvitedPressrMasaharuAnesaki18731949theundertherstreligiusstudiesprgraminJapantpresentatalkthatmnthnJapaneseBuddhism.InactFreerlvedtinviteschlarstgivelecturesandtenpersuadedmuseumstrganizeeducatinalprgramslinkedtAsianartexhibitinsbasednhislans.30AvaluablebyprductthelectureinvitatinswastheexperthelpthattheMuseumwuldsnreceive.WithmneyrmtheHillyerFundnbehaltheMuseumBinynpurchasedinEurpemrethanthirtyrepresentativeJapaneseprints.AtertherenvatintheinterirthesecndfrgalleriesaselectintheseprintsalngwithgitsceramicwaresrmTrynandaewtherswasaddedtcmpletetheinauguralgalleryinstallatinAsianart.Aphtgraphtakenarund1915recrdsTyrnandChurchillwrkingtgetherinarmnextttheAsianartgallerywhichwasamngtheearliestsuchdisplayareassetasiderAsianartincllegemuseumsthattime.JapaneseprintsandChinesewdcarvingsaredisplayedntwwallsthisgallerywhileceramicwrksaregatherednshelvesandpedestalsg.19.31ThetasteulinstallatinthisgallerydemnstratestheaccmplishmentsTrynandFreerintheirerttdevelptheMuseumscllectinintheearlyyearsthetwentiethcentury.In1915FreermvedrmhisDetrithmetaNewYrkCityhtelrminrderthaveeasieraccessthisdctrs.TheredespiteailinghealthhecntinuedpurchasinglargequantitiesartandassistingthedevelpmentaewmuseumsthatheavredbyeringadvicentheiracquisitinsAsianartandprvidinglansttheirexhibitins.32FreeralshelpedsmeprivatecllectrsAsianartincludingEugeneandAgnesMeyerNewYrkandMargaretW.ParkerDetritwhwereinspiredbyhimteventuallydnatetheirAsiancllectinstthermuseumsinthisnatin.ThrugheringbthgitsartandhispersnalexpertiseincllectingFreermanagedtencuragehisellwAmericanstrecgnizeandappreciatethebeautyAsianart.FreercntinuedhissupprtSmithCllegethrughgitsandadvicenarteducatin.33HelearnedrmTrynthewrkbeingdnethereandsent 39phtgraphshiscllectinwithaninquiryabuttheMuseumsinterestinurthergits.Inthewinter1916heaskedTryntbringtSmithapanelpaintingTheFlyingDuck.InMay1917FreerpersnallyselectedagrupteachingsamplesincludingeighteenJapaneseandChinesepaintingsnineceramicwrksandthreegiltbrnzeBuddhistsculpturesrmSiam.HewrtetChurchillReturnstrengthhasenabledmerecentlytgthrughthecllectininmycareandrmitIhavechsenrpresentatintSmithCllegecertainbjectswhichIcnsidermaybeuseultyurstudentsandwhichItrustiagreeableyuwillacceptwithmycmpliments.34TacilitatethesegitsFreerprepaidtheirpackingandshippingchargesandprvidedshrtntesntheirprvenance.ThevaluehisgitswasrecgnizedinaletterrmChurchilltCllegePresidentMarinL.BurtnItisarepresentatinthearttheEastwhichlateyearsiscmingtbemreandmrecnsideredbythebestjudgesanditwillbeparticularvalueintheteachingabstractqualitiesdesigninthecursesinDesigngivenatSmithCllege.35FreersassistancettheMuseumincllectingAsianartwascutshrtbyhisdeathnoctber251919.YethestillrememberedtheMuseumsuturedevelpmentinhislastdaysandparticularlyntedinhiswillabequestFIG.19.InterirviewthesecndfrgalleryAsianartintheHillyerArtGallerywithBeulahStrngDwightTrynseatedandAlredVanceChurchillc.1915.SmithCllegeArchives. 40THELEGACYoFDWIGHTTRYoNANDCHARLESFREERadditinalartwrkstsupprtartinstructinatSmithCllege.BasednFreersspecicwishhisexecutrsprvidedadditinalexamplesEastAsianpaintingsin1919and1920alngwithverahundredetchingslithgraphsandengravingsbyFrenchandAmericanmasters.36TheMuseuminturnrganizedanexhibitininFreersmemryOrientalPaintingsandLacquersfromthePermanentCollectionoftheCollegeBronzesandPotteryLentbyT.OnoNvember26December191919.GarrettC.Pier18751943aschlarorientalartandriendFreerwasinvitedteranexhibitinlecturenChineseinfuencenthepaintingandsculptureJapan.AterthearrivalthenalbjectsrmFreersbequesttheywereallexhibitedinthegalleryinMay1920.37IFreersughttdnateandexhibithiscllectinasawaynurturingpublicappreciatinrAsianartTrynpassinatelyusedhisartandknwledgetteachstudentsinmuseumsandstudis.AsAlredChurchillrecalledTrynwuldleavehisstudiwrkinNewYrkandcmetNrthamptneverytwrthreeweeksduringthesemester.HistrainnrmallyarrivedThursdayaternnandhethenreadintheFrbesLibrarythatnight.HisstudiclassesnFridaymrningtenhadmrethansixtystudents.DuringhisstayncampusTrynlvedcntactwithyungmindsandwasalwaysreadytprvideinspiratin.HetenspkewithenthusiasmhiswnteachertheFrenchBarbiznpainterCharlesFranisDaubigny18171878andhisriendWhistlerwhmhecnsiderednethegreatartistshistime.ItisntsurprisingthatTrynalsspkeabutFreernethegreatcnnisseursAmericanandAsianart.38InadditinthisteachingdutiesTrynwasalwaysinterestedinprmtingtheMuseumasameanssteringandsupprtingeducatininthearts.HentnlyemplyedhiswncnnisseurshipskillandexquisitetastetmakesuggestinsnacquisitinsbutalsusedhisreputatinandpersnalcnnectinstencurageartiststgivetheirwrkstSmith.TryncntinuedtgivehiswnwrksduringhistenureatSmithincludingRiverMaasatDordrecht1881andOctoberFields1914whichrepresentedhisearlyandlatelandscapestylesrespectively.39FllwinghisguidancetheMuseumassembledalargenumberexceptinalwrksthatdemnstratedthedevelpmentandachievementsAmericanartinthelatenineteenthandearlytwentiethcenturies.LikehisriendCharlesFreerTrynbelievedthataccesstandknwledgennWesternartwuldsteramregeneralappreciatinuniversalprinciples 41obeauty.ItisnoteworthythatTryonhimselhadcontributedtothegrowingAsianartcollectionatSmithhemadehisfrstgitoAsianartinearly1914soonaterFreergavehistwelvecarvedpanels.In1921TryongavetheMuseumhiscollectionoseventyfveJapaneseukiyoeprintswhichhebelievedwouldhavevalueincultivatingstudentstasteinartanddesign.TheMuseumreceivedanadditionalbequestromhiswidowAlicein1930includingsomeeightypiecesoAsianceramicsandmetalwork.40Moreimportantlythisartproessorandhiscollectorriendsharedtheviewthatuniqueworksoartshouldbeavailabletothepublic.ThepioneeringgestureoFreertodonatehiscollectionorpublicbeneftmusthaveinspiredTryonsgittotheCollegeohisownartcollectionalongwithanendowmentorutureartpurchases.41ConvincedthattheexhibitionspaceotheoldHillyerArtGallerywasinadequatetoprovideacomortablespaciousenvironmentorstudentstostudyartTryonalsodonatedundstobuildamuseumtohousetheCollegesgrowingartcollection.AtwostoryNeoGeorgianstylebuildingdesignedbyFrederickL.Ackerman18781950acloseriendoTryonbecamethenewhomeotheSmithCollegeMuseumoArtwhichopenedtothepublicinSeptember1926fg.20.42GiventhatthesystematiccollectingoAsianartwasjustbeginninginthiscountryduringtheearlytwentiethcenturyFreersandTryonsdonationstotheMuseumdemonstrateapioneeringvisionothevalueononWesternarttoaliberal-artseducation.ThroughhisgitstothenationFreersuccessullymadehispersonalquesttobridgeEastandWestintoapublicventure.HealsospreadtheFIG.20.ExteriorviewothenewTryonArtGallerynexttotheoldHillyerArtGallery1926.SmithCollegeArchives. 42THELEGACYoFDWIGHTTRYoNANDCHARLESFREERseedsAsianartamngnumeruscllegemuseumstenablemrestudentstbeexpsedtFarEasternartandculture.TrynnthetherhandusedhisriendshipwithFreeraswellasthednatinhiswncllectintblsterarteducatinandcllectingatSmithCllege.InshrtthesetwclseriendswerepartnersinapineeringventuretheyexplredtheaestheticresnancetheyundbetweenEasternandWesternartandcllabratedtspreadknwledgeandappreciatinAsianart.TheirefrtscursesuccessullylaidthegrundwrkrSmithCllegescmmitmenttcllectinganddisplayingAsianarttsupprtaglbalcurriculum.TheirvisinideasandenthusiasmhaveinspiredgeneratinsSmithstudentsandacultymemberstlearnabuttheartAsiaandtappreciatetheculturesthers. 431FrinstanceFreermadegitsttheoberlinCllegeMuseumArttheDetritInstituteArtstheMinneaplisInstituteArtsthePeabdyMuseumatHarvardUniversitytheMemrialHalltheUniversityMichiganthermerUniversityMuseumandtheArtDepartmentWilliamsCllege.FrmreinrmatinabuttheinstitutinalrecipientstheFreergitsseeSubseries5.25ArtInventriesEstateDistributinPersnalPrpertyintherecrdsFreersdcumentsandlettersattheFreerGalleryArthereaterFreerpapersFGAarchives.2SmithCllegeImageandWordArtandArtHistoryatSmithCollegeNrthamptnMASmithCllege200315455.3AlineB.SaarinenTeaandChampagneCharlesLangFreerinTheProudPossessorsTheLivesTimesandTastesoSomeAdventurousAmericanArtCollectorsNewYrkRandmHuse1968128.AlsseeRbertE.FisherCharlesLangFreer18561919inAmericanCollectorsoAsianArtPratapadityaPaled.BmbayIndiaMargPublicatins19861011.4ItisntablethatinthatsameyearTrynspaintingTheFirstLeavesintheMuseumscllectinwntheprestigiusWebbPrizermtheScietyAmericanArtistsin1889.LindaMuehliged.MasterworksoAmericanPaintingandSculptureromtheSmithCollegeMuseumoArtNewYrkHudsnHillsPress1999104107cat.n.31.5HenryC.WhiteTheLieandArtoDwightWilliamTryonBstnHughtnMifin19307778.AlsseeLindaMerrillAnIdealCountryPaintingsbyDwightWilliamTryonintheFreerGalleryoArtWashingtnD.C.FreerGalleryArt19905153.6MerrillAnIdealCountry5660.7TryntFreerMarch211896FreerpapersFGAarchives.FrthediscussinthispanelpaintingseeMerrillAnIdealCountry112.8InaletterthisriendWilliamK.BixbywhhadjustacquiredhisrstTrynpaintingFreerpraisedthesubtletyclrandintegrityspaceinTrynswrksandexpressedhiscnvictinthatviewersculdtrulyexperiencethewndernatureatermeditativeviewinghispaintings.FreertWilliamK.BixbyMarch51900FreerpapersFGAarchives.9LindaMerrillFreerALegacyoArtWashingtnD.C.FreerGalleryArt199359.10NichlsClarkCharlesLangFreerAnAmericanAestheteintheGildedEraTheAmericanArtJournal11.4oct.197968.11FreertDwightTrynMarch211898FreerpapersFGAarchives.FrtheimageanddiscussinthispaintingseeMerrillAnIdealCountry13031pl.22.12WarrenI.ChenEastAsianArtandAmericanCultureAStudyinInternationalRelationsNewYrkClumbiaUniversityPress199250.13ErnestFenllsaTheCllectinMr.CharlesLangFreerPacifcEran.219076165.JamesWhistlerisamajrartistwhinspiredtheEurpeanappreciatinblueandwhiteprcelainandukiyoeprintsduringthesecndhalthenineteenthcentury.Inuencedbythisartistriendwhmherstmetin1890Freerapparentlybelievedthatsubjectmatterwasntimprtant.Heinsteadbelievedthatitwasabsrbedbythebeautyrminthelyricalwrldvisinandthuslvedtcmparethetexturalandtnalqualityhistricallyrculturallyunrelatedwrkstappreciatethevariedbutperectlybalancedtrendsthatcllectivelycnveyedaharmnyinart.14DavidP.CurryCharlesLangFreerandAmericanArtApolloCXVIIIn.258Aug.198317476.15FreertTrynJune171895FreerpapersFGAarchives.ENDNOTES 44THELEGACYoFDWIGHTTRYoNANDCHARLESFREER16FreertTrynAugust31907FreerpapersFGAarchives.AtChishaku-inTempleinKytFreersawthisgreatpaintingthatwastraditinallyattributedtomakitsutheJapaneseequivalentrWangWeiaamuspainterTangdynastyChina.Buthemistakenlyspelledtheartistnameasokamatsu.SeeMerrillAnIdealCountry14446pl.33.17TryntFreerAugust71907TrynpapersFGAarchives.18HelenN.TmlinsnCharlesLangFreerPioneerCollectorsofOrientalArtPh.D.diss.CaseWesternReserveUniversityCleveland1979426432.19ItiswrthntingthatmstAmericanmuseumsdidnthaveAsianartdepartmentsatthattimeexcepttheMuseumFineArtsBstnwhichlauncheditsJapaneseArtDepartmentin1890withErnestFenllsaasitsrstcuratr.Itwasntuntil1915thattheMetrplitanMuseumArtundeditsAsianArtDepartmentbyseparatingitasaunitrmitsDepartmentDecrativeArts.Frmrediscussinseeibid.666.20TryntFreerFebruary201897TrynpapersFGAarchives.21Freerprbablypurchasedthispaintingarund1915.BecauseitsauspiciusimplicatingdluckthecarpwasappularsubjectinpaintingsrreciprcalgitsbetweenriendsintraditinalChina.22FreertTrynJuly71907FreerpapersFGAarchives.23MerrillFreerALegacy207.24FreertMaryK.WilliamsMarch41901FreerpapersFGAarchives.25In1909FreermadeaspecialtriptChinawherehespenttwmnthsvisitingmanyplacesgreatinterestseeingtherealclassicalChinesescenerytheancientChinesepaintingsserratedmuntainsvaryingdistancesandgreatwaterspaces.FreertFrankJ.HeckerSeptember201909FreerpapersFGAarchives.Healstrackeddwntreasuresinthehandsnativecllectrsandvisitedrenwnedprivatecllectins.Freersprductivetripin1909cnvincedhimtmakeantherraytChinaintheautumn1910.HespentseveralmnthsinBeijingandShanghainegtiatingwithdealersandvisitingprivatecllectrsshippingbackseveralhundredChineseartwrksattheendhisstay.HealsvisitedtheBuddhistcavetemplesatLngmeninLuyangandtraveledbybatntheWestLakeinHangzhutseethescenestendepictedinSngpaintings.TmlinsnCharlesLangFreer55778.FrabrieintrductintFreersChinesecllectinseeThmasLawtnChinasArtisticLegacyApolloCXVIIIn.258Aug.198312735.26ItisntablethatwhenFreerpursuedldpaintingstheTangSngandYuandynastiesnhistripsmstpeplestillbelievedthatmedievalChinesearthadsurvivednlyinJapanaswasstatedbyPressrFrederickHirthinhisinfuentialreerencebkTheAncientHistoryofChina1908.WhiletherswerestillbuyingathighpricesrmdealersbasedinJapanrAmericathisastutecllectrrealizedtherewerepprtunitiestndhiddentreasuresinChinaandthusdirectlycntactedlcaldealersandintermediaries.TmlinsnCharlesLangFreer535.27oberlinCllegewasanthermajrrecipientFreersgitsAsianart.In1910itsPresidentHenryChurchillKinglearnedthatCharlesFreerwasgivingsmeduplicatesrmhiscllectintmuseumsandacademicinstitutinsarundthecuntry.KingquicklywrtetFreerandrequestedadnatinroberlinCllege.In1912FreersentoberlinagitabutnehundredChineseandJapanesepaintingsceramicsandsculpturesthathehpedwuldinhiswrdsaidsmeyurstudentstabetterknwledgetheFarEast.IamgrateultStephanieWilesrmerdirectrtheAllenMemrialArtMuseumoberlinCllegerprvidinginrmatinabutoberlinsFreercllectin. 4528ChenEastAsianArt5758.29SummaryrmTheAnnualReprtthePresidentSmithCollegeBulletin1914191576.30ChenEastAsianArt56.31ThecmparisnandcntrastbetweenpictrialartandceramicwrksinthesamegalleryspacerefectasearchraestheticharmnyandunitydierentrmsandclrssmethingthatTrynpssiblylearnedrmthedisplaysAsianartinFreershuse.32FrinstanceFreerwasamembertheBardTrusteestheMinneaplisInstituteArtsandanhnraryellwtheMetrplitanMuseumArt.HealslentJapanesepaintingstthenewClevelandMuseumArttsupprtitsinauguralAsianartexhibitinin1917.FrmreinrmatinseeTmlinsnCharlesLangFreer66571.33ItisntablethatFreerextendedhishelpttheartdepartmentthrughTrynandChurchill.ChurchillnceexpressedhiswishtFreerrthedepartmenttreceivesmelanternslidesWhistlerspaintingsrlecturepurpses.InhisreplyFreerexplainedthatrdinaryslidesculdntcapturetheelusivequalityhisnestWhistlerpaintingsandprmisedtprvidethebestslideshehad.onantherccasinFreeradvisedthedepartmentwhenitwaslkingralecturernFlrentinepaintingsuggestingthatdirectcrrespndencewiththeAmericanSchlinRmemighthelpndsmenewrthy.FreertAlredChurchillFebruary201914andMarch61916.TherecrdsareintheSmithCllegeMuseumArtarchiveshereaterSCMAarchives.34FreertChurchillMay161917SCMAarchives.35ChurchilltMarinL.BurtnMay221917SCMAarchives.36ThechecklistrmtheFreerestateexecutrsttheHillyerArtGalleryMarch181920SCMAarchives.37SmithCollegeBulletin1919192043and45.38AlredV.ChurchillTrynatSmithCllegeSmithAlumnaeQuarterlyxviiNv.1925810.39HenryC.WhiteD.W.TrynAnAppreciatinTheHillyerArtGalleryBulletinMarch20192434.SCMAarchives.HenryC.White18611952aHartrdbrnartistandbigrapherTrynwasparticularlyinterestedincllectingTrynswrksanddcuments.HissnNelsnacquiredthesepaintingsrmerlyinSCMAscllectin.OctoberFieldswaspurchasedrmasaledeaccessinedwrksatGimbelsinthemid-1940sandRiverMaaswaspurchasedrmtheMuseumadecadelater.40AlthughmstTrynsAsianartgitswereunrtunatelydeaccessinedinlateryearssurvivingregistrarsrecrdsthatdcumentthsebjectsdemnstratehisinsightulvisinandgenersity.41MerrillAnIdealCountry87.42TheTrynArtGallerywasdemlishedtmakewayrthenewFineArtsCenterin1970.FrmreinrmatinabutthebuildingtheTrynArtGalleryandtdaysBrwnFineArtsCenterrenvated19992003andrenamedseeHelenSearingAHistrytheArtBuildingsatSmithCllegeinImageandWord4347.
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28collectingITISWELLKNOWNTHATCharlesLangFreer18541919awealthyrailroadindustrialistandartcollectorgitedtothenationhiscollectionoAsianandAmericanartalongwithamuseuminwhichtohouseitinWashingtonD.C.fg.11.YetewpeopleareawarethataterFreersettledhisdonationagreementwiththeederalgovernmentin1906overthecourseotherestohisliehealsogavesmallportionsohiscollectionasgitsorbequeststoseveralartinstitutionsandcollegemuseumsinthiscountry.1TheSmithCollegeMuseumoArtwasortunatetobeamongtheseinstitutionalrecipientswithFreersfrstgroupogitstotheHillyerArtGalleryasitwasthenknownconstitutingitsinauguralcollectionoAsianartin1913.SmithwasamongthefrstAmericancollegestoincludethestudyofneartswithinitsliberalartscurriculumwhosedesignwasdescribedinan1872prospectusbythetrusteesMoretimewillbedevotedthaninothercollegestoaestheticalstudytotheprinciplesonwhichthefneartsareoundedtotheartodrawingandthescienceoperspectivetotheexaminationothegreatmodelsopaintingandstatuary....2ToreachthisgoalSmithCollegeinstalledanartgalleryinCollegeHallbuiltin1875andmadeitsfrstacquisitionsooriginalartin1879.TheCollegealsooundeditsartdepartmentin1882andayearlaterdedicateditsnewartgallerytoWinthropHillyeralocalbusinessmanwhohadbequeathedasubstantialundtosupportitsconstructionandorthepurposeoacquiringoriginalart.In1886DwightWilliamTryon18491925asuccessulHartordbornlandscapepainterwasinvitedtoinstructstudioclassesandadviseonartacquisitionsfg.12.DuringhisthirtysevenyearsatSmithProessorTryontooktheleadineducatingwomenartistsandworkedwiththeCollegesfrstpresidentL.ClarkSeelye18371924toestablishafrsttiercollegeartmuseum.VISIONBEYONDBORDERSThLegcyofdwityoncalesfreerFANZHANG 29FIG.11.EdwardSteichen.American18791973.CharlesFreerc.191516.Photograph.CollectionofGeorgeEastmanHouseInternationalMuseumofPhotographyRochesterNewYork.FIG.12.MarceauStudioNewYork.DwightWilliamTryon1912.Cabinetphotograph.CharlesLangFreerPapersFreerGalleryofArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GiftoftheEstateofCharlesLangFreer. 30THELEGACYoFDWIGHTTRYoNANDCHARLESFREERSmithCllegesacquisitinFreersgitsandbequestsAsianartmainlyresultedrmTrynsassciatinwithFreerwhwashismajrpatrnandriendrmanyyears.TrynandFreerhadcmmninterestsinAmericanandAsianartandjintlycntributedttheCllegespineeringcmmitmenttdisplayingandacquiringAsianartattheturnthelastcentury.YetgiventheMuseumsstrengthsinnineteenthandtwentiethcenturyWesternarttheTrynFreerrelatinshipanditsrmativerleinestablishingalegacyexhibitingAsianartatSmithCllegehavebeenlargelyunexplredinthegeneralhistrytheMuseum.ThererethisessayandtheCollectingArtofAsiaexhibitinasawhleseekstrestretheplaceAsianartintheMuseumshistryandtestablisharmbaserbuildingnthegrundwrkthatTrynandFreerhadlaidtgether.FreernevermarriedbutpursuedhistruelveAsianthughthentermedorientalartwhichheenthusiasticallycllectedrmrethantwdecades.3Inacthiscllectingchicesrarelycnrmedtthsehiscntemprariesduringthelatenineteenthcentury.WhenmstAmericancllectrswerenlyinterestedinEurpeanmasterpaintingsandsculptureFreerbeganbycllectingcntempraryAmericanartandcusednaewartistshelikedincludingtheamusexpatriateartistJamesAbbttMcNeillWhistler18341903.AlthughlesswellknwnthanWhistlerDwightTrynwasalsakeymemberFreerscircleartistriendswhsewrksFreerpassinatelycllected.In1889FreerrstmetTryninNewYrkCitywhereTrynhadestablishedastudiaterspendingnearlyveyearsstudyingartinFrance.4InTrynsstudiFreerwasimmediatelyattractedtTrynsutdrscenesandpurchasedhisrstTrynpaintingTheRisingMoonAutumntheFreerGalleryanexceptinalwrkthatwuldsnhelpTrynwintwprincipalawardsininternatinalartexhibitins.5FreersaestheticsensibilityandtasterespndedwelltthesubtleclrsandcareullystructuredcmpsitinTrynspaintings.BelievingthatFreerwasnetheewpeplewhtrulyunderstdhiswrkTrynferedtdecratethewallpanelsthelivingandreceptinrmsinFreersDetrithmeaprpsalFreerhappilyacceptedin1891.AnxiustmeethispatrnsexpectatinsTrynspenttwyearsnishingasetsevenpaintingsthatincludedurseasnallandscapestwseascapesandanethereallandscape.6ThesepaintingscntributedtaharmniusatmspherethatFreersughttcreateinhishmewherehiscllectinsartweredisplayedin 31settingsdecratedinsubduedclrschemes.TheTnalistexperimentsTrynpursuedduringthislngprjectgreatlyshapedhislaterstylisticdevelpment.InparticularTrynmusthavecnsideredtheprinciplesAsianartinrdertcatertFreerstaste.WhilecmmentingnthesuccessulapplicatinclrsintherstpanelpaintingthisprjectSpringtimeTryntldFreerthattheclrandrmalelementsthispaintingremindedhimsmeveryldJapanesewrkswhichencuragedhissearchranindenableminglingrealandidealinthislandscapeg.13.7InthellwingyearsFreerbecameTrynsprincipalpatrnandassembledagrupmrethanseventywrksbythisartistwhicheventuallybecamesecndinsizenlythiscllectinWhistlerspaintings.FreerrepeatedlyexpressedhisadmiratinrtheevcativescenesandmdshitsdiferentseasnsandtimesdayinTrynslandscapeswhichhethughttenpssessedapeticsplendrrivalingnaturehersel.8AtthesuggestinartistandcllectrriendssuchasWhistlerFreertheninhisthirtiesbegantcllectJapaneseart.HisrstacquisitinqualitywasasmallanpaintingbyogataKrin1658-1716purchasedrmaNewYrkdealerin1887.9AttractedbytheaestheticprinciplestheorientFreerexpandedhiscllectinashisinterestgrewvertime.ItisntsurprisingthatthepaintingsbthWhistlerandTrynplayedakeyrleinshapingFreersvisinrcllectingAsianartallwinghimtbetterappreciatesubtletiesclrandtexturewithhiscultivatedeye.10TheelabratesuracequalityTrynswrkrinstanceFIG.13.DwightTryn.Springtime.1892.oilncanvas38x83in.96.8x211.4cm.FreerGalleryArtSmithsnianInstitutinWashingtnD.C.GitCharlesLangFreerF1893.14. 32THELEGACYoFDWIGHTTRYoNANDCHARLESFREERparticularlyattractedFreerleadinghimtcmpareTrynsDaybreakMaytheFreerGallerywithaJapaneseceramicpiecethatbelngedtthepainter.FreertldhimIthinkwhenyuputthenishingtuchesttheskyyumusthaveinmindthepinkushnthebigwhitebwl.11ThiscmmentcallstmindaphtgraphshwingFreerexaminingWhistlersVenusRisingfromtheSeasidebysidewithapieceBabylnianptteryandsearchingrparallelsinthesetwwrksverydierentriginsg.14.SimilarlyFreercmparedthesuraceTrynspaintingwiththeglazeJapaneseceramicsappreciatingTrynssubduedsuggestivelayersclrthatundtheirechinthetnalchangestheceramicglaze.LikeWhistlerwhcreativelyappliedrientalprinciplestexpressccidentaleelingTrynalssughttachievearesnanceclrandtextureinhislandscapepaintings.12InterestinglyalaterphtgraphthestudiinhisHarperleyHallapartmentshwsthatTryndisplayedAsianceramicsandprintsrmwhichheculddrawinspiratinwhilepaintingg.15.IndeedFreerwasamngtherstAmericancllectrswhlearnedtappreciateelementscmmnttheartstheWestandtheEastandtdedicatehimseltsharinghisinspiratinthrughhiscllectins.FreersriendandcnsultantinAsianartErnestFenllsa18531908rmerlythecuratrJapaneseartattheBstnMuseumFineArtsncedescribedFreerscllectinandrenedtastethiswayAmuralpaintingbyKanEitkuateabwlbyKenzanandanilseascapebyWhistlerachievesimilardelicatetnaleects.13InactthispineercllectrspecicallyaimedtacquirewrksthatwuldcreateaFIG.14.AlvinLangdnCburnAmerican18821966.CharlesL.FreercmparingWhistlersVenusRisingfromtheSeatanIslamicglazedpt1909.Platinumprint.CharlesLangFreerPapersFreerGalleryArtandArthurM.SacklerGalleryArchivesSmithsnianInstitutinWashingtnD.C.GittheEstateCharlesLangFreer.FIG.15.TryninhisstudiathisHarperleyHallapartmentNewYrkc.1920.FrmHenryC.WhiteTheLifeandArtofDwightWilliamTryonBstnHughtnMifin1930120. 33harmonyobeautiulsuracesormsandcolorsromdiferentregionsandculturespresentingabalancewithinhiscollectionandrevealinganultimatesenseobeautyg.16.14ThisruitulartisticsynthesisthereorebecameFreerspowerulpersonalstatementasaneccentriccollectoroAsianandAmericanart.FreersexperiencesotravelinginAsiaalsohelpedhimtoappreciateTryonsartandtondaspiritualresonancebetweentheEastandtheWest.InaletterwrittentoTryonromJapanwherehespenttwomonthssightseeingandviewingartinmanyamouscitiesFreersaidIalsosympathizewithyourafectionorthecharacteroNewEnglandscenerybutIthinkonegrowstogreaterintimacykeenerappreciationotheobjecthemostlovesaterhismemoryhasbeentonedbyotheragreeableimpressionsshadowyrecollectionsounknownplacesglimpsesoarawaycoastsandstrangehorizonsleaveamysterioussomethingwhichIthinkinpartisthebasisowhatwecalltheimagination....15SoonaterhisreturnromJapanin1907FreerreceivedTryonsnewpaintingTheSeaEveningwhichembodiedanoverwhelmingeelingothevastnessandpowerFIG.16.GeorgeR.Swain.American19th20thcentury.JamesMcNeillWhistlersPeacockRoominCharlesL.FreersDetroitresidencenorthwallLaPrincessedupaysdelaporcelaine1908.Glassnegative.CharlesLangFreerPapersFreerGalleryoArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GitotheEstateoCharlesLangFreer. 34THELEGACYoFDWIGHTTRYoNANDCHARLESFREERtheseag.17.ThesubtlegradatindarkblueinthisseascapealsrefectsacldausteritythatpssiblyinspiredTrynwhiletravelingtMaineearlierthatyear.InalettertTrynFreerexpressedhisexcitementabutthequalitythispaintingcmparingitttheamusmasterpieceshesawinKytItisawonderMarvelouslyconvincingtremendouslypowerulandextremelydignifed.Nothingcouldbemoretruthulandatthesametimesosubtle....CertainlyIhaveseennothingmoresuggestiveothatparticularmoodothesea.ThecoloringisverybeautiulanditsdirectnessrecallstheworkothegreatmastersotheearlyKanoschoolSesshuSessonandMasunobu.InoneothegreatKyototemplesthereisaninkpaintingoahugewaterallbyaSungpaintercalledOkamatsu....Ibelieveittobeoneothegreatestpicturesinexistence.YouIamsurewouldbeascinatedbyit.Itsgreatqualitiesaresimplicitylineandntanlightanddark....16FreerparticularlycmparedTryntnethebestAsianmastersWangWei699759Tang-dynastyChinacitingthewrkbthartistsassurcesspiritualinspiratin.InhisreplyTrynagreedthatartistsdierentculturesandperidsallhadtheabilitytcaptureinrmandcmpsitinthesubtleeectsnaturebecausetheyallbelngedtatimelesscmmunitycreativeindividuals.17IndeedtheartistandhispatrnsharedarenedtasteandbeliethatcametundamentallyshapetheirviewsarteducatinandcllectingtheFIG.17.DwightTryn.TheSeaEvening.1907.oilncanvas30x47in.76.2x121.8cm.FreerGalleryArtSmithsnianInstitutinWashingtnD.C.GitCharlesLangFreerF1907.151. 35greatartistictraditionsoWestandEasthadparallelsincapturingthewondersonatureandconveyingspiritualinspiration.AsadedicatedcollectorFreerbynomeansonlywishedtopossessworksoartassymbolsopersonalcultivationandwealth.Insteadheregardedhimselastheguardianoneexamplesoartwhichheintendedortheeducationandinspira-tionoothers.Inlate1904Freerproposedaplantogivemuchohiscollectiontothenationalongwithaundortheconstructionoagallerytohouseitandormakinguturepurchases.WiththehelpohisbrotherWilliamL.FreerandPresidentTheodoreRoosevelttheSmithsonianInstitutionacceptedhisproposalinearly1906.18IntheollowingyearsFreermanagedtoexpandhisdonationtothenationandamassedthemajorityohisAsiancollection.Heparticularlywishedorittobeusedtoteachstudentsandspeciedinhiswillthatspecialarrange-mentsbemadeorstudentsandscholarstoviewanyobjectsnotonexhibition.In1923theFreerGalleryoArtnallyopenedinWashingtonD.C.housingmorethan9000worksoneothelargestcollectionsoAsianartatthattime.AwareothededicationohisriendandthesignicanceohiscollectingmissionTryonintroducedFreertoapromisingexhibitionopportunitywithintheSmithcommunity.WithTryonshelpFreerorganizedtherstpublicexhibitionohisAsiancollectionattheHillyerArtGalleryinFebruary1897ayearaterhisinitialtriptoJapan.ThisexhibitionwhichincludedtwentysixJapanesepaintingsandourscreenpanelswasamongtheearliestAsianartexhibitionsinNewEngland.19AlocalnewspapertheDailyHampshireGazetteFebruary171897reportedthatthisexhibitionwasreceivedwithgreatenthusiasmbyNorthamptonresidentsandaboutsixhundredvisitorsattendedtheopening.ThepublicwasdelightedbytheantasticdisplayopaintingsinthelargegalleryandbytheexceptionalqualityoJapaneseartaboutwhichmostknewlittle.ThisresponseinspirednearbyWilliamsCollegetoinviteFreertobringhisshowtoitsowncampusthatsameyear.ThewarmreceptioninwesternMassachusettsaswellastherisingpublicinterestinJapaneseartencouragedFreertowithdrawcompletelyromtherailroadbusinessanddevotehimseloverthenexttwodecadestocollectingAsianart.FromtheircorrespondenceweknowthatTryonwasverypleasedthatFreeroferedthisintroductoryJapaneseartexhibitionasanopportunityortheSmith 36THELEGACYoFDWIGHTTRYoNANDCHARLESFREERcmmunitytappreciateartrmtherculturesandtheprinciplesitshareswithWesternart.HeparticularlypraisedanumberinterestingpaintingsincludingKurdaTksCarpwhichisnwattheFreerGalleryArtg.18.20InterestinglyTrynhimselwasalverbatingandshingandtenenjyedsummerutdractivitiesnthecastNewEngland.SurelyFreerwasrememberingthispastimehisldriendwhenhesentTrynaMingdynastyhangingscrllagiantjumpingcarpawrkthatTryneventuallygavettheMuseumin1921cat.n.9.21InfuencedbyFreerTrynalsbegantcllectJapaneseprintsandChineseceramicsinthemid1890sreceivingccasinalgitsvertheyearsaswellasabequestAsianantiquitiesrmFreer.ocurseFreerwasasignicantinfuenceinpersuadingTryntheimprtantrlethatartrmnnWesternculturesculdplayinthedevelpmentstudentsabilitytcreateandappreciateart.InalettertTrynFreerwrtetheappreciatinbeautyculdbestrengtheneddeepenedandbradenedbyintelligentcmparativestudysuggestingthatAsianartshuldbeusedthelpstudentsWesternartsearchrultimatebeauty.22TryncertainlyhadlearnedthrughFreersexhibitinthevalueAsianartrteachingstudentsanderingviewersinspiratinalmmentsespeciallyatatimewhentheArtsandCratsMvementbegantthriveinNewEngland.AsaresultinMarch1901FIG.18.KurdaTk.Japanese17851846.Carp.Edperidrsthal19thcentury.Hangingscrllinkandclrnsilk17x33in.44.9x85.8cm.FreerGalleryArtSmithsnianInstitutinWashingtnD.C.GitCharlesLangFreerF1896.92. 37TrynarrangedrFreerthaveasecndexhibitinintheHillyerArtGallerywhicheaturedthirtyveukiyoepaintingsrmFreersrecentacquisitins.23NtlngbereFreerhadpurchasedseveralgenrepaintingsrmthermerFenllsacllectinandwasparticularlyinterestedintheuncnventinalstylesandartisticinnvatinsukiyoeartists.ThusinsteadprvidinganensembleexamplesrmdierentschlsFreerchsetexhibitthesegenrepicturesterviewersthekeenerpleasureandmredirectknwledgetheaimsandmethdstheprincipalmasterstheschlwhichwasrsttbreakawayrmacademicpractices.24AterhissecndtriptJapanin1907FreerbecameincreasinglyinterestedinChineseartbecausehehadlearnedrmJapanesecllectrsthatitwasthesurceinspiratinrmanyJapaneseandKreanwrks.HealsundthatewcllectrswerecmpetingveranincreasingsupplyChineseartwhichwhencmparedtJapaneseartwasstillundervalued.TherereFreermadetwspeciallngtripstChinawhereheundmanyacquisitinpprtunitiesandbrughtbackalargegrupbeautiulantiquities.25BecausethemajritycllectrsdidntbthertmaketheirwnsearchinChinaFreerwasabletseizethepprtunitytbtainpaintingsbelievedtbewrksTangandSngpaintersacusthatheenthusiasticallypursuedrtheremainderhislie.26HweverinMay1911justamnthaterhisreturnrmChinaFreersueredasuddenstrkethatpreventedhimrmundertakinganyurtherinternatinaltravel.YethedidntlsehisstrngsensemissintbringwrksartrmtheFarEasttAmerica.InsteadtravelingtAsiahimselhenwcusednbuyingwrksrmdealersintheU.S.andagentsinAsia.HealsbegantassistthedevelpmentAsianartcllectinsinnewpublicandacademicmuseumsacrssthecuntryrexamplewithaspecialgitttheoberlinCllegeMuseumArtinthehpethatappreciatinAsianartwuldeventuallytakertwithincllegemuseumsinthiscuntry.27FreeralsshwedawillingnesstpreserveAsianartbjectsintheirriginalcntexts.HentnlyjinedinthesuccessullbbyingrtheAmericangvernmentsinspectinimprtedantiquitiestkeeputthsewithquestinableprvenancebutalsplannednundingaschlarchaelgytcnserveandexcavateantiquitiesinBeijing.28ItisinthiscntextthatSmithCllegereceiveditsrstgitAsianartrmFreerinJanuary1913agitcmprisingtwelvecarvedwdenandlacquerpanelswithvariusfralandguralsubjects.GiventhattheCllegepreviuslyhadalmstnAsianartTrynandAlredVanceChurchill18641949thechiecuratr 38THELEGACYoFDWIGHTTRYoNANDCHARLESFREERandrstdirectrtheHillyerArtGalleryweredeeplyawarethevalueFreersgitsandtheptentialrurtherassistancermthisgeneruscllectr.Snaterthearrivalhisgitstheyselectedsmethemtdisplayinthegallery.ThrughFreersintrductinLaurenceBinyn18691943keeperorientalprintsanddrawingsattheBritishMuseumwasinvitedtgivesixcnsecutivelecturesnorientalartatSmithinNvember1914.29TheCllegealsinvitedPressrMasaharuAnesaki18731949theundertherstreligiusstudiesprgraminJapantpresentatalkthatmnthnJapaneseBuddhism.InactFreerlvedtinviteschlarstgivelecturesandtenpersuadedmuseumstrganizeeducatinalprgramslinkedtAsianartexhibitinsbasednhislans.30AvaluablebyprductthelectureinvitatinswastheexperthelpthattheMuseumwuldsnreceive.WithmneyrmtheHillyerFundnbehaltheMuseumBinynpurchasedinEurpemrethanthirtyrepresentativeJapaneseprints.AtertherenvatintheinterirthesecndfrgalleriesaselectintheseprintsalngwithgitsceramicwaresrmTrynandaewtherswasaddedtcmpletetheinauguralgalleryinstallatinAsianart.Aphtgraphtakenarund1915recrdsTyrnandChurchillwrkingtgetherinarmnextttheAsianartgallerywhichwasamngtheearliestsuchdisplayareassetasiderAsianartincllegemuseumsthattime.JapaneseprintsandChinesewdcarvingsaredisplayedntwwallsthisgallerywhileceramicwrksaregatherednshelvesandpedestalsg.19.31ThetasteulinstallatinthisgallerydemnstratestheaccmplishmentsTrynandFreerintheirerttdevelptheMuseumscllectinintheearlyyearsthetwentiethcentury.In1915FreermvedrmhisDetrithmetaNewYrkCityhtelrminrderthaveeasieraccessthisdctrs.TheredespiteailinghealthhecntinuedpurchasinglargequantitiesartandassistingthedevelpmentaewmuseumsthatheavredbyeringadvicentheiracquisitinsAsianartandprvidinglansttheirexhibitins.32FreeralshelpedsmeprivatecllectrsAsianartincludingEugeneandAgnesMeyerNewYrkandMargaretW.ParkerDetritwhwereinspiredbyhimteventuallydnatetheirAsiancllectinstthermuseumsinthisnatin.ThrugheringbthgitsartandhispersnalexpertiseincllectingFreermanagedtencuragehisellwAmericanstrecgnizeandappreciatethebeautyAsianart.FreercntinuedhissupprtSmithCllegethrughgitsandadvicenarteducatin.33HelearnedrmTrynthewrkbeingdnethereandsent 39phtgraphshiscllectinwithaninquiryabuttheMuseumsinterestinurthergits.Inthewinter1916heaskedTryntbringtSmithapanelpaintingTheFlyingDuck.InMay1917FreerpersnallyselectedagrupteachingsamplesincludingeighteenJapaneseandChinesepaintingsnineceramicwrksandthreegiltbrnzeBuddhistsculpturesrmSiam.HewrtetChurchillReturnstrengthhasenabledmerecentlytgthrughthecllectininmycareandrmitIhavechsenrpresentatintSmithCllegecertainbjectswhichIcnsidermaybeuseultyurstudentsandwhichItrustiagreeableyuwillacceptwithmycmpliments.34TacilitatethesegitsFreerprepaidtheirpackingandshippingchargesandprvidedshrtntesntheirprvenance.ThevaluehisgitswasrecgnizedinaletterrmChurchilltCllegePresidentMarinL.BurtnItisarepresentatinthearttheEastwhichlateyearsiscmingtbemreandmrecnsideredbythebestjudgesanditwillbeparticularvalueintheteachingabstractqualitiesdesigninthecursesinDesigngivenatSmithCllege.35FreersassistancettheMuseumincllectingAsianartwascutshrtbyhisdeathnoctber251919.YethestillrememberedtheMuseumsuturedevelpmentinhislastdaysandparticularlyntedinhiswillabequestFIG.19.InterirviewthesecndfrgalleryAsianartintheHillyerArtGallerywithBeulahStrngDwightTrynseatedandAlredVanceChurchillc.1915.SmithCllegeArchives. 40THELEGACYoFDWIGHTTRYoNANDCHARLESFREERadditinalartwrkstsupprtartinstructinatSmithCllege.BasednFreersspecicwishhisexecutrsprvidedadditinalexamplesEastAsianpaintingsin1919and1920alngwithverahundredetchingslithgraphsandengravingsbyFrenchandAmericanmasters.36TheMuseuminturnrganizedanexhibitininFreersmemryOrientalPaintingsandLacquersfromthePermanentCollectionoftheCollegeBronzesandPotteryLentbyT.OnoNvember26December191919.GarrettC.Pier18751943aschlarorientalartandriendFreerwasinvitedteranexhibitinlecturenChineseinfuencenthepaintingandsculptureJapan.AterthearrivalthenalbjectsrmFreersbequesttheywereallexhibitedinthegalleryinMay1920.37IFreersughttdnateandexhibithiscllectinasawaynurturingpublicappreciatinrAsianartTrynpassinatelyusedhisartandknwledgetteachstudentsinmuseumsandstudis.AsAlredChurchillrecalledTrynwuldleavehisstudiwrkinNewYrkandcmetNrthamptneverytwrthreeweeksduringthesemester.HistrainnrmallyarrivedThursdayaternnandhethenreadintheFrbesLibrarythatnight.HisstudiclassesnFridaymrningtenhadmrethansixtystudents.DuringhisstayncampusTrynlvedcntactwithyungmindsandwasalwaysreadytprvideinspiratin.HetenspkewithenthusiasmhiswnteachertheFrenchBarbiznpainterCharlesFranisDaubigny18171878andhisriendWhistlerwhmhecnsiderednethegreatartistshistime.ItisntsurprisingthatTrynalsspkeabutFreernethegreatcnnisseursAmericanandAsianart.38InadditinthisteachingdutiesTrynwasalwaysinterestedinprmtingtheMuseumasameanssteringandsupprtingeducatininthearts.HentnlyemplyedhiswncnnisseurshipskillandexquisitetastetmakesuggestinsnacquisitinsbutalsusedhisreputatinandpersnalcnnectinstencurageartiststgivetheirwrkstSmith.TryncntinuedtgivehiswnwrksduringhistenureatSmithincludingRiverMaasatDordrecht1881andOctoberFields1914whichrepresentedhisearlyandlatelandscapestylesrespectively.39FllwinghisguidancetheMuseumassembledalargenumberexceptinalwrksthatdemnstratedthedevelpmentandachievementsAmericanartinthelatenineteenthandearlytwentiethcenturies.LikehisriendCharlesFreerTrynbelievedthataccesstandknwledgennWesternartwuldsteramregeneralappreciatinuniversalprinciples 41obeauty.ItisnoteworthythatTryonhimselhadcontributedtothegrowingAsianartcollectionatSmithhemadehisfrstgitoAsianartinearly1914soonaterFreergavehistwelvecarvedpanels.In1921TryongavetheMuseumhiscollectionoseventyfveJapaneseukiyoeprintswhichhebelievedwouldhavevalueincultivatingstudentstasteinartanddesign.TheMuseumreceivedanadditionalbequestromhiswidowAlicein1930includingsomeeightypiecesoAsianceramicsandmetalwork.40Moreimportantlythisartproessorandhiscollectorriendsharedtheviewthatuniqueworksoartshouldbeavailabletothepublic.ThepioneeringgestureoFreertodonatehiscollectionorpublicbeneftmusthaveinspiredTryonsgittotheCollegeohisownartcollectionalongwithanendowmentorutureartpurchases.41ConvincedthattheexhibitionspaceotheoldHillyerArtGallerywasinadequatetoprovideacomortablespaciousenvironmentorstudentstostudyartTryonalsodonatedundstobuildamuseumtohousetheCollegesgrowingartcollection.AtwostoryNeoGeorgianstylebuildingdesignedbyFrederickL.Ackerman18781950acloseriendoTryonbecamethenewhomeotheSmithCollegeMuseumoArtwhichopenedtothepublicinSeptember1926fg.20.42GiventhatthesystematiccollectingoAsianartwasjustbeginninginthiscountryduringtheearlytwentiethcenturyFreersandTryonsdonationstotheMuseumdemonstrateapioneeringvisionothevalueononWesternarttoaliberal-artseducation.ThroughhisgitstothenationFreersuccessullymadehispersonalquesttobridgeEastandWestintoapublicventure.HealsospreadtheFIG.20.ExteriorviewothenewTryonArtGallerynexttotheoldHillyerArtGallery1926.SmithCollegeArchives. 42THELEGACYoFDWIGHTTRYoNANDCHARLESFREERseedsAsianartamngnumeruscllegemuseumstenablemrestudentstbeexpsedtFarEasternartandculture.TrynnthetherhandusedhisriendshipwithFreeraswellasthednatinhiswncllectintblsterarteducatinandcllectingatSmithCllege.InshrtthesetwclseriendswerepartnersinapineeringventuretheyexplredtheaestheticresnancetheyundbetweenEasternandWesternartandcllabratedtspreadknwledgeandappreciatinAsianart.TheirefrtscursesuccessullylaidthegrundwrkrSmithCllegescmmitmenttcllectinganddisplayingAsianarttsupprtaglbalcurriculum.TheirvisinideasandenthusiasmhaveinspiredgeneratinsSmithstudentsandacultymemberstlearnabuttheartAsiaandtappreciatetheculturesthers. 431FrinstanceFreermadegitsttheoberlinCllegeMuseumArttheDetritInstituteArtstheMinneaplisInstituteArtsthePeabdyMuseumatHarvardUniversitytheMemrialHalltheUniversityMichiganthermerUniversityMuseumandtheArtDepartmentWilliamsCllege.FrmreinrmatinabuttheinstitutinalrecipientstheFreergitsseeSubseries5.25ArtInventriesEstateDistributinPersnalPrpertyintherecrdsFreersdcumentsandlettersattheFreerGalleryArthereaterFreerpapersFGAarchives.2SmithCllegeImageandWordArtandArtHistoryatSmithCollegeNrthamptnMASmithCllege200315455.3AlineB.SaarinenTeaandChampagneCharlesLangFreerinTheProudPossessorsTheLivesTimesandTastesoSomeAdventurousAmericanArtCollectorsNewYrkRandmHuse1968128.AlsseeRbertE.FisherCharlesLangFreer18561919inAmericanCollectorsoAsianArtPratapadityaPaled.BmbayIndiaMargPublicatins19861011.4ItisntablethatinthatsameyearTrynspaintingTheFirstLeavesintheMuseumscllectinwntheprestigiusWebbPrizermtheScietyAmericanArtistsin1889.LindaMuehliged.MasterworksoAmericanPaintingandSculptureromtheSmithCollegeMuseumoArtNewYrkHudsnHillsPress1999104107cat.n.31.5HenryC.WhiteTheLieandArtoDwightWilliamTryonBstnHughtnMifin19307778.AlsseeLindaMerrillAnIdealCountryPaintingsbyDwightWilliamTryonintheFreerGalleryoArtWashingtnD.C.FreerGalleryArt19905153.6MerrillAnIdealCountry5660.7TryntFreerMarch211896FreerpapersFGAarchives.FrthediscussinthispanelpaintingseeMerrillAnIdealCountry112.8InaletterthisriendWilliamK.BixbywhhadjustacquiredhisrstTrynpaintingFreerpraisedthesubtletyclrandintegrityspaceinTrynswrksandexpressedhiscnvictinthatviewersculdtrulyexperiencethewndernatureatermeditativeviewinghispaintings.FreertWilliamK.BixbyMarch51900FreerpapersFGAarchives.9LindaMerrillFreerALegacyoArtWashingtnD.C.FreerGalleryArt199359.10NichlsClarkCharlesLangFreerAnAmericanAestheteintheGildedEraTheAmericanArtJournal11.4oct.197968.11FreertDwightTrynMarch211898FreerpapersFGAarchives.FrtheimageanddiscussinthispaintingseeMerrillAnIdealCountry13031pl.22.12WarrenI.ChenEastAsianArtandAmericanCultureAStudyinInternationalRelationsNewYrkClumbiaUniversityPress199250.13ErnestFenllsaTheCllectinMr.CharlesLangFreerPacifcEran.219076165.JamesWhistlerisamajrartistwhinspiredtheEurpeanappreciatinblueandwhiteprcelainandukiyoeprintsduringthesecndhalthenineteenthcentury.Inuencedbythisartistriendwhmherstmetin1890Freerapparentlybelievedthatsubjectmatterwasntimprtant.Heinsteadbelievedthatitwasabsrbedbythebeautyrminthelyricalwrldvisinandthuslvedtcmparethetexturalandtnalqualityhistricallyrculturallyunrelatedwrkstappreciatethevariedbutperectlybalancedtrendsthatcllectivelycnveyedaharmnyinart.14DavidP.CurryCharlesLangFreerandAmericanArtApolloCXVIIIn.258Aug.198317476.15FreertTrynJune171895FreerpapersFGAarchives.ENDNOTES 44THELEGACYoFDWIGHTTRYoNANDCHARLESFREER16FreertTrynAugust31907FreerpapersFGAarchives.AtChishaku-inTempleinKytFreersawthisgreatpaintingthatwastraditinallyattributedtomakitsutheJapaneseequivalentrWangWeiaamuspainterTangdynastyChina.Buthemistakenlyspelledtheartistnameasokamatsu.SeeMerrillAnIdealCountry14446pl.33.17TryntFreerAugust71907TrynpapersFGAarchives.18HelenN.TmlinsnCharlesLangFreerPioneerCollectorsofOrientalArtPh.D.diss.CaseWesternReserveUniversityCleveland1979426432.19ItiswrthntingthatmstAmericanmuseumsdidnthaveAsianartdepartmentsatthattimeexcepttheMuseumFineArtsBstnwhichlauncheditsJapaneseArtDepartmentin1890withErnestFenllsaasitsrstcuratr.Itwasntuntil1915thattheMetrplitanMuseumArtundeditsAsianArtDepartmentbyseparatingitasaunitrmitsDepartmentDecrativeArts.Frmrediscussinseeibid.666.20TryntFreerFebruary201897TrynpapersFGAarchives.21Freerprbablypurchasedthispaintingarund1915.BecauseitsauspiciusimplicatingdluckthecarpwasappularsubjectinpaintingsrreciprcalgitsbetweenriendsintraditinalChina.22FreertTrynJuly71907FreerpapersFGAarchives.23MerrillFreerALegacy207.24FreertMaryK.WilliamsMarch41901FreerpapersFGAarchives.25In1909FreermadeaspecialtriptChinawherehespenttwmnthsvisitingmanyplacesgreatinterestseeingtherealclassicalChinesescenerytheancientChinesepaintingsserratedmuntainsvaryingdistancesandgreatwaterspaces.FreertFrankJ.HeckerSeptember201909FreerpapersFGAarchives.Healstrackeddwntreasuresinthehandsnativecllectrsandvisitedrenwnedprivatecllectins.Freersprductivetripin1909cnvincedhimtmakeantherraytChinaintheautumn1910.HespentseveralmnthsinBeijingandShanghainegtiatingwithdealersandvisitingprivatecllectrsshippingbackseveralhundredChineseartwrksattheendhisstay.HealsvisitedtheBuddhistcavetemplesatLngmeninLuyangandtraveledbybatntheWestLakeinHangzhutseethescenestendepictedinSngpaintings.TmlinsnCharlesLangFreer55778.FrabrieintrductintFreersChinesecllectinseeThmasLawtnChinasArtisticLegacyApolloCXVIIIn.258Aug.198312735.26ItisntablethatwhenFreerpursuedldpaintingstheTangSngandYuandynastiesnhistripsmstpeplestillbelievedthatmedievalChinesearthadsurvivednlyinJapanaswasstatedbyPressrFrederickHirthinhisinfuentialreerencebkTheAncientHistoryofChina1908.WhiletherswerestillbuyingathighpricesrmdealersbasedinJapanrAmericathisastutecllectrrealizedtherewerepprtunitiestndhiddentreasuresinChinaandthusdirectlycntactedlcaldealersandintermediaries.TmlinsnCharlesLangFreer535.27oberlinCllegewasanthermajrrecipientFreersgitsAsianart.In1910itsPresidentHenryChurchillKinglearnedthatCharlesFreerwasgivingsmeduplicatesrmhiscllectintmuseumsandacademicinstitutinsarundthecuntry.KingquicklywrtetFreerandrequestedadnatinroberlinCllege.In1912FreersentoberlinagitabutnehundredChineseandJapanesepaintingsceramicsandsculpturesthathehpedwuldinhiswrdsaidsmeyurstudentstabetterknwledgetheFarEast.IamgrateultStephanieWilesrmerdirectrtheAllenMemrialArtMuseumoberlinCllegerprvidinginrmatinabutoberlinsFreercllectin. 4528ChenEastAsianArt5758.29SummaryrmTheAnnualReprtthePresidentSmithCollegeBulletin1914191576.30ChenEastAsianArt56.31ThecmparisnandcntrastbetweenpictrialartandceramicwrksinthesamegalleryspacerefectasearchraestheticharmnyandunitydierentrmsandclrssmethingthatTrynpssiblylearnedrmthedisplaysAsianartinFreershuse.32FrinstanceFreerwasamembertheBardTrusteestheMinneaplisInstituteArtsandanhnraryellwtheMetrplitanMuseumArt.HealslentJapanesepaintingstthenewClevelandMuseumArttsupprtitsinauguralAsianartexhibitinin1917.FrmreinrmatinseeTmlinsnCharlesLangFreer66571.33ItisntablethatFreerextendedhishelpttheartdepartmentthrughTrynandChurchill.ChurchillnceexpressedhiswishtFreerrthedepartmenttreceivesmelanternslidesWhistlerspaintingsrlecturepurpses.InhisreplyFreerexplainedthatrdinaryslidesculdntcapturetheelusivequalityhisnestWhistlerpaintingsandprmisedtprvidethebestslideshehad.onantherccasinFreeradvisedthedepartmentwhenitwaslkingralecturernFlrentinepaintingsuggestingthatdirectcrrespndencewiththeAmericanSchlinRmemighthelpndsmenewrthy.FreertAlredChurchillFebruary201914andMarch61916.TherecrdsareintheSmithCllegeMuseumArtarchiveshereaterSCMAarchives.34FreertChurchillMay161917SCMAarchives.35ChurchilltMarinL.BurtnMay221917SCMAarchives.36ThechecklistrmtheFreerestateexecutrsttheHillyerArtGalleryMarch181920SCMAarchives.37SmithCollegeBulletin1919192043and45.38AlredV.ChurchillTrynatSmithCllegeSmithAlumnaeQuarterlyxviiNv.1925810.39HenryC.WhiteD.W.TrynAnAppreciatinTheHillyerArtGalleryBulletinMarch20192434.SCMAarchives.HenryC.White18611952aHartrdbrnartistandbigrapherTrynwasparticularlyinterestedincllectingTrynswrksanddcuments.HissnNelsnacquiredthesepaintingsrmerlyinSCMAscllectin.OctoberFieldswaspurchasedrmasaledeaccessinedwrksatGimbelsinthemid-1940sandRiverMaaswaspurchasedrmtheMuseumadecadelater.40AlthughmstTrynsAsianartgitswereunrtunatelydeaccessinedinlateryearssurvivingregistrarsrecrdsthatdcumentthsebjectsdemnstratehisinsightulvisinandgenersity.41MerrillAnIdealCountry87.42TheTrynArtGallerywasdemlishedtmakewayrthenewFineArtsCenterin1970.FrmreinrmatinabutthebuildingtheTrynArtGalleryandtdaysBrwnFineArtsCenterrenvated19992003andrenamedseeHelenSearingAHistrytheArtBuildingsatSmithCllegeinImageandWord4347.