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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.