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33harmonyobeautiulsuracesormsandcolorsromdiferentregionsandculturespresentingabalancewithinhiscollectionandrevealinganultimatesenseobeautyg.16.14ThisruitulartisticsynthesisthereorebecameFreerspowerulpersonalstatementasaneccentriccollectoroAsianandAmericanart.FreersexperiencesotravelinginAsiaalsohelpedhimtoappreciateTryonsartandtondaspiritualresonancebetweentheEastandtheWest.InaletterwrittentoTryonromJapanwherehespenttwomonthssightseeingandviewingartinmanyamouscitiesFreersaidIalsosympathizewithyourafectionorthecharacteroNewEnglandscenerybutIthinkonegrowstogreaterintimacykeenerappreciationotheobjecthemostlovesaterhismemoryhasbeentonedbyotheragreeableimpressionsshadowyrecollectionsounknownplacesglimpsesoarawaycoastsandstrangehorizonsleaveamysterioussomethingwhichIthinkinpartisthebasisowhatwecalltheimagination....15SoonaterhisreturnromJapanin1907FreerreceivedTryonsnewpaintingTheSeaEveningwhichembodiedanoverwhelmingeelingothevastnessandpowerFIG.16.GeorgeR.Swain.American19th20thcentury.JamesMcNeillWhistlersPeacockRoominCharlesL.FreersDetroitresidencenorthwallLaPrincessedupaysdelaporcelaine1908.Glassnegative.CharlesLangFreerPapersFreerGalleryoArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GitotheEstateoCharlesLangFreer.