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35-684: Art history prize The Shimada Prize was a biennial award bestowed jointly by the American National Museum of Asian Art and the Japanese Metropolitan Center for Far Eastern Art Studies for academic works in East Asian art history . It was established in honor of Japanese art historian Shūjirō Shimada in 1992, with the first prize bestowed in September 1993, shortly prior to Shimada's death

70-623: A cement factory ultimately presented the United States its very first collection of Fine Art . Freer is known for his collection of late nineteenth century American painting and Asian art, developed largely after his retirement in 1899. Yet, the industrialist had begun collecting art and prints sixteen years prior, in 1883, when Freer purchased a selection of Old Masters prints from New York dealer, Frederick Keppel. His interests continued to grow in subsequent years through personal and professional connections. These relationships fundamentally shaped

105-469: A museum to house them. The museums have separate collections. Based on Charles Freer's will, the Freer gallery can exhibit only works in its collection, and those works are not allowed to travel. The Sackler gallery can accept loaned objects and can also loan pieces from its collection. The museum is working to strengthen its connections with Korea and art institutions there. The museum ended cooperation with

140-559: A scholarship for Asian and Middle Eastern studies and acquire new works from Asia, Egypt, and the Middle East. Within the acquisition addition, Freer included a detailed stipulation. All new acquisitions must be approved by the Fine Arts National Commission and a panel of the collector's close friends and confidantes. In his most stringent restriction, Freer stated that the museum may not accept gifts of works of art for

175-472: A system in which "a masterpiece required neither explanation nor cultural context to communicate its message: its importance lay in its aesthetic integrity, not in the evidence it might incidentally provide about religious, social, political, or economic issues". This belief is solidified by Freer's preference for subtle works that belied simple analysis. Freer also behaved unlike other patrons of his time. Beyond purchasing works, Freer developed friendships with

210-590: Is Created" . Smithsonian Institution Archives . Retrieved July 22, 2024 . ^ Troost, Kristina Kade; Leone Belzer, Berghuis; Chou, Min-chih (1993). "Libraries and Institutions" . Journal of East Asian Libraries . 100 : 69–70. Retrieved from " https://en.wikipedia.org/w/index.php?title=Shimada_Prize&oldid=1242410693 " Categories : Art history American history awards Awards established in 1992 Art biennials Awards disestablished in 2010 Hidden categories: Articles with short description Short description

245-474: Is different from Wikidata National Museum of Asian Art The Freer Gallery of Art opened in 1923 to display the nineteenth century American painting and Asian art collection of American industrialist Charles Lang Freer . Freer provided an initial endowment used to construct the gallery building. The Arthur M. Sackler Gallery was built next door to the Freer in 1987, after Arthur M. Sackler donated 1,000 objects of ancient Chinese art and $ 4 million for

280-644: The Hong Kong Economic and Trade Office in 2022. In February, 2023, the museum entered into an agreement with the government of Yemen to hold and preserve 77 works of art that had been looted from that country. The items will be returned to Yemen when the civil war there ends. Among the works are 65 carved stone funerary stelae , which are approximately 2,500 years old. 38°53′17″N 77°01′36″W  /  38.8880°N 77.0268°W  / 38.8880; -77.0268 Charles Lang Freer Charles Lang Freer (February 25, 1854 – September 25, 1919)

315-795: The Michigan Car Company , championed the idea of a shaping Washington, DC into a beautiful capital city. His influence helped guide Freer's offer towards Washington. Negotiations continued for the next five months, stalled briefly by Samuel P. Langley , the director of the Smithsonian Institution . In May 1906, the Regents of the Smithsonian Institution accepted Freer's gift on behalf of the United States Government . Freer's gift, provided not only his collection but also

350-591: The Museum of Fine Arts Boston offered him the curatorship of the recently developed Japanese Art department. Fenollosa's choice to divorce his wife in 1895 led to his subsequent resignation from the Museum of Fine Arts Boston in the summer of 1896. For nearly ten years, Fenollosa advised and Freer acquired voraciously. From 1901 to 1908, Freer purchased the majority of the Japanese and Chinese paintings that he would later gift to

385-564: The Peninsular Car Company in 1885. The business made both men wealthy and Peninsular became Detroit's second largest car manufacturer. In 1892, Peninsular merged with the Michigan Car Company , taking over the majority of the railcar market in Detroit. At the time, Michigan-Peninsular Car was Michigan's largest manufacturer. Seven years later, in 1899, Freer organized a 13-company merger, creating American Car and Foundry in 1899. In

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420-498: The "golden age" of East Asian art collecting. Freer's money and taste and connoisseurship made it possible for the public to see and study a much more diverse body of art, and influenced the shift in American taste away from decorative and ornate works. On December 15, 1905, Freer sent U.S. President Theodore Roosevelt a letter in which Freer outlined his initial bequest offer. James McMillan, Freer's friend, U.S. Senator, and partner in

455-597: The 1870s, a group of investors from Detroit decided to build a rail line in Logansport, Indiana ; they hired Hecker to manage the project. Hecker brought the younger Freer along. Hecker's daughter, Anna Cynthia Hecker (1871-1923), would marry Freer's younger brother, Watson Marthis Freer (1863-1922). In 1879, using connections made in the railroad business and the financial backing of a group of Christian H. Buhl , James Joy, Russell Alger , James McMillan , and Allan Shelden, Freer and Hecker moved to Detroit , where they created

490-434: The 1906 gift. The first provision established an income stream, sourced from stocks and cash dividends, to ensure that the museum employed a highly skilled curator . The patron designated two additional funds to decorate and maintain the museum grounds, specifically interior and exterior ornamental gardens. Once met, Freer established further stipulations. Freer mandated that residuary incomes from his estate continue to support

525-735: The Buddhist Master Painter 1997 [REDACTED] Su Bai 中國石窟寺研究. [Studies on the Cave Temples of China] Li Xianting , Liang Ziming , Robert W. Bagley , Jay Xu The Art of the Houma Foundry 1999 Kihara Toshie 幽微の探究 : 狩野探幽論 [The Search for Profound Delicacy: The Art of Kano Tan’yu] 2001 Zou Heng 天马-曲村: 1980-1989 [Tianma-Qucun: 1980–89] 2003 Stanley K. Abe Ordinary Images 2006 Andrew M. Watsky Chikubushima: Deploying

560-736: The Sacred Arts in Momoyama Japan 2008 Patricia Berger Empire of Emptiness: Buddhist Art and Political Authority in Qing China 2010 Patricia Buckley Ebrey Accumulating Culture: The Collections of Emperor Huizong References [ edit ] ^ Shimizu, Yoshiaki (1995). "Shūjirō Shimada (1907-1994)". Archives of Asian Art . 48 : 99–100. JSTOR   20111258 . ^ "The Shimada Prize" . National Museum of Asian Art . Retrieved 22 July 2024 . ^ "Shimada Prize

595-454: The Smithsonian. Their partnership was lucrative, as Fenollosa's counsel gave Freer an edge in an increasingly competitive art market. In return, Freer organized speaking engagements for Fenollosa and acquired objects from the academic. Freer's philosophy was clear when it came to collecting. In their book Freer: A Legacy of Art, Thomas Lawton and Linda Merrill describe Freer's belief as

630-435: The artists he supported and lent works from his collections to exhibitions, to provide the greatest professional exposure to the painters in his stable. There is also indication that Freer had been thinking of a museum project long before it was proposed to the Smithsonian. In the summer of 1900, Freer traveled through Venice , Munich , Nuremberg , Dresden , Berlin , Hamburg and Cologne . While in these cities he visited

665-411: The building and initial endowment was the first of its kind in U.S. history. Despite this, Freer's initial bequest was thorough, including an inventory of 2,250 objects that Freer would retain until his death. It also outlined that Freer's new acquisitions would stay with the patron until his death. In 1918 and 1919, Freer placed provisions in his will, further bolstering the structure he established in

700-491: The collecting principles and philosophy of the collector. Two friendships, however, stand out for the effect they had on the collector and deserve further explanation. The first is with painter, James McNeill Whistler , who is largely considered to be the catalyst for Freer's Asian collection, while the second is with Asian art scholar, Ernest Fenollosa , who helped shape Freer's view of collecting. Freer's interest in Whistler

735-587: The construction of the Freer Gallery of Art in Washington, D.C. Charles Lang Freer was born in Kingston , New York , United States , in 1856. He was the son of Jacob Roosa Freer (1819-1875) and Phoebe Jane Townsend Freer (1826-1868). He is a direct descendant of Hugo Freer, a New Paltz patentee and the first Freer to the United States. The third child of six, his family had little money. Freer's mother died when he

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770-693: The early 1890s, it wasn't until 1901 that Freer developed an important relationship with Ernest Fenollosa, the son of a Spanish immigrant, and authority on the art of China and Japan. Fenollosa, who lived and worked in Japan from 1880 through 1890, taught Philosophy and Logic at the Imperial University of Tokyo . During his tenure in Japan, Fenollosa studied art history, criticism, and methodology and applied what he learned to Japanese art and culture. Fenollosa published widely, both in English and Japanese, and in 1889

805-687: The following year. The winner of the prize received a $ 10,000 award from the Metropolitan Center, funded by the Harry G. C. Packard Collections Charitable Trust. The prize has not been awarded since 2010. Recipients [ edit ] Recipients of the Shimada Prize Year Portrait Author(s) Work 1993 [REDACTED] Nelson-Atkins Museum of Art The Century of Tung Ch’i-ch’ang (1555–1636) 1995 Hirata Yutaka The Age of

840-471: The largest collection of Whistler works in the world. The two remained close friends and confidantes until Whistler's death in 1903. Whistler is commonly associated as being the inspiration for Freer's collection of Japanese prints and paintings. Although scholars debate why Freer began concentrating on collecting Asian Art, records indicate that his first purchase, a Japanese Rimpa fan painting, occurred in 1887. This predates his established relationship with

875-502: The largest collection of the artist's work in the world, 3,400 Chinese works, 1,863 Japanese , 1,697 Egyptian , 513 from India and the Middle East , 451 from Korea , 200 works of 19th century American masters, and 200 miscellaneous objects. The museum continued to acquire new works, adding nearly 2000 additional objects in its first fifty years. The historian Warren Cohen concludes that Freer and Ferguson were primarily responsible for

910-448: The late 19th century, Freer's health declined markedly. The economic depression of the 1890s paired with the stress of Freer's position within the company caused both physical and psychological trauma to the industrialist. Freer was diagnosed with neurasthenia , a nervous condition widespread among the upper-class in the United States. Treatment for neurasthenia included long periods of rest, and men were encouraged to pursue activities in

945-421: The major ethnological museums, where he drew floor plans and wrote note in a journal. In addition to the 2,250 objects set promised in the original gift to the Smithsonian, Freer collected avidly for the duration of his life. In 1920, after his death, 9,500 objects were transferred from Detroit to Washington, DC , nearly quadrupling the holdings of the collection. Among these works were 1,189 pieces by Whistler,

980-544: The painter. There is no reason to believe that Freer's taste, whether it predated Whistler or not, was not influenced by his friend. His influence, however, may be seen in the other American artists collected by Freer. In addition to Whistler, Freer developed large collections of the artists Dwight Tyron , Abbott Thayer , Thomas W. Dewing , and Frederick Church . Tyron, Thayer, Dewing, and Whistler all contributed to Freer's Detroit mansion, designed by Aesthetic Movement architect, Wilson Eyre in 1890. Although they met in

1015-400: The permanent collection. The Museum was also forbidden to display works of art that were not part of the permanent collection. Finally, once brought into the permanent collection, no piece of art was permitted to be loaned out. In 1916, construction began on what is now known as the Freer Gallery in Washington. The building cost a million dollars, all of which was paid by Freer. Completion

1050-559: The wilderness. Freer's treatment included outings in the Canadian wilderness and the Catskills . In addition to travel as a means of therapy, in the 1880s Freer started collecting art. In 1899, Freer retired from industry, focusing his time and efforts on collecting art and travel. Freer died in 1919 while staying at the Gotham Hotel at Fifth Avenue and 55th Street, New York City of what

1085-412: Was an American industrialist, art collector, and patron. He is known for his large collection of East Asian , American , and Middle Eastern art. In 1906, Freer donated his extensive collection to the Smithsonian Institution , making him the first American to bequeath his private collection to the United States. To house the objects, including The Peacock Room by James McNeill Whistler , Freer funded

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1120-536: Was born in a New York City bachelor pad belonging to lawyer and art collector, Howard Mansfield, in 1887. According to Mansfield, when Freer saw Whistler's etchings, he was instantly drawn to the pieces the artist produced. Only three years later, in 1890, Freer introduced himself to Whistler, while on his first trip to London. It was not long before the artist and industrialist became fast friends, spending long stretches of time together traveling. Freer, during this period, also began amassing what would ultimately become

1155-688: Was delayed by World War I and the gallery was not opened until 1923. Freer is famous not only for having been an industrialist and art collector, but also an avid writer. His personal communications (letters and telegrams) between himself and Whistler have been published and are legendary in the art community. He also shared decades-long communications between himself and other important American art collectors and patrons. A few of these early patrons went on to establish collections similar in importance (if not necessarily volume) to that of Freer. See The Phillips Collection , The Vess Collection , The Roosevelt Collection , and others. The Detroit Century Box ,

1190-471: Was described as a stroke of apoplexy . He left the bulk of his art collection, more than 5000 objects, to the federal government; it is now housed in the Freer Gallery of Art, Smithsonian Institution. Freer had no wife or children. The legacy of Charles Lang Freer is not just his wealth or art collection, but it is also his generosity as a patron to artists and the public. The boy who left school to work in

1225-480: Was fourteen years of age. After the seventh grade, Freer left school and took a job in a cement factory. In the early 1870s, Freer was noticed by Frank J. Hecker , then general superintendent of the New York, Kingston, & Syracuse Railroad , while working as a clerk in a general store. Hecker capitalized on Freer's accounting and organizational skills, hiring the young man as his paymaster and accountant in 1874. In

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