Freer Gallery of Art

Welcome to the National Museum of Asian Art
The Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian’s national museum of Asian art, are located on the National Mall in Washington, D.C. Committed to preserving, exhibiting and interpreting exemplary works of art, the Freer and Sackler address broad questions about culture, identity and the contemporary world. Together, the Freer and Sackler care for exceptional collections of Asian art, with more than 40,000 objects dating from the Neolithic period to today and originating from the ancient Near East to China, Japan, Korea, South and Southeast Asia, and the Islamic world. Nearly a century old, the Freer Gallery of Art also holds a significant group of American works of art largely dating to the late 19th century. It houses the world’s largest collection of diverse works by James McNeill Whistler, including the famed Peacock Room.

Our History
Two Smithsonian museums unite in the Freer and Sackler: the Freer Gallery of Art, which opened to the public in 1923, and the Arthur M. Sackler Gallery, which first welcomed visitors in 1987. Detroit businessman Charles Lang Freer and President Theodore Roosevelt saw in Asia an emerging force deserving of study and respect, and in 1906, Freer gave the nation his holdings of Asian and American art. Named for Dr. Arthur M. Sackler, the Sackler Gallery is an essential counterpoint to the Freer, showcasing his exemplary collections and allowing us to host special exhibitions of Asian art.

For those who have the power to see beauty . . . all works of art go together
—Charles Lang Freer

Great art and culture belongs to all mankind
—Arthur M. Sackler

Why Asia and America?
In 1890, Charles Lang Freer paid an unannounced call to artist James McNeill Whistler’s London studio. The two men would establish a long and fruitful partnership. Freer ultimately collected more than one thousand artworks by Whistler—including the Peacock Room—as well as significant holdings of work by other late nineteenth-century American artists.

Fascinated by the arts and cultures of Asia, Whistler also turned Freer’s attention East. By 1906, Freer had added a considerable number of Asian art and objects to his American collections. He came to share Whistler’s belief that the history of art was a “story of the beautiful” that transcended time and place. And when Freer conceived of a museum for his collections, he envisioned it as a monument to the “points of contact” between ancient and modern, East and West. We uphold this vision today, allowing the universality of art to connect us all.

The Freer Gallery of Art is an art museum of the Smithsonian Institution in Washington, D.C. focusing on Asian art. The Freer and the Arthur M. Sackler Gallery together form the Smithsonian's national museums of Asian art in the United States. The Freer and Sackler galleries house the largest Asian art research library in the country and contain art from East Asia, South Asia, Southeast Asia, the Islamic world, the ancient Near East, and ancient Egypt, as well as a significant collection of American art.

The gallery is located on the south side of the National Mall in Washington, D.C., contiguous with the Sackler Gallery. The museum is open 364 days a year (being closed on Christmas), and is administered by a single staff with the Sackler Gallery. The galleries are among the most visited art museums in the world.

The Freer houses over 26,000 objects spanning 6,000 years of history from the Neolithic to modern eras. The collections include ancient Egyptian stone sculpture and wooden objects, ancient Near Eastern ceramics and metalware, Chinese paintings and ceramics, Korean pottery and porcelain, Japanese folding screens, Persian manuscripts, and Buddhist sculpture. In addition to Asian art, the Freer also contains the famous Harmony in Blue and Gold: The Peacock Room (better known as The Peacock Room) by American artist James McNeill Whistler which serves as the centerpiece to the Freer's American art collection.

The museum offers free tours to the public and presents a full schedule events for the public including films, lectures, symposia, concerts, performances, and discussions. Over 11,000 objects from the Freer|Sackler collections are fully searchable and available online. The Freer was also featured in the Google Art Project, which offers online viewers close-up views of selected items from the Freer.

The gallery was founded by Detroit railroad-car manufacturer and self-taught connoisseur Charles Lang Freer. He owned the largest collection of works by American artist James McNeill Whistler (1834-1903) and became a patron and friend of the famously irascible artist. Whistler made it very clear to Freer that if he helped him to build the premier Whistler collection, then that collection would have to be displayed in a city where tourists went.

In 1908, Charles Moore, a former aide to Michigan United States Senator, James McMillin and the chairman of the United States Commission of Fine Arts, moved from Washington, D.C., to Detroit. Moore became friends with Freer, who was director of the Michigan Car Company, and persuaded Freer to permanently exhibit his 8,000-piece collection of Oriental art in Washington, D.C. Before then, Freer informally proposed to President Theodore Roosevelt that he give to the nation his art collection, funds to construct a building, and an endowment fund to provide for the study and acquisition of "very fine examples of Oriental, Egyptian, and Near Eastern fine arts."

The Freer gift was accepted on behalf of the government by the Smithsonian Board of Regents in 1906. Freer's will, however, contained certain requirements that only objects from the permanent collection could be exhibited in the gallery, and that none of the art could be exhibited elsewhere. Freer felt strongly that all of the museum's holding should be readily accessible to scholars at all times. In addition, Freer's bequest to the Smithsonian came with the proviso that he would execute full curatorial control over the collection until his death. The Smithsonian initially hesitated at the requirements but the intercession of President Theodore Roosevelt allowed for the project to proceed. The Freer Gallery possesses an autographed letter from Roosevelt inviting Freer to visit him at the White House, reflecting the personal interest Roosevelt showed in the development of the museum. Freer died before the art gallery was completed.

Construction of the gallery began in 1916 and was completed in 1921, after a delay due to World War I. On May 9, 1923, the Freer Gallery of Art was opened to the public. Designed by American architect and landscape planner Charles A. Platt, the Freer is an Italian Renaissance-style building inspired by Freer's visits to palazzos in Italy. It is reported that in a meeting with architect Charles Platt at the Plaza Hotel in New York City, Freer jotted down his ideas for a classical, well-proportioned building on a napkin. The gallery is constructed primarily of granite: the exterior of the Freer is pink granite quarried in Milford, Massachusetts, the courtyard has a carnelian granite fountain and walls of unpolished Tennessee white marble. The gallery's interior walls are Indiana limestone, and the floors are polished Tennessee marble.

A major renovation of the building, which culminated in a grand reopening in 1993, greatly expanded storage and exhibition space by connecting the Freer and the Arthur M. Sackler Gallery. With the addition of the connecting gallery, the Freer has 39,039 square feet (3,626.8 m2) of public space. The original structure designed by Platt remains intact, including the Eugene and Agnes E. Meyer Auditorium which serves as the venue for many public programs.

Current
After opening in 1923, the Freer served as the Smithsonian's first museum dedicated to the fine arts. The Freer was also the first Smithsonian museum created from a private collector's bequest. Through the years, the collections have grown through gifts and purchases to nearly triple the size of Freer's original donation: nearly 18,000 works of Asian art have been added since Freer's death in 1919.

The Freer is now connected by an underground exhibition space to the neighboring Arthur M. Sackler Gallery. Although their collections are stored and exhibited separately, the two museums share a director, administration, and staff. The Freer closed for extensive renovations in January 2016 and reopened in October 2017.

Because one of the main conditions of Charles Lang Freer donation was that only items from his collection may be exhibited at the gallery, the Freer does not borrow from or lend out items to other institutions. However, due to the 26,000 objects in the gallery's collections, they are still able to present exhibitions internationally recognized for both depth and quality.

The Freer also has a number of rotating/temporary exhibits.

Freer began collecting American art in the 1880s. In 1890, after meeting James Abbott McNeill Whistler, an American artist influenced by Japanese prints and Chinese ceramics, Freer began to expand his collections to include Asian art. He maintained his interest in American art, however, amassing a collection of over 1,300 works by Whistler, which is considered the world's finest.

One of the most well-known exhibits at the Freer is The Peacock Room, an opulent London dining room painted by Whistler in 1876–77. The room was designed for British shipping magnate F.R. Leyland and is lavishly decorated with green and gold peacock motifs. Purchased by Freer in 1904 and installed in the Freer Gallery after his death, The Peacock Room is on permanent display.
The Freer also has works by Thomas Dewing (1851–1938), Dwight Tryon (1849–1925), Abbott Handerson Thayer (1849–1921), Childe Hassam (1859–1935), Winslow Homer (1836–1910), Augustus Saint-Gaudens (1848–1907), Willard Metcalf (1858–1925), John Singer Sargent (1856–1925), and John Twachtman (1853–1902).

The Freer Sackler Archives houses over 120 important manuscripts collections relevant to the study of America's encounter with Asian art and culture. The core collection is the personal papers of gallery founder Charles Lang Freer, which includes his purchase records, diaries, and personal correspondence with public figures such as artists, dealers and collectors. Freer's extensive correspondence with James McNeill Whistler forms one of the largest sources of primary documents about the American artist. Other significant collections in the Archives includes the papers (notebooks, letters, photography, squeezes) and personal objects of the German archaeologist Ernst Herzfeld (1879–1946), documenting his research at Samarra, Persepolis and Pasargadae. The papers of Carl Whiting Bishop Dwight William Tryon, Myron Bement Smith, Benjamin March and Henri Vever are also located at the Archives. The Archives also holds over 125,000 photographs of Asia dating from the 19th and early 20th centuries. Highlights of photographic holdings include the Henry and Nancy Rosin Collection of 19th century photography of Japan, the 1903-1904 photographs of the Chinese Empress Dowager Cixi, and photographs of Iran by Antoin Sevruguin.

The Freer|Sackler Library is the largest Asian art research library in the United States. Open to the public five days a week (except federal holidays) without appointment, the library collection consists of more than 86,000 volumes, including nearly 2,000 rare books. Half the volumes are written and catalogued in Asian languages. Originating from the collection of four thousand monographs, periodical issues, offprints, and sales catalogues that Charles Lang Freer donated to the Smithsonian Institution as part of his gift to the nation, the F|S Library maintains the highest standards for collecting materials an active program of purchases, gifts, and exchanges.

In July 1987 the library moved to its new home in the Arthur M. Sackler Gallery. Today it supports activities of both museums, such as collection development, exhibition planning, publications, and other scholarly and educational projects. Its published and unpublished resources—in the fields of Asian art and archaeology, conservation, painting, sculpture, architecture, drawings, prints, manuscripts, books, and photography—are available to museum staff, outside researchers, and the visiting public.