Charles Lang Freer, americk\u00fd znalec um\u011bn\u00ed, byl ne\u00fanavn\u011b poh\u00e1n\u011bn touhou po dokonalosti v um\u011bn\u00ed. Tato posedlost vedla jeho pe\u010dliv\u00e9 sestaven\u00ed pozoruhodn\u00e9 sb\u00edrky asijsk\u00e9ho a americk\u00e9ho um\u011bn\u00ed. Freer v\u011b\u0159il, \u017ee estetick\u00fd duch p\u0159esahuje \u010das a geografii a spojuje rozmanit\u00e9 objekty do harmonick\u00e9ho celku.<\/p>\n\n
V roce 1904 Freer nab\u00eddl svou sb\u00edrku Instituci Smithsonian. Zpo\u010d\u00e1tku v\u00e1hav\u00fd, Smithsonian nakonec p\u0159ijal Freer\u016fv dar a v roce 1906 zalo\u017eil sv\u00e9 prvn\u00ed um\u011bleck\u00e9 muzeum. Freer str\u00e1vil zbytek sv\u00e9ho \u017eivota zdokonalov\u00e1n\u00edm sb\u00edrky, hled\u00e1n\u00edm fyzick\u00e9ho prost\u0159ed\u00ed, kter\u00e9 by dopl\u0148ovalo kr\u00e1su a harmonii objekt\u016f.<\/p>\n\n
Freer pov\u011b\u0159il architekta Charlese Platta n\u00e1vrhem budovy v italsk\u00e9m renesan\u010dn\u00edm stylu, aby v n\u00ed ulo\u017eil svou sb\u00edrku. V\u00fdsledn\u00e1 \u017eulov\u00e1 stavba, p\u0159il\u00e9haj\u00edc\u00ed ke Smithsonian Castle, byla otev\u0159ena jako Freerova galerie um\u011bn\u00ed v roce 1923. Rozs\u00e1hl\u00e1 renovace v 90. letech zachovala jej\u00ed p\u016fvodn\u00ed kr\u00e1su.<\/p>\n\n
Freer p\u016fvodn\u011b uvalil na sv\u016fj dar p\u0159\u00edsn\u00e1 omezen\u00ed, zakazuj\u00edc\u00ed r\u016fst, p\u016fj\u010dov\u00e1n\u00ed nebo vystavov\u00e1n\u00ed extern\u00edch objekt\u016f. Pozd\u011bji v\u0161ak povolil dopl\u0148ky do asijsk\u00e9 \u010d\u00e1sti sb\u00edrky. Freer z\u016fstal neochv\u011bjn\u00fd ve sv\u00e9m odporu v\u016f\u010di modernistick\u00e9 estetice, kterou pova\u017eoval za neslu\u010ditelnou se sv\u00fdm ide\u00e1lem dokonalosti.<\/p>\n\n
V roce 1987 Smithsonian otev\u0159elo Galerii Arthura M. Sacklera, druh\u00e9 muzeum asijsk\u00e9ho um\u011bn\u00ed spojen\u00e9 s Freerem. Na rozd\u00edl od Freera nem\u011bla Sacklerov\u00e1 \u017e\u00e1dn\u00e1 omezen\u00ed ohledn\u011b p\u016fj\u010dov\u00e1n\u00ed nebo vystavov\u00e1n\u00ed objekt\u016f. Ob\u011b muzea se navz\u00e1jem dopl\u0148ovala, ka\u017ed\u00e9 s vlastn\u00edmi siln\u00fdmi str\u00e1nkami.<\/p>\n\n
V kv\u011btnu se Julian Raby stal nov\u00fdm \u0159editelem galeri\u00ed Freera a Sacklera. Se sv\u00fdmi rozmanit\u00fdmi zku\u0161enostmi jako v\u011bdec, kur\u00e1tor a vydavatel se Raby zam\u011b\u0159uje na roz\u0161\u00ed\u0159en\u00ed publika pro asijsk\u00e9 um\u011bn\u00ed. Zd\u016fraz\u0148uje v\u00fdznam v\u00fdzkumu, v\u00fdstav a dostupnosti pro americkou ve\u0159ejnost.<\/p>\n\n
Spole\u010dn\u011b tvo\u0159\u00ed Freerova a Sacklerova galerie n\u00e1rodn\u00ed muzeum asijsk\u00e9ho um\u011bn\u00ed. Navzdory flexibiln\u011bj\u0161\u00ed politice p\u016fj\u010dov\u00e1n\u00ed Sacklerovy galerie z\u016fst\u00e1v\u00e1 v\u00fdznamn\u00e1 \u010d\u00e1st Freerovy sb\u00edrky trvale um\u00edst\u011bna ve sv\u00e9m ide\u00e1ln\u00edm prost\u0159ed\u00ed.<\/p>\n\n
Asijsk\u00e9 sb\u00edrky Freerovy galerie se od Freerovy smrti zna\u010dn\u011b roz\u0161\u00ed\u0159ily. Kur\u00e1to\u0159i a v\u011bdci pe\u010dliv\u011b zkoumali a z\u00edsk\u00e1vali nov\u00e9 objekty, \u010d\u00edm\u017e zajistili jejich bezprobl\u00e9movou integraci s p\u016fvodn\u00ed sb\u00edrkou. Rozmanit\u00e1 sb\u00edrka galerie zahrnuje bronzy, nefrit, parav\u00e1ny, svitky, keramiku, malby a kovod\u011bln\u00e9 v\u00fdrobky.<\/p>\n\n
Freerova neochv\u011bjn\u00e1 v\u00edra v dokonalost zanechala trvalou stopu ve sv\u011bt\u011b asijsk\u00e9ho um\u011bn\u00ed. Jeho sb\u00edrka a Freerova galerie um\u011bn\u00ed nad\u00e1le inspiruj\u00ed a vzd\u011bl\u00e1vaj\u00ed n\u00e1v\u0161t\u011bvn\u00edky a prezentuj\u00ed kr\u00e1su, harmonii a kulturn\u00ed spojen\u00ed, kter\u00e1 p\u0159esahuj\u00ed \u010das a geografii.<\/p>","protected":false},"excerpt":{"rendered":"
Dokonalost v um\u011bn\u00ed: Freerova galerie um\u011bn\u00ed Freerovo hled\u00e1n\u00ed dokonalosti Charles Lang Freer, americk\u00fd znalec um\u011bn\u00ed, byl ne\u00fanavn\u011b poh\u00e1n\u011bn touhou po dokonalosti v um\u011bn\u00ed. Tato posedlost vedla jeho pe\u010dliv\u00e9 sestaven\u00ed pozoruhodn\u00e9…<\/p>\n","protected":false},"author":2,"featured_media":24999,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16743],"tags":[3726,21645,21647,27,63,2524,21646],"class_list":["post-16321","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-asian-art","tag-american-art","tag-asian-art","tag-freer-gallery-of-art","tag-history","tag-culture","tag-museum","tag-perfection"],"_links":{"self":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/16321","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/comments?post=16321"}],"version-history":[{"count":2,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/16321\/revisions"}],"predecessor-version":[{"id":25000,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/posts\/16321\/revisions\/25000"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/media\/24999"}],"wp:attachment":[{"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/media?parent=16321"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/categories?post=16321"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/cs\/wp-json\/wp\/v2\/tags?post=16321"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}