Difference between revisions of "Langdon Warner"
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The son-in-law of Theodore Roosevelt, Warner worked for a time at the [[Museum of Fine Arts, Boston]], as an assistant to [[Okakura Kakuzo|Okakura Kakuzô]]. The museum then sent him to Japan in [[1907]], where he studied for a time at the [[Tokyo School of Fine Arts]], and began collecting Japanese art objects. Among his travels, he journeyed to Okinawa in November [[1909]], where he bought a number of Okinawan folk art objects, with the intention of selling them either to Harvard's Peabody Museum, or to [[Edward Sylvester Morse]], who might in turn donate or sell them to the [[Peabody-Essex Museum]] in Salem, Massachusetts. In the end, neither Harvard nor Morse were able (or willing) to purchase the 134 Okinawan objects Warner had collected, but they made their way to the Peabody-Essex anyway, after being bought by [[Charles Weld]], who in turn donated them to the Salem museum. Warner gave his daughter ten works of Okinawan textiles which he did not sell to Weld; she later donated them to Harvard's Sackler Museum. During his time in Japan, he also met [[Yanagi Soetsu|Yanagi Sôetsu]], who he later invited to become an art instructor at Harvard. | The son-in-law of Theodore Roosevelt, Warner worked for a time at the [[Museum of Fine Arts, Boston]], as an assistant to [[Okakura Kakuzo|Okakura Kakuzô]]. The museum then sent him to Japan in [[1907]], where he studied for a time at the [[Tokyo School of Fine Arts]], and began collecting Japanese art objects. Among his travels, he journeyed to Okinawa in November [[1909]], where he bought a number of Okinawan folk art objects, with the intention of selling them either to Harvard's Peabody Museum, or to [[Edward Sylvester Morse]], who might in turn donate or sell them to the [[Peabody-Essex Museum]] in Salem, Massachusetts. In the end, neither Harvard nor Morse were able (or willing) to purchase the 134 Okinawan objects Warner had collected, but they made their way to the Peabody-Essex anyway, after being bought by [[Charles Weld]], who in turn donated them to the Salem museum. Warner gave his daughter ten works of Okinawan textiles which he did not sell to Weld; she later donated them to Harvard's Sackler Museum. During his time in Japan, he also met [[Yanagi Soetsu|Yanagi Sôetsu]], who he later invited to become an art instructor at Harvard. | ||
| − | In the 1920s, he is said to have carved twenty-six ancient murals from the walls of the Mogao Caves at Dunhuang, in China, and to have donated them to the Harvard Art Museums.<ref>Holland Cotter, "[http://www.nytimes.com/2008/07/06/arts/design/06cott.html Buddha's Caves]," New York Times, 6 July 2008.</ref> | + | In the 1920s, he is said to have carved twenty-six ancient murals from the walls of the Mogao Caves at Dunhuang, in China, and to have donated them to the Harvard Art Museums.<ref>Holland Cotter, "[http://www.nytimes.com/2008/07/06/arts/design/06cott.html Buddha's Caves]," New York Times, 6 July 2008.</ref> From April until September 1946, he served as an advisor to the Monuments, Fine Arts, and Archives program ("Monuments Men") division in Japan.<ref name=archives>Rihoko Ueno, "[http://blog.aaa.si.edu/2012/10/monuments-men-in-japan-discoveries-in-the-george-leslie-stout-papers.html Monuments Men in Japan: Discoveries in the George Leslie Stout papers]," Archives of American Art Blog, 29 Oct 2012.</ref> |
Warner later wrote a number of pieces on Japanese art history and aesthetics, including at least one work on sculpture from the time of [[Empress Suiko]] (r. 593-628). The Shôwa Emperor awarded Warner the [[Order of the Sacred Treasure]], Second Class for his work in spreading appreciation of Japanese art. | Warner later wrote a number of pieces on Japanese art history and aesthetics, including at least one work on sculpture from the time of [[Empress Suiko]] (r. 593-628). The Shôwa Emperor awarded Warner the [[Order of the Sacred Treasure]], Second Class for his work in spreading appreciation of Japanese art. | ||
| − | He is | + | He is often credited with convincing the US military of the cultural and historical value of Kyoto, Nara, and Kamakura, and thus rescuing those cities from the ravages of World War II. However, some sources indicate that that idea has been discredited, and that Secretary of War [[Henry L. Stimson]] may be the one to thank.<ref name=archives/> Nevertheless, monuments to Warner have been erected at five sites in Japan, including on the grounds of [[Horyu-ji|Hôryû-ji]], and just outside Kamakura Station. |
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Revision as of 02:43, 13 March 2014
- Born: 1881
- Died: 1955
Langdon Warner was an American scholar of East Asian art history, famous for his supposed role in persuading the US military to not bomb Kyoto, Nara, and Kamakura during World War II, but also infamous for his supposed involvement in looting priceless wall paintings from the ancient Chinese Buddhist cave temples at Dunhuang.
The son-in-law of Theodore Roosevelt, Warner worked for a time at the Museum of Fine Arts, Boston, as an assistant to Okakura Kakuzô. The museum then sent him to Japan in 1907, where he studied for a time at the Tokyo School of Fine Arts, and began collecting Japanese art objects. Among his travels, he journeyed to Okinawa in November 1909, where he bought a number of Okinawan folk art objects, with the intention of selling them either to Harvard's Peabody Museum, or to Edward Sylvester Morse, who might in turn donate or sell them to the Peabody-Essex Museum in Salem, Massachusetts. In the end, neither Harvard nor Morse were able (or willing) to purchase the 134 Okinawan objects Warner had collected, but they made their way to the Peabody-Essex anyway, after being bought by Charles Weld, who in turn donated them to the Salem museum. Warner gave his daughter ten works of Okinawan textiles which he did not sell to Weld; she later donated them to Harvard's Sackler Museum. During his time in Japan, he also met Yanagi Sôetsu, who he later invited to become an art instructor at Harvard.
In the 1920s, he is said to have carved twenty-six ancient murals from the walls of the Mogao Caves at Dunhuang, in China, and to have donated them to the Harvard Art Museums.[1] From April until September 1946, he served as an advisor to the Monuments, Fine Arts, and Archives program ("Monuments Men") division in Japan.[2]
Warner later wrote a number of pieces on Japanese art history and aesthetics, including at least one work on sculpture from the time of Empress Suiko (r. 593-628). The Shôwa Emperor awarded Warner the Order of the Sacred Treasure, Second Class for his work in spreading appreciation of Japanese art.
He is often credited with convincing the US military of the cultural and historical value of Kyoto, Nara, and Kamakura, and thus rescuing those cities from the ravages of World War II. However, some sources indicate that that idea has been discredited, and that Secretary of War Henry L. Stimson may be the one to thank.[2] Nevertheless, monuments to Warner have been erected at five sites in Japan, including on the grounds of Hôryû-ji, and just outside Kamakura Station.
References
- Takayasu Fuji, "[amview.japan.usembassy.gov/wordpress/provenance-of-okinawan-artifacts-in-the-united-states/ Provenance of Okinawan Artifacts in the United States]," American View, 23 Jan 2008.
- Plaque at Momijiyama yagura in Kamakura.
- Plaque at Kamakura Station.
- ↑ Holland Cotter, "Buddha's Caves," New York Times, 6 July 2008.
- ↑ 2.0 2.1 Rihoko Ueno, "Monuments Men in Japan: Discoveries in the George Leslie Stout papers," Archives of American Art Blog, 29 Oct 2012.
