Hassam, Childe - Post-Impressionismo
Domingo, Janeiro 13, 2008
A Back Road, 1884
Oil on canvas
Height: 79.38 cm (31.25 in.), Width: 63.5 cm (25 in.)
Brooklyn Museum of Art
The Barnyard, 1885
Oil on Canvas
Private collection
Along the Seine, Winter, 1887
Oil on Canvas
Dallas Museum of Art
The Rose Girl, ca. 1888
Center panel: oil on canvas with gold leaf; Side panels: oil on wood with gold leaf.
3 panels. Center panel: 21 3/4 x 30 1/8 in.; Each side panel: 15 1/4 x 6 1/4 in.
Private collection
Celia Thaxter's Garden, Isles of Shoals, Maine, 1890
Oil oncanvas
The Metropolitan Museum of Art, New York City
Snowstorm Madison Square, circa 1890
Oil oncanvas
20.25 x 16 inches
Peabody Art Collections, Maryland State Archives
Rainy Day in Paris, 1890
Oil on canvas
24 x 18 in. (cm. 61.0 x 45.7)
Private collection
The Manhattan Club (The Stewart Mansion), c. 1891
Oil on canvas
18 1/4 x 22 1/8 in.
Santa Barbara Museum of Art, California
Charles River and Beacon Hill, c. 1892
Oil on canvas
18 7/8 x 20 7/8 in. (47.9 x 53 cm)
Museum of Fine Arts, Boston
Winter in Union Square, 1894
Oil on canvas
18 1/4 x 18 in. (46.4 x 45.7 cm)
The Metropolitan Museum of Art, New York
The Room of Flowers, 1894
Oil on canvas
86,4 x 86,4 cm
Private collection
Houses of Parliament, Early Evening, 1898
Oil on canvas
12 7/8 x 16 3/8 inches (33 x 41.9 cm)
Public collection
Bricklayers, c.1900
Oil on canvas
10 1/8 x 8 1/4 inches (26 x 21 cm)
Private collection
Adams and St. Helen's, Early Morning, 1904
Watercolor
Height: 25.4 cm (10 in.), Width: 35.24 cm (13.88 in.)
Fogg Museum of Art, Harvard University
Portland Harbor, 1904
Watercolor
h: 7 x w: 10.8 in / h: 17.8 x w: 27.4 cm
Comercial gallery
The Hovel and the Skyscraper, 1904
Oil on canvas.
34 3/4 x 31 in
Pennsylvania Academy of the Fine Arts, Philadelphia
Surf and Rocks, 1906
Oil on canvas
20 x 30 in. (50.8 x 76.2 cm) Framed: 31 1/4 x 41 3/8 x 2 in.
Detroit Institute of Arts, Michigan
Lower Manhattan, 1907
Oil on Canvas
Cornell University
Spring, Navesink Highlands, 1908
Oil on canvas.
25 1/8 x 30 1/4 in. (63.6 x 76.6 cm)
Smithsonian American Art Museum, Washington D.C.
An Outdoor Portrait of Miss Weir, 1909
Oil on canvas
38 in. x 38 in. (96.52 cm x 96.52 cm)
Crocker Art Museum, California
The Water Garden, 1909.
Oil on canvas.
24 x 36 in. (61.0 x 91.4 cm)
The Metropolitan Museum of Art, New York City
Manhattan's Misty Sunset, 1911
Oil on canvas
18 X 32" (45.72 x 81.28 cm.)
Butler Institute of American Art, Ohio
Isles of Shoals, c. 1912
Oil on canvas
13 1/2 x 9 3/8 inches (34.3 x 24.1 cm)
Private collection
Isles Of Shoals, 1912
Oil on canvas
17 7/8 x 22 inches (45.7 x 55.9 cm)
Private collection
The Fireplace, 1912
Oil on canvas
5 1/2 x 8 1/4 inches (14 x 21 cm)
Private collection
The New York Window, 1912
Oil on canvas
46-1/8 x 35-1/4 in
Corcoran Gallery of Art, Washington D.C.
The South Ledges, Appledore, 1913
Oil on canvas
34 1/4 x 36 1/8 in. (87.0 x 91.6 cm)
Smithsonian American Art Museum, Washington, D.C
Newburgh, NY, 1914
Watercolor on paper
h: 15 x w: 22 in / h: 38.1 x w: 55.9 cm
Comercial gallery
Cos Cob Dock, 1915
Etching
7 x 5 in. (17.78 x 12.7 cm) Sheet dimensions: 11 1/4 x 8 7/8 in. (28.575 x 22.543 cm)
Dallas Museum of Art
Home Sweet Home Cottage, East Hampton, circa 1916
Oil on canvas
Height: 52.71 cm (20.75 in.), Width: 60.96 cm (24 in.)
Private collection
Sunset Above the Newburgh, 1916
Watercolor on paper
h: 15 x w: 22 in / h: 38.1 x w: 55.9 cm
Comercial gallery
Sunset, Little Hills, ca. 1916-1917
Watercolor on paper.
9 5/8 x 13 7/8 in
Private collection
Allies Day, May 1917, 1917
Oil on canvas
36 3/4 x 30 1/4 in. (93.4 x 76.8 cm)
National Gallery of Art, Washington
Flags, Fifth Avenue, 1918
Watercolor
13 5/8 x 9 3/8 in. (34.62 x 23.83 cm)
Dallas Museum of Art
Flags on the Friar's Club, 1918
Oil on canvas.
26 x 24 in. (66.0 x 61.0 cm)
Amherst College, Mead Art Museum, Amherst, Massachusetts
Avenue of the Allies: Brazil; Belgium, 1918
Oil on Canvas
Los Angeles County Museum of Art, Los Angeles
The Model Disrobing, 1918
Oil on canvas.
24 1/2 x 22 1/4 in
Private collection
California, 1919
Oil on canvas
24 x 43 1/4 inches (61 x 109.9 cm)
Private collection
High Bridge, 1922
Oil on canvas
Height: 63.5 cm (25 in.), Width: 76.2 cm (30 in.)
Santa Barbara Museum of Art
Flying Point, Water Mill, 1924
Oil on board
h: 6.1 x w: 7.8 in / h: 15.5 x w: 19.8 cm
Comercial gallery
Mrs. Hassam's Garden at East Hampton, 1934
Oil on Canvas
Private collection
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No quadro "The Room of Flowers, 1894" uma mulher de vestido cor-de-rosa, recostada num divã, lê distraidamente um livro num quarto cheio de luz e repleto de livros, quadros, mesas, cadeiras, ornamentos e flores. A casa situa-se na costa do Maine, New Hampshire, e pertencia e Celia Thaxter, que a utilizava para reunir poetas e artistas. Entre eles, Hassan, que trabalhou como gravador de madeira e ilustrador antes de ir para Boston e depois para Paris, para estudar Arte. Converteu-se ao Impressionismo francês ao admirar o Trabalho de Claude Monet, embora o seu treino académico inicial o impedisse de adopatar completamente os princípios daquele movimento. Escolhia momentos do di, características ou condições atmosféricas que cosntituíssem um desafio técnico, tais como reflexos nos pavimentos molhados, e privilegiava também os estudos sobre mulheres. Hassan tornou-se célebre ainda em vida e conquistou várias medalhas e prémios. Childe Hassam nasceu em Boston (EUA) em 1859 e Morreu em Nova Iorque em 1935.
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Childe Hassam was the premier Impressionist painter of New York City. From 1890 through World War I he painted its fashionable boulevards, genteel park lanes, festive military parades, new neighborhoods, and occasionally, as in Manhattan's Misty Sunset, the new skyline that was prompting many to call New York the eighth wonder of the world. Like many American Impressionists, Hassam was a New Englander. A charter member of The Ten, he began drawing in the 1870s, studying in Boston under William Rimmer and the Munich academician, Ignaz Gaugengigl. Influenced by the tonalist painter, George Fuller, Hassam became well-known for his street scenes such as Rainy Day, Columbus Avenue, Boston (1885, The Toledo Museum of Art). He went to Paris in 1886, making numerous rural and urban plein-air paintings that put him in the center of the emerging American Impressionist brotherhood. He returned to Boston in 1889, eventually settling in New York City. In this painting, Hassam shifts away from the sunny, smiling atmosphere of his pre-1900 city scenes. Manhattan's Misty Sunset still shows an allegiance to plein-air painting; yet despite the attention to light, atmosphere, and weather conditions, the work was probably done in Hassam's studio on West 67th Street.' Hassam had painted other twilight rainy scenes before 1911, seizing on the way the cold drizzle blurred the detail of objects and made bold, abstract designs out of the big city structures. Such calculations brought his work closer in spirit to James Abbott McNeill Whistler's nocturnes than to the sundrenched boulevard documents of Claude Monet and Pierre-Auguste Renoir. Here, the failing moments of the evening, which the French Impressionists seldom painted, cast a veiled mystery over the constructed scene, linking the painting to Whistler's Thames paintings and the pictorialist photography of Hassam's contemporaries, Alvin Langdon Coburn and Alfred Steiglitz. Hassam's color range is narrow and organized around cool tones; there is a controlled thickness in the brushwork and the shades of green paint are slathered over the generalized shapes of the Brooklyn warehouses, the East River, the lower tip of Manhattan, and the distant glimpse of the Hudson River. One senses Hassam's ambivalence toward modern industrial America. He had first pictured the massive excavations and constructions in The Hovel and the Skyscraper (1904, private collection), where the elevated viewpoint suggests a metropolitan impersonality. Hassam defined the ". . . changing character of New York from a city of brownstone hovels and pedestrian walks to one of skyscrapers and elevated railways." Still, Manhattan's Misty Sunset shows New York on the verge of the skyscraper era, not fully in it. The two tall structures, whose identity is unknown, pierce the Manhattan skyline but do not overwhelm the human scale of the smaller commercial buildings. Hassam's distant Brooklyn vantage point, the ribbons of mist partly shrouding the solid forms, as well as the evening light, soften the effect of the concrete canyons across the East River. There is a melancholy poetry here, a poignant transition between the realities of the nineteenth and twentieth centuries that Edward Hopper would also occasionally suggest in his paintings. In later years, Hassam preoccupied himself with patriotic, decorative paintings of war-time New York City. These festive interpretations of people and flags in the streets of the increasingly skyscraper dominated New York brought him great popular and critical success.
No quadro "The Room of Flowers, 1894" uma mulher de vestido cor-de-rosa, recostada num divã, lê distraidamente um livro num quarto cheio de luz e repleto de livros, quadros, mesas, cadeiras, ornamentos e flores. A casa situa-se na costa do Maine, New Hampshire, e pertencia e Celia Thaxter, que a utilizava para reunir poetas e artistas. Entre eles, Hassan, que trabalhou como gravador de madeira e ilustrador antes de ir para Boston e depois para Paris, para estudar Arte. Converteu-se ao Impressionismo francês ao admirar o Trabalho de Claude Monet, embora o seu treino académico inicial o impedisse de adopatar completamente os princípios daquele movimento. Escolhia momentos do di, características ou condições atmosféricas que cosntituíssem um desafio técnico, tais como reflexos nos pavimentos molhados, e privilegiava também os estudos sobre mulheres. Hassan tornou-se célebre ainda em vida e conquistou várias medalhas e prémios. Childe Hassam nasceu em Boston (EUA) em 1859 e Morreu em Nova Iorque em 1935.
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Childe Hassam was the premier Impressionist painter of New York City. From 1890 through World War I he painted its fashionable boulevards, genteel park lanes, festive military parades, new neighborhoods, and occasionally, as in Manhattan's Misty Sunset, the new skyline that was prompting many to call New York the eighth wonder of the world. Like many American Impressionists, Hassam was a New Englander. A charter member of The Ten, he began drawing in the 1870s, studying in Boston under William Rimmer and the Munich academician, Ignaz Gaugengigl. Influenced by the tonalist painter, George Fuller, Hassam became well-known for his street scenes such as Rainy Day, Columbus Avenue, Boston (1885, The Toledo Museum of Art). He went to Paris in 1886, making numerous rural and urban plein-air paintings that put him in the center of the emerging American Impressionist brotherhood. He returned to Boston in 1889, eventually settling in New York City. In this painting, Hassam shifts away from the sunny, smiling atmosphere of his pre-1900 city scenes. Manhattan's Misty Sunset still shows an allegiance to plein-air painting; yet despite the attention to light, atmosphere, and weather conditions, the work was probably done in Hassam's studio on West 67th Street.' Hassam had painted other twilight rainy scenes before 1911, seizing on the way the cold drizzle blurred the detail of objects and made bold, abstract designs out of the big city structures. Such calculations brought his work closer in spirit to James Abbott McNeill Whistler's nocturnes than to the sundrenched boulevard documents of Claude Monet and Pierre-Auguste Renoir. Here, the failing moments of the evening, which the French Impressionists seldom painted, cast a veiled mystery over the constructed scene, linking the painting to Whistler's Thames paintings and the pictorialist photography of Hassam's contemporaries, Alvin Langdon Coburn and Alfred Steiglitz. Hassam's color range is narrow and organized around cool tones; there is a controlled thickness in the brushwork and the shades of green paint are slathered over the generalized shapes of the Brooklyn warehouses, the East River, the lower tip of Manhattan, and the distant glimpse of the Hudson River. One senses Hassam's ambivalence toward modern industrial America. He had first pictured the massive excavations and constructions in The Hovel and the Skyscraper (1904, private collection), where the elevated viewpoint suggests a metropolitan impersonality. Hassam defined the ". . . changing character of New York from a city of brownstone hovels and pedestrian walks to one of skyscrapers and elevated railways." Still, Manhattan's Misty Sunset shows New York on the verge of the skyscraper era, not fully in it. The two tall structures, whose identity is unknown, pierce the Manhattan skyline but do not overwhelm the human scale of the smaller commercial buildings. Hassam's distant Brooklyn vantage point, the ribbons of mist partly shrouding the solid forms, as well as the evening light, soften the effect of the concrete canyons across the East River. There is a melancholy poetry here, a poignant transition between the realities of the nineteenth and twentieth centuries that Edward Hopper would also occasionally suggest in his paintings. In later years, Hassam preoccupied himself with patriotic, decorative paintings of war-time New York City. These festive interpretations of people and flags in the streets of the increasingly skyscraper dominated New York brought him great popular and critical success.
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