Word: hassam
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Political concerns motivate several of these works. In many cases, the perspective from which the work is painted reveals the artist's ideological intention. Childe Hassam's etching, Fifth Avenue, Noon, illustrates this trend. In the print, looming skyscrapers overshadow streets crowded with tiny people. Hassam uses line to emphasize the straightness of the buildings and the insignificance of the crowd, displaying his opinion that city life disempowers the individual...
...CHILDE HASSAM: AN ISLAND GARDEN REVISITED, National Museum of American Art, Washington. The islands are the Isles of Shoals, off the New Hampshire coast, and the garden was the notable cultivation of journalist-poet Celia Thaxter. Both are memorably captured here by Hassam (1859-1935), America's foremost impressionist. Through...
...American Women Artists 1830-1930, consisted mainly of loans; but even so, except for some paintings by Cecilia Beaux, Romaine Brooks and, of course, O'Keeffe, it was a dull florilegium of derivative kitsch. Who would waste ten minutes on these sub-Sargent portraits, these mincing imitations of Childe Hassam, these genre scenes crawling with dimpled rosy brats, if they had not been painted by American women? And what serious artist wants gender to be the primary classification of her art? Lee Krasner did not want to be in a ghetto with "women artists" -- she wanted to be seriously compared...
...Paris; some of them even painted the flowers in Monet's garden at Giverny, with the assiduity of students doing the Roman ruins a century before. They were not trivial or maladroit. Yet charm, rather than inspiration, remained the order of the day. No wonder that Childe Hassam, William Merritt Chase, Edmund Tarbell, John Twacht-man and their colleagues have always seemed to be squeezed uncomfortably between the great Yankee realists like Eakins and Homer in the late 19th century and the robust "Ashcan" painters like Robert Henri in the early 20th...
...look like French impressionism is that they depicted a different kind of glare: a high-keyed white light, rather than a vibrating spectrum of color a la Monet. They were, in other words, tonal rather than coloristic impressionism. Some of the artists who had studied in Paris, notably Childe Hassam, managed to work the authentic French flicker into their surfaces without making it seem heavy handed. Hassam's view of a victory parade in 1918, The Union Jack, New York, April Morn, with its vibrant banners hanging over a throng of pedestrians and traffic, is a study of color...