柴尔德·哈萨姆Childe Hassam（1859年10月17日—1935年8月27日），美国印象派画家。他创作了3000多幅油画,油画、水彩画、铜版画、石版画在他的职业生涯中,是一个有影响力的20世纪早期的美国艺术家。
在蒙马特,巴黎,1889年,普林斯顿大学艺术博物馆
哈桑(HASS明显;我)(众所周知的公子,明显像孩子;一个叔叔的名字命名的[1])出生在他的家乡多尔切斯特,波士顿在1859年,。他父亲弗雷德里克是适度成功的餐具与大量的艺术品和古董商人。[2]他一长串的后裔新英格兰人。他的母亲,罗莎,土生土长的缅因州与美国小说家,共享一个祖先纳撒尼尔·霍桑。他的父亲声称从17世纪英国移民后裔的名字,霍舍姆已经随着时间的推移破坏哈桑。与他的黑肤色和heavily-lidded眼睛,许多花公子哈桑中东血统的——他喜欢引发的猜测。在1880年代中期,他开始画一个Islamic-appearing新月(最终只沦为一个斜杠)他的签名,他采用了绰号“无角的”(阿拉伯语的“Mawla”,主或主人),调用无角的阿布·哈桑,格拉纳达的十五尺华盛顿·欧文小说《阿尔罕布拉宫的故事。[1]
哈桑证明早期的艺术感兴趣。他的画和水彩画参加的第一堂课马瑟学院,但他的父母很少理会他新生人才。[3]
还是个孩子的时候,哈桑擅长拳击和游泳在多尔切斯特高中。一个1872年11月灾难性的火灾摧毁了波士顿的商业区,包括他父亲的生意。哈桑离开高中后两年(17岁)尽管他叔叔的提供支付哈佛的教育。哈桑喜欢帮助支持他的家人的工作。他的父亲安排在出版商的会计部门工作利特尔与布朗出版公司。在此期间,哈桑木头雕刻的艺术研究,发现就业与乔治•约翰逊木头雕刻师。他很快被证明是一个熟练的绘图员(列为“制图员”在波士顿目录)和他的设计为商业信纸的信头和报纸等雕刻。[4]1879年前后,哈桑开始创建最早的油画,但他的首选媒介水彩,主要是户外的研究。[5]
下午晚些时候,纽约,1900年冬天,c。。布鲁克林博物馆
华盛顿拱门,华盛顿广场公园1893年,c。
1882年,哈桑成为自由插画家(称为“黑白人”贸易),并建立了他的第一个工作室。他专业说明儿童故事等杂志哈珀的每周,斯克里布纳尔出版社的月度,这个世纪.[5]他继续发展技术参加上课洛厄尔研究所(一个部门麻省理工学院),在波士顿艺术俱乐部生活,他把画类。[6]
到1883年,哈桑是公开展示,他的第一个个展,水彩画的威廉姆斯和埃弗雷特画廊波士顿.[5]第二年,他的朋友西莉亚Thaxter说服他放弃他的名字,在那之后,他被简称为“公子哈桑”。他也开始添加一个新月象征在他的签名,面前的意义仍然是未知的。[7]
有相对较少的正规的艺术训练,哈桑被他的朋友建议(和波士顿艺术俱乐部的成员)埃德蒙·h·加勒特采取两个月“学习之旅”,加勒特在1883年夏天到欧洲。哈桑和加勒特在整个旅行联合王国,荷兰,法国,意大利,瑞士,西班牙,研究大师在一起,创建水彩画欧洲乡村。哈桑的水彩画留下了特别的印象j·m·w·特纳。六十七年哈桑画的水彩画在这次旅行中他的第二个展览在1884年的基础上形成的。[6]在此期间,哈桑任教考尔斯艺术学校。他还加入了“油漆和粘土俱乐部”,扩大他在艺术社会关系,其中包括著名的批评家和“最近和最聪明的年轻一代的艺术家,插图画家,雕刻家,和decorators-the波西米亚的波士顿可以夸耀。”[8]朋友发现他是精力充沛的,健壮的,外向的,谦逊的,能自嘲和体贴的行为,但他可以争辩的和恶诙谐的艺术社区反对他的人。[9]哈桑尤其圈的影响威廉·莫里斯狩猎就像伟大的法国风景画家Jean-Baptiste-Camille旋转,强调了巴比松直接从自然的传统工作。他吸收了他们的信条,“大气和光是山水画的伟大的事情工作。”[8]在1885年,一位著名的评论家,在一定程度上对哈桑的早期油画一个支路(1884),声称“波士顿喜欢山水画,建立在这个声音法国学校,是至关重要的,积极的、富有成效的,并且在我们今天的艺术家独特的趋势…事实是诗歌够这些激进分子的新学校。这是一个健康,男子气概的肌肉类型的艺术。”[10]
雨天,波士顿(1885),托莱多艺术博物馆在俄亥俄州
1884年2月,哈桑结婚凯瑟琳·莫德(或莫德)多恩(生于1861年),一个家庭的朋友他追求了好几年。[1]在他们的生活在一起,她跑的家居,安排旅行,和参加其他国内任务,但对他们的私人生活。[9]到1880年代中期,哈桑在附近的地区,城市开始绘画与他的波士顿公园黄昏》(1885)是他的第一个。他加入了其他一些进步的美国艺术家正在法国学术大师的建议Jean-Leon Gerome从他的传统,一个转换主题,告诉他的美国同行,“看看你的周围,描绘你所看到的。忘记了美术和模型和渲染强烈的生命环绕你和放心的布鲁克林大桥是值得的罗马圆形大剧场现代的罗马和美国一样好古代的小摆设。”[11]然而,波士顿评论家坚决反对哈桑对城市主题的选择“非常愉快,但是不是艺术。”[9]尽管他已经显示出稳定的改善在他的油画中,放手之前说明哈桑和他的妻子决定回到巴黎。哈桑的成功与插图是足够的,到1886年,这对夫妇可以从事交通公寓/工作室附近的一个女仆地方Pigalle巴黎艺术社区的中心。除了美国艺术家弗兰克·博格斯,这对夫妇住在法国和社会化与其他留学美国艺术家。[12]
哈桑搬到法国,这样他可以研究图绘制和绘画在著名的Academie朱利安.[13]尽管他利用正式画类古斯塔夫·雅和朱尔斯约瑟夫Lefebvre,他很快就开始自学,发现“[t]他朱利安学院是常规的化身……(学术培训)把所有创意越来越多的男性。它倾向于把它们一成不变,它让他们“,而是相反,”我自己的方法在相同的程度。”[14]他第一次巴黎街景,作品主要采用棕色的调色板,他把这些作品送回波士顿出售,加上老水彩画,给这对夫妇提供了足够的收入来维持他们留在国外。[15]在1887年秋天,哈桑画两个版本的大奖赛,雇佣一个突破改变调色板。技术在这戏剧性的变化,他躺柔和,更加分散的颜色画布,类似法国印象派画家,创建场景充满了光,用自由的笔触。他很可能受法国印象派绘画在博物馆和展览,他认为虽然他没有满足任何的艺术家。哈桑最终成为一个“十”,一群印象派画家。[16]
完成的照片,他回家也吸引了注意力。一位评论家评论说:“令人耳目一新,哈桑先生,在那么多的好,坏,冷漠的艺术潮流,似乎自己划独木舟的独立和方法。三年前当他的波士顿的照片……相比之下,最近的工作……可能是看到他有进步。”[17]哈桑贡献了4幅画1889年博览会Universale在巴黎,赢得一枚铜牌。当时,他说在进步的美国艺术家的出现在国外学习但不屈服于法国传统:
至于法国印象派画家,他写道:“克劳德·莫奈,西斯利,毕沙罗和极端的印象派画家的学校做一些事情是迷人的,能活。”[17]哈桑后来被称为“极端印象派”自己。他唯一的“直接”接触法国印象派艺术家当哈桑接手雷诺阿前工作室和发现的一些画家留下的石油素描。“我不知道任何关于雷诺阿或任何关心雷诺阿。我看着这些实验在纯色,看到我想做我自己。”[19]
这对夫妇在1889年回到美国,居住在纽约。他恢复他的工作室插图在好天气户外的风景。他发现了一个公寓第五大道和17街,认为他画他的第一个纽约油,冬天第五大道。当时旅游的时尚街头的马车,手推车。这是他最喜欢的一幅画,他表现出好几次了。[20]它巧妙地使用一种独特的黑暗的黑人和棕色(通常被认为是“禁止颜色”严格的印象派画家)创建一个冬天城市全景,《费加罗报》称赞为“美国性格”。华盛顿在春天拱(1890),他展示了一种明亮柔和的调色板弥漫着白色类似于莫奈可能就业。[21]
突然改变他的选择和他的范围扩大。[22]在1890年代,他的技术越来越发展对印象派在石油和水彩,即使运动本身是让位给Post-Impressionism和野兽派。欧洲停留期间,他继续支持街和马的场景,避免其他的一些最喜欢的印象派画家的描述,如歌剧、夜总会、剧院,和划船。[22]他还画了花园和“卖花女”场景,一些由他的妻子,包括天竺葵(1888)提出的沙龙在1889年的展览。[17]他设法在所有三个沙龙展览展示了他在巴黎停留,但只获得了一枚铜牌。[19]
西莉亚Thaxter的花园,1890,大都会艺术博物馆,纽约
哈桑成了亲密的朋友同美国印象派艺术家j·奥尔登堰和约翰·亨利Twachtman相识,通过美国水彩画协会,并在接下来的几个月他许多艺术社区的连接通过其他艺术社团和社会俱乐部。[23]他从欧洲保持了作品展览和几个节目。哈桑热情地描绘纽约的上流社会的城市氛围,他遇到他的公寓的步行距离之内,,避免了下层社会的肮脏的社区。他宣称,“纽约是世界上最美丽的城市。没有在所有巴黎大道相比之下,我们的第五大道……普通美国人仍然无法欣赏美丽的自己的国家。”[24]他捕获了衣冠楚楚的男人在圆顶礼帽和礼帽,时尚的妇女和儿童,和马车出租车慢慢让他们沿着拥挤的街道两旁商业建筑(当时一般都不到六层楼高)。哈桑的主要焦点将永远继续运动的“人类”。[25]他从未怀疑过自己的艺术发展和他的臣民,剩下的自信在他的本能选择终其一生。[9]
这是通过西奥多·罗宾逊,工作在美国和法国,或者,他Twachtman,堰和克劳德。莫奈保持密切联系,居住在吉维尼都在时间。四个美国人代表美国印象派的核心,致力于绘画什么是真实,什么是熟悉和亲密,在户外在可能的情况下,光的即时性和影子,虽然夸张和假彩色在纽约时报有目的的影响或印象。[26]城市里提供了自己独特的氛围和光线,哈桑发现“最令人震惊的效果”的能力和一样风景如画的海滨景色。[27]然而,城市印象派所面临的挑战是,活动非常快,因此,得到了一个完整的印象在石油几乎是不可能的。补偿,哈桑会找到一个合适的位置,使计划画草图的组件,然后再回到工作室建设总印象,实际上是一个复合的小场景。[28]
西莉亚Thaxter在她的花园里,1892,史密森学会
在夏天,他将在一个更典型的印象派位置,如Appledore岛,最大的群岛的浅滩从新汉普郡,那么闻名艺术家殖民地。社会生活在岛上的沙龙围绕诗人西莉亚Thaxter主持艺术和文学人物。集团是一个“快乐的、雅致的、有趣的和艺术的人……像一个大家庭。“哈桑回忆道,“我花了我的一些最夏天…(和)我遇到的最好的人。”[29]哈桑为他的绘画的主题包括Thaxter的花园,岩石景观,和一些室内场景呈现最印象派笔法。在印象派风格,他应用颜色“完全清除管”未装填的画布没有预混。[30]艺术家展示他们的工作在Thaxter沙龙和暴露在富裕的买家岛上住。Thaxter死于1894年,在纪念哈桑画她的客厅的房间的花。[30]
从1890年代中期开始,哈桑也使得夏天画远足格洛斯特马萨诸塞州;因为棒子,康涅狄格;老莱姆,康涅狄格;他们在海边,但每个展示绘画方面的独特方面。尽管他的销量很好,哈桑继续承担商业工作,包括的世界哥伦比亚博览会在芝加哥在1893年。[31]后去古巴哈瓦那,哈桑回到纽约和他的第一个主要的拍卖在1896年美国艺术画廊,展示了200年的作品跨越了整个职业生涯。[32]《纽约时报》观察到的“稳步增加乐队的印象派画家,哈桑先生是一位牧师在议会。”[33]大多数评论家都相信他了印象派太远,他称“一个关键的颜色已经上升越来越高,直到它只是捡球。他的印象已经越来越近视的。”另一个评论家宣称,”他忽视了公众,深深地喜欢一幅画。“哈桑意识到不到50美元每幅拍卖。[32]其他美国艺术家也有困难的时间1896年的经济衰退。哈桑决定回到欧洲。[32]
在老莱姆教堂1905年,油画,公子哈桑
暴风雪,麦迪逊广场,c。1890
哈桑航行第一那不勒斯,罗马和佛罗伦萨。虽然住在印象派画家的角落,哈桑花了很多时间在画廊和教堂研究大师。哈桑抵达巴黎春天,然后前往英格兰。他继续生产绘画非常轻的面板。[34]
在1897年回到了纽约,哈桑参加了分裂的印象派画家美国艺术家协会,形成一种新的社会被称为十个。该组织是精力充沛如果不是由哈桑,谁是最激进的成员之一。他们第一次在杜兰德-鲁埃尔画廊里展出七个欧洲对他的新工作。[35]批评者认为他的新工作是“实验性的”和“不可理喻”。[36]虽然仍感兴趣,包括人物在他的城市画,夏天他的新作品在格洛斯特港新港,老莱姆,和其他新英格兰地区显示越来越多的关注纯粹的风景和建筑。[37]他的时间老莱姆艺术殖民地,从1903年开始,整个殖民地转变引起的输出的柔和的颜色Tonalism对美国印象派。他的颜色变得苍白和更紧密的语气莫奈的许多观众发现令人不安和深不可测,他被问到他是如何想出了一个特别的调色板。他回答说,“主题建议我一个配色方案,我只是油漆。”[9]
1900年,哈桑访问马萨诸塞州普罗温斯敦。普罗温斯敦,一旦一个繁荣的海上社区已经开始严重依赖当地旅游业。普罗温斯敦建造的帆船,他抓住了一个罕见的独特事件在社区:建设帆船。这艘船在哈桑的工作是由芝加哥的百万富翁,是第一个大型船舶建造在四分之一个世纪的普罗温斯敦。[38]
哈桑是精明的市场营销工作,是由经销商在几个城市和国外和博物馆。尽管批评人士和保守的买家,他设法让销售和绘画,而无需诉诸金融生存教学。同事说哈桑是一个艺术家”敏锐的知识分布、战术能力将他的工作。”[37]随着新世纪的开始,一些三十年后印象派画家的第一个展览在法国印象主义在美国艺术社区,最后获得了合法性和哈桑开始卖给主要的博物馆和接收陪审团奖励和奖牌,印证他的信念在他的视野。[39]1906年,他当选的院士国家设计学院.
1900年8月下午,Appledore
经过了短暂的抑郁和饮酒作为一个明显的中年危机的一部分,一位四十五岁的哈桑然后致力于一个更健康的生活方式,包括游泳。在这段时间里他感到精神和艺术复兴,他画了一些新古典学科,包括裸体在户外设置。城市主题开始减少,他承认他是厌倦了城市生活,繁忙的地铁、高架火车和汽车公共汽车取代马车的盛情场景在早些时候,他那么喜欢捕捉。城市的结构改变。庄严的大厦,摩天大楼,他承认了自己的艺术魅力:“一个人必须授予当然,如果单独一个摩天大楼不是一个奇迹的艺术作为一个广泛形成建筑怪胎。当在团体和他们的曲折了高耸的天空和融化的温柔地向远处的摩天大楼是真正美丽的。“哈桑的城市画了一个更高的角度和人类相应规模萎缩,如曼哈顿下城(1907)。[40]他开始用只有他在纽约的冬天和旅行的平衡,自称“马可波罗的画家。”[41]在1904年和1908年,他前往俄勒冈州和刺激了新的科目和不同观点,经常和朋友在户外工作,律师和业余画家上校c . e . s .木。他创作了100多幅油画,彩笔,水彩的高沙漠崎岖的海岸级联的场景波特兰在理想化的风景,甚至裸体(一系列同等的游泳者象征主义皮埃尔Puvis de通知).[42]像往常一样,他适应他的风格和颜色手头的主题和情绪的地方,但总是在印象派静脉。[43]
灯塔在纽堡1916 Mt
艺术品市场现在急切地接受他的工作,到1909年哈桑享受了巨大的成功,每幅收入高达6000美元。他的亲密朋友和艺术家j·奥尔登堰说到另一个艺术家,“我们共同的朋友哈桑一直在最大的运气和理所当然的成功。他卖掉了他的公寓工作室和今年冬天卖出了更多的图片,我想,比以往任何时候都,是波的波峰。所以他绕脆,快乐的空气。”[44]
水花园,c。1909
哈桑回到1910年的欧洲找到巴黎许多改变:“镇上撕裂像纽约。许多建筑。他们从美国美国人!”[45]在活力的城市中,哈桑画7月14日期间Daunou街巴士底日庆祝活动,他著名的前身国旗系列(见下文)。[45]
当他回到纽约,哈桑开始一系列的“窗口”绘画,他一直持续到1920年代,通常有一个沉思的女模特和服之前洋溢着门帘或打开窗口,如金鱼窗口(1916)。[45]博物馆和迅速抢购的场面很受欢迎。哈桑是特别是多产的和充满活力的时期从1910年到1920年,引起一位评论家评论,“认为哈桑的骇人听闻的数字图片会有世界上的人是七十岁了!”[46]哈桑真的产生成千上万的在几乎每一个工作介质在他的生命。在他的朋友在一个赛季堰可能漆六画布,哈桑四十。[9]
在此期间他还回到沿海场景的水彩画和油,以南方岩架,Appledore(1913),有一个异常平衡部门的海洋和岩石斜对面的一个近正方形画布,给予同等重视,海洋和陆地、水和岩石。[46]这幅画展示了著名的作家西莉亚Thaxter的家Appledore岛。南岩架,Appledore[47]属于史密森尼美国艺术博物馆在华盛顿特区,他也产生了一些静物绘画。[48]
十个
哈桑显示6个具有里程碑意义的作品军械库艺术博览会1913年,印象主义终于视为主流和将近一个历史风格,和流离失所的激进革命的呼声立体主义,新鲜的来自欧洲。他和堰最古老的参展商,绰号在新闻晚餐作为“美国艺术”的猛犸象和乳齿象。哈桑认为,从国外新艺术趋势报警,称“这是时代的江湖郎中,庸医,和纽约城市是他们的目标。”[49]他也不高兴,军械库艺术博览会吸引了注意力从最新的展品的十个。
1913年,哈桑被授予一个独立的画廊展示的巴拿马太平洋博览会,38个图片。大约在1915年,他再次蚀刻和光刻技术的兴趣,产生超过400的这些作品在他后来的职业生涯。当哈桑发现这些作品在艺术上令人满意,他们收到了不温不火的公开回应,他说,“一些销售和一些最好的不要。”[50]
在雨中大道,油画,1917年。白宫
最独特和著名的哈桑的晚年作品组成的集合一些三十绘画被称为“国旗系列”。他在1916年开始这些灵感来自一个“准备游行”(我们参与第一次世界大战)举行第五大道在纽约(更名为“大道的盟友”在1918年的自由公债驱动器)。[51]数千人参加了游行,通常持续了超过十二个小时。[52]
作为一个狂热的崇拜法国的,英语的祖先,烈anti-Germany,哈桑热情地支持盟军原因和法国文化的保护。[53]哈桑与其他艺术家在战争中救援工作从1914年的几乎一开始的冲突,当大多数美国人以及总统伍德罗·威尔逊绝对孤立主义。[54]哈桑甚至认为志愿服务记录战争在欧洲,但政府不会批准。他甚至被逮捕(并迅速释放)天真地沿着城市的河流草图海军演习。[55]除了他给许多委员会,他的几个标志照片是导致战争的救援,以换取自由债券.[51]虽然他很有希望整个系列将出售作为一套战争纪念碑(100000美元),这些照片是单独出售几组展览之后,最后在柯康美术馆在1922年。[56]
克劳德·莫奈等法国艺术家,也画flag-themed作品,但哈桑已经清楚地说明了美国人的性格,展示国旗显示在纽约最时尚的街道用自己的创作风格和艺术眼光。在大多数画作系列中,国旗在前景,而在别人的国旗只是部分节日的全景。在某些案例中,美国国旗��单独和其他盟军飘动的旗帜。在他最印象派绘画系列,在雨中大道(1917),一直在白宫永久收藏自肯尼迪政府、旗帜和反射模糊所以非常,似乎透过rain-smeared窗口。在进入白宫,巴拉克•奥巴马(Barack Obama)选择显示的椭圆形办公室.[57]哈桑的国旗画覆盖所有季节和各种天气和光照条件。[58]哈桑让爱国声明没有公开的游行,士兵,或战争,除了一张照片显示一个标志大声叫着“购买自由债券”。[59]国旗的画作哈桑的集合大都会艺术博物馆,纽约历史学会,维吉尼亚美术博物馆,普林斯顿大学艺术博物馆和国家美术馆的艺术.
在雨中大道的公子哈桑的墙上椭圆形办公室,2009年
1919年,哈桑在购买了家里纽约东汉普顿。许多他的晚期作品使用那个镇上附近的主题和其他地方长岛。战后艺术品市场蓬勃发展在1920年代,和哈桑吩咐升级价格,尽管有些评论家认为他已经成为静态和重复性,为美国艺术已经开始转向的现实主义垃圾箱画派和艺术家一样爱德华霍珀和罗伯特·亨利。.[60]1920年,他获得了金牌荣誉终身成就的宾夕法尼亚州的美术学院通过1920年代和许多其他奖项。[61]哈桑旅行相对较少的最后几年里,但访问加州,亚利桑那州,路易斯安那州,德克萨斯州和墨西哥。[61]他于1935年在东汉普顿去世,享年75岁。[62]
他谴责现代趋势艺术他生命的最后,他被称为“艺术鲣鸟”所有的画家,批评,收藏家和经销商谁上了潮流,提升立体主义,超现实主义和其他前卫运动。[62]直到国印象主义的复兴在1960年代,哈桑被认为是在“被遗弃的天才”。法国印象派绘画达到极高的价格在1970年代,哈桑和其他美国印象派画家得到了新的兴趣和也被推高。[63]
Hassam (pronounced HASS'm;) (known to all as Childe, pronounced like child; named after an uncle[1]) was born in his family home in Dorchester, Boston, in 1859. His father Frederick was a moderately successful cutlery businessman with a large collection of art and antiques.[2] He descended from a long line of New Englanders. His mother, Rosa, a native of Maine, shared an ancestor with American novelistNathaniel Hawthorne. His father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily-lidded eyes, many took Childe Hassam to be of Middle Eastern descent - speculation which he enjoyed stoking. In the mid-1880s, he took to painting an Islamic-appearing crescent moon (which eventually degenerated into only a slash) next to his signature, and he adopted the nickname "Muley" (from the Arabic "Mawla", Lord or Master), invoking Muley Abul Hassan, a fifteenth-century ruler of Granada in Washington Irving's novel Tales of the Alhambra.[1]
Hassam demonstrated an interest in art early. He had his first lessons in drawing and watercolor while attending The Mather School, but his parents took little notice of his nascent talent.[3]
As a child, Hassam excelled at boxing and swimming at Dorchester High School. Adisastrous fire in November 1872 wiped out much of Boston's commercial district, including his father's business. Hassam left high school after two years (at age 17) despite his uncle's offer to pay for a Harvard education. Hassam preferred to help support his family by working. His father arranged a job in the accounting department of publisher Little, Brown & Company. During that time, Hassam studied the art of wood engraving and found employment with George Johnson, a wood engraver. He quickly proved an adept draftsman (listed as a "draughtsman" in the Boston directory) and he produced designs for commercial engravings such as letterheads and newspapers.[4] Around 1879, Hassam began creating his earliest oil paintings, but his preferred medium was watercolor, mostly outdoor studies.[5]
In 1882, Hassam became a free-lance illustrator (known as a "black-and-white man" in the trade), and established his first studio. He specialized in illustrating children's stories for magazines such as Harper's Weekly, Scribner's Monthly, and The Century.[5] He continued to develop his technique while attending drawing classes at the Lowell Institute (a division of MIT) and at the Boston Art Club, where he took life painting classes.[6]
By 1883, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston.[5] The following year, his friend Celia Thaxter convinced him to drop his first name and thereafter he was known simply as "Childe Hassam". He also began to add a crescent symbol in front of his signature, the meaning of which remains unknown.[7]
Having had relatively little formal art training, Hassam was advised by his friend (and fellow Boston Art Club member) Edmund H. Garrett to take a two-month "study trip" with Garrett to Europe during the summer of 1883. Hassam and Garrett traveled throughout theUnited Kingdom, the Netherlands, France, Italy, Switzerland, and Spain, studying the Old Masters together and creating watercolors of the European countryside. Hassam was particularly impressed with the watercolors of J. M. W. Turner. Sixty-seven of the watercolors which Hassam painted on this trip formed the basis of his second exhibition in 1884.[6] During this period, Hassam taught at the Cowles Art School. He also joined the "Paint and Clay Club", expanding his contacts in the art community, which included prominent critics and "the readiest and smartest of our younger generation of artists, illustrators, sculptors, and decorators—the nearest thing to Bohemia that Boston can boast."[8] Friends found him to be energetic, robust, outgoing, and unassuming, capable of self-mockery and considerate acts, but he could be argumentative and wickedly witty against the art community who opposed him.[9] Hassam was particularly influenced by the circle of William Morris Hunt, who like the great French landscape painter Jean-Baptiste-Camille Corot, emphasized the Barbizon tradition of working directly from nature. He absorbed their credo that "atmosphere and light are the great things to work for in landscape painting."[8] In 1885, a noted critic, in part responding to Hassam's early oil painting A Back Road (1884), stated that "the Boston taste for landscape painting, founded on this sound French school, is the one vital, positive, productive, and distinctive tendency among our artists today...the truth is poetry enough for these radicals of the new school. It is a healthy, manly muscular kind of art."[10]
In February 1884, Hassam married Kathleen Maude (or Maud) Doane (born 1861), a family friend whom he had courted for several years.[1] Throughout their life together, she ran the household, arranged travel, and attended to other domestic tasks, but little is known about their private life.[9] By the mid-1880s, Hassam began painting cityscapes in nearby locales, with his Boston Common at Twilight (1885) being one of his first. He joined a few other progressive American artists who were taking to heart the advice of French academic master Jean-Léon Gérôme, who had a conversion from his traditional subject matter and told his American peers, "Look around you and paint what you see. Forget theBeaux-Arts and the models and render the intense life which surrounds you and be assured that the Brooklyn Bridge is worth the Colosseum of Rome and that modern America is as fine as the bric-a-brac of antiquity."[11] However, one Boston critic firmly rejected Hassam's choice of urban subject matter as "very pleasant, but not art."[9] Although he had shown steady improvement in his oil painting, before letting go of illustration Hassam decided to return to Paris with his wife. Hassam's success with illustration was sufficient, that in 1886 the couple were able to engage a well-located apartment/studio with a maid near the Place Pigalle, the center of the Parisian art community. With the exception of fellow American artist Frank Boggs, the couple lived among the French and socialized little with other American artists studying abroad.[12]
Hassam had moved to France so that he could study figure drawing and painting at the prestigious Académie Julian.[13]Although he took advantage of the formal drawing classes with Gustave Boulanger and Jules Joseph Lefebvre, he quickly moved on to self-study, finding that "[t]he Julian academy is the personification of routine...[academic training] crushes all originality out of growing men. It tends to put them in a rut and it keeps them in it", preferring instead, "my own method in the same degree."[14] His first Parisian works were street scenes, employing a mostly brown palette, and he sent these works back to Boston for sale, which, combined with older watercolors, provided the couple with sufficient income to sustain their stay abroad.[15] In the autumn of 1887, Hassam painted two versions of Grand Prix Day, employing a breakthrough change of palette. In this dramatic change of technique, he was laying softer, more diffuse colors to canvas, similar to the French Impressionists, creating scenes full of light, done with freer brush strokes. He was likely inspired by French Impressionist paintings which he viewed in museums and exhibitions, though he did not meet any of the artists. Hassam eventually became one of "The Ten," a group of Impressionists.[16]
The completed pictures which he sent home also attracted attention. One reviewer commented, "It is refreshing to note that Mr. Hassam, in the midst of so many good, bad, and indifferent art currents, seems to be paddling his own canoe with a good deal of independence and method. When his Boston pictures of three years ago...are compared with the more recent work...it may be seen how he has progressed."[17] Hassam contributed four paintings to the Exposition Universale of 1889 in Paris, winning a bronze medal. At that time, he remarked on the emergence of progressive American artists who studied abroad but who did not succumb to French traditions:
As for the French Impressionists, he wrote "Even Claude Monet, Sisley, Pissarro and the school of extreme Impressionists do some things that are charming and that will live."[17] Hassam would later be called an "extreme Impressionist" himself. His only "direct" contact with a French Impressionist artist was when Hassam took over Renoir's former studio and found some of the painter's oil sketches left behind. "I did not know anything about Renoir or care anything about Renoir. I looked at these experiments in pure color and saw it was what I was trying to do myself."[19]
The couple returned to the United States in 1889, taking residence in New York City. He resumed his studio illustration and in good weather produced landscapes out-of-doors. He found a studio apartment at Fifth Avenue and 17th Street, a view that he painted in one of his first New York oils, Fifth Avenue in Winter. The fashionable street was traveled at that time by horse-drawn carriages and trolleys. It was one of his favorite paintings and he exhibited it several times.[20] It skillfully uses a distinctive dark palette of blacks and browns (normally considered "forbidden colors" by strict Impressionists) to create a winter urban panorama, which Le Figaro praised for its "American character". For his Washington Arch in Spring (1890), he instead demonstrated a bright pastel palette suffused with white similar to what Monet might have employed.[21]
The sudden shift expanded his options and his range.[22] Through the 1890s, his technique increasingly evolved toward Impressionism in both oil and watercolor, even as the movement itself was giving way to Post-Impressionism and Fauvism. During his European stay, he continued to favor street and horse scenes, avoiding some of the other favorite depictions of the Impressionists, such as opera, cabaret, theater, and boating.[22] He also painted garden and "flower girl" scenes, some featuring his wife, including Geraniums (1888) which he presented at the Salon exhibition in 1889.[17] He managed to exhibit at all three Salon shows during his Paris stay but won only one Bronze Medal.[19]
Hassam became close friends with fellow American Impressionist artists J. Alden Weir andJohn Henry Twachtman, whom he met through the American Water Color Society, and over the following months he made many connections in the art community through other art societies and social clubs.[23] He contributed works from his European stay to several exhibitions and shows. Hassam enthusiastically painted the genteel urban atmosphere of New York that he encountered within walking distance of his apartment, and avoided the squalor of the lower-class neighborhoods. He proclaimed that "New York is the most beautiful city in the world. There is no boulevard in all Paris that compares to our own Fifth Avenue...the average American still fails to appreciate the beauty of his own country."[24] He captured well-dressed men in bowler hats and top hats, fashionable women and children out and about, and horse-drawn cabs slowly making their way along crowded thoroughfares lined by commercial buildings (which were generally less than six stories high at that time). Hassam's primary focus would forever continue to be "humanity in motion".[25] He never doubted his own artistic development and his subjects, remaining confident in his instinctual choices throughout his life.[9]
It was through Theodore Robinson, who was working alternatively in America and France, that he, Twachtman, and Weir kept in close touch with Claude Monet, who was residing in Giverny at the time. The four Americans represented the core of American Impressionism, dedicated to painting what was real for them, what was familiar and close at hand, out-of-doors when possible, and with the immediacy of light and shadow—which though exaggerated and falsely colored at times—makes a purposeful impact or impression.[26] The urban scene provided its own unique atmosphere and light, which Hassam found "capable of the most astounding effects" and as picturesque as any seaside scene.[27] The challenge for the urban Impressionist, however, was that activity moved very quickly, and therefore, getting down a complete impression in oil was next to impossible. To compensate, Hassam would find a suitable location, make sketches of the components of his planned painting, then return to the studio to construct a total impression that was actually a composite of smaller scenes.[28]
During the summers, he would work in a more typical Impressionist location, such asAppledore Island, the largest of the Isles of Shoals off New Hampshire, then famous for its artist colony. Social life on the island revolved around the salon of poet Celia Thaxter who hosted artists and literary figures. The group was a "jolly, refined, interesting and artistic set of people...like one large family." There Hassam recalled, "I spent some of my pleasantest summers...(and) where I met the best people in the country."[29] Hassam's subjects for his paintings included Thaxter's flower garden, the rocky landscape, and some interior scenes rendered with his most impressionistic brush strokes to date. In Impressionist fashion, he applied his colors "perfectly clear out of the tube" to unprimed canvas without pre-mixing.[30] Artists displayed their work in Thaxter's salon and were exposed to wealthy buyers staying on the island. Thaxter died in 1894, and in tribute Hassam painted her parlor in The Room of Flowers.[30]
Starting in the mid-1890s, Hassam also made summer painting excursions to Gloucester, Massachusetts; Cos Cob, Connecticut; and Old Lyme, Connecticut; all of them by the sea, but each presenting unique aspects for painting. Even though his sales were good, Hassam continued to take on commercial work, including for the World's Columbian Exposition inChicago in 1893.[31] After a trip to Havana, Cuba, Hassam returned to New York and had his first major one-man auction show at the American Art Galleries in 1896, which featured over 200 works that spanned his entire career to date.[32] The New York Times observed that of the "steadily increasing band of impressionists, Mr. Hassam is a priest high in the councils."[33]Most critics were convinced that he had taken Impressionism too far, one stating that "his key of color has been rising higher and higher until it simply screeches. His impression has been growing more and more bleary-eyed." Another critic declared, "He ignores the public that dearly loves a picture." Hassam realized less than $50 per picture at the auction.[32]Other American artists were also having a difficult time during the general economic slump of 1896. Hassam decided to return to Europe.[32]
Back in New York in 1897, Hassam took part in the secession of Impressionists from the Society of American Artists, forming a new society known as The Ten. The group was energized if not initiated by Hassam, who was among the most radical of members. Their first show at the Durand-Ruel Gallery featured seven of his new European works.[35] Critics dismissed his new work as "experimental" and "quite incomprehensible".[36] Though still interested in including figures in his urban paintings, his new summer works done at Gloucester Harbor, Newport, Old Lyme, and other New England locales show increasing attention to pure landscapes and buildings.[37] His time at the Old Lyme Art Colony, beginning in 1903, caused a shift of the entire colony's output away from the muted colors of Tonalism towards American Impressionism. As his colors became paler and closer in tone to Monet's, which many viewers found unsettling and unfathomable, he was asked how he came up with a particular palette. He responded that "subjects suggest to me a color scheme and I just paint."[9]
In 1900, Hassam visited Provincetown, Massachusetts. Provincetown, once a thriving maritime community had begun to rely heavily on local tourism. In Building the Schooner, Provincetown, he uniquely captures a rare event in the community: the building of a schooner. The ship featured in Hassam's work was paid for by a Chicago millionaire and was the first large ship to be built in Provincetown in a quarter of a century.[38]
Hassam was astute in marketing his work, and was represented by dealers and museums in several cities and abroad. Despite the critics and conservative buyers, he managed to keep selling and painting without having to resort to teaching for financial survival. A colleague described Hassam as an artist "with a keen knowledge of distribution, the tactical ability to place his work."[37] As the new century began, some three decades after the Impressionists' first exhibitions in France, Impressionism finally gained a legitimacy in the American art community, and Hassam began to sell to major museums and receive jury awards and medals, vindicating his belief in his vision.[39] In 1906, he was elected Academician of the National Academy of Design.
After a brief period of depression and drinking as part of an apparent mid-life crisis, the forty-five-year-old Hassam then committed himself to a healthier life style, including swimming. During this time he felt a spiritual and artistic rejuvenation and he painted some Neo-Classical subjects, including nudes in outdoor settings. His urban subjects began to diminish and he confessed that he was tiring of city life, as bustling subways, elevated trains, and motor buses supplanted the graciousness of the horse-drawn scenes which he so enjoyed capturing in earlier times. The architecture of the city changed as well. Stately mansions gave way to skyscrapers, which he admitted had their own artistic appeal: "One must grant of course that if taken individually a skyscraper is not much of a marvel of art as a wildly formed architectural freak. It is when taken in groups with their zig zag outlines towering against the sky and melting tenderly into the distance that the skyscrapers are truly beautiful." Hassam's urban paintings took on a higher perspective and humans shrank in size accordingly, as illustrated in Lower Manhattan (1907).[40] He began to spend only his winters in New York and traveled the balance of the year, calling himself "the Marco Polo of the painters."[41] In 1904 and 1908, he traveled to Oregon and was stimulated by new subjects and diverse views, frequently working out-of-doors with friend, lawyer and amateur painter Colonel C. E. S. Wood. He produced over 100 paintings, pastels, and watercolors of the High Desert, the rugged coast, the Cascades, scenes of Portland, and even nudes in idealized landscapes (a series of bathers comparable to those of Symbolist Pierre Puvis de Chavannes).[42] As usual, he adapted his style and colors to the subject at hand and the mood of place, but always in the Impressionist vein.[43]
With the art market now eagerly accepting his work, by 1909 Hassam was enjoying great success, earning as much as $6,000 per painting. His close friend and fellow artist J. Alden Weir commented to another artist, "Our mutual friend Hassam has been in the greatest of luck and merited success. He sold his apartment studio and has sold more pictures this winter, I think, than ever before and is really on the crest of the wave. So he goes around with a crisp, cheerful air."[44]
The Hassams returned to Europe in 1910 to find Paris much changed: "The town is all torn up like New York. Much building going on. They out American the Americans!"[45] In the midst of the vibrant city, Hassam painted July Fourteenth, Rue Daunou during the Bastille Day celebrations, a forerunner of his famous Flag series (see below).[45]
When he returned to New York, Hassam began a series of "window" paintings that he continued until the 1920s, usually featuring a contemplative female model in a floweredkimono before a light-filled curtained or open window, as in The Goldfish Window(1916).[45] The scenes were popular with museums and quickly snapped up. Hassam was especially prolific and energetic in the period from 1910 to 1920, causing one critic to comment, "Think of the appalling number of Hassam pictures there will be in the world by the time the man is seventy years old!"[46] Hassam truly did produce thousands of works in nearly every medium during his life. Where his friend Weir might paint six canvases in a season, Hassam would do forty.[9]
During that period he also returned to watercolors and oils of coastal scenes, as exemplified by The South Ledges, Appledore(1913), which employs an unusually balanced division of sea and rocks diagonally across a nearly square canvas, giving equal weight to sea and land, water and rock.[46] This painting shows the famous writer Celia Thaxter's home in Appledore Island. The South Ledges, Appledore[47] is owned by the Smithsonian American Art Museum in Washington D.C. He also produced somestill-life paintings.[48]
Hassam displayed six paintings at the landmark Armory Show of 1913, where Impressionism was finally viewed as mainstream and nearly an historical style, and displaced by the clamor over the radical revolution of Cubism, fresh from Europe. He and Weir were the oldest exhibitors, nicknamed at a press dinner as "the mammoth and the mastodon of American Art". Hassam viewed the new art trends from abroad with alarm, stating "this is the age of quacks, and quackery, and New York City is their objective point."[49] He was also displeased that the Armory Show drew attention away from the latest exhibits of The Ten.
In 1913, Hassam was honored with a separate gallery showing at the Panama-Pacific Exhibition, featuring thirty-eight pictures. Around 1915, he renewed his interest in etching and lithography, producing more than 400 of these works during his later career. While Hassam found these works artistically satisfying, they received a tepid public response, as he commented, "some sell and some of the best do not."[50]
The most distinctive and famous works of Hassam's later life comprise the set of some thirty paintings known as the "Flag series". He began these in 1916 when he was inspired by a "Preparedness Parade" (for the US involvement in World War I), which was held onFifth Avenue in New York (renamed the "Avenue of the Allies" during the Liberty Loan Drives of 1918).[51] Thousands participated in these parades, which often lasted for over twelve hours.[52]
Being an avid Francophile, of English ancestry, and strongly anti-Germany, Hassam enthusiastically backed the Allied cause and the protection of French culture.[53] The Hassams joined with other artists in the war relief effort from nearly the beginning of the conflict in 1914, when most Americans as well as President Woodrow Wilson were decidedly isolationist.[54] Hassam even considered volunteering to record the war in Europe, but the government would not approve the trip. He was even arrested (and quickly released) for innocently sketching naval maneuvers along the city's rivers.[55] In addition to the time he gave to many committees, several of his flag pictures were contributed to the war relief in exchange for Liberty Bonds.[51] Although he had great hopes that the entire series would sell as a war memorial set (for $100,000), the pictures were sold individually after several group exhibitions, the last at the Corcoran Gallery in 1922.[56]
Claude Monet, among other French artists, had also painted flag-themed works, but Hassam's have a distinctly American character, showing the flags displayed on New York's most fashionable street with his own compositional style and artistic vision. In most paintings in the series, the flags dominate the foreground, while in others the flags are simply part of the festive panorama. In some, the American flags wave alone and in others, flags of the Allies flutter as well. In his most impressionistic painting in the series, The Avenue in the Rain (1917), which has been in the White Housepermanent collection since the Kennedy administration, the flags and their reflections are blurred so extremely as to appear to be viewed through a rain-smeared window. On entering the White House, Barack Obama chose to display it in the Oval Office.[57] Hassam's flag paintings cover all seasons and various weather and light conditions.[58] Hassam makes a patriotic statement without overt reference to parades, soldiers, or war, apart from one picture showing a flag exclaiming "Buy Liberty Bonds".[59] Flag paintings by Hassam are in the collections of The Metropolitan Museum of Art, the New York Historical Society, the Virginia Museum of Fine Arts, the Princeton University Art Museum and the National Gallery of Art.
In 1919, Hassam purchased a home in East Hampton, New York. Many of his late paintings employed nearby subjects in that town and elsewhere on Long Island. The post-war art market boomed in the 1920s, and Hassam commanded escalating prices, though some critics thought he had become static and repetitive, as American art had begun to move on to the Realism of the Ashcan School and artists like Edward Hopper and Robert Henri.[60] In 1920, he received the Gold Medal of Honor for lifetime achievement from the Pennsylvania Academy of the Fine Arts and numerous other awards through the 1920s.[61] Hassam traveled relatively little in his last years, but did visit California, Arizona, Louisiana, Texas, and Mexico.[61] He died in East Hampton in 1935, at age 75.[62]
He denounced modern trends in art to the end of his life, and he termed "art boobys" all the painters, critics, collectors, and dealers who got on the bandwagon and promotedCubism, Surrealism and other avant-garde movements.[62] Until a revival of interest in American Impressionism in the 1960s, Hassam was considered among the "abandoned geniuses". As French Impressionist paintings reached stratospheric prices in the 1970s, Hassam and other American Impressionists gained renewed interest and were bid up as well.[63]
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