Mostly landscape and cityscape paintings. For a tag cloud of the painters see bottom of the page. Because the tag cloud allows only 45 names, all the painters are are included in the category list at bottom of the page.

Childe Hassam

Childe Hassam – private collection. Paris, Winter Day (1887)

Childe Hassam – private collection. Title: Paris, Winter Day. Date: 1887. Materials: oil on canvas. Dimensions: 45 x 81.3 cm. Sold by Sotheby’s in New York, on May 21, 2009. Source: http://www.sothebys.com/content/dam/stb/lots/N08/N08555/N08555-68-lr-1.jpg. I have changed the light and contrast of the original photo.


Childe Hassam – private collection. Home Sweet Home Cottage, East Hampton (1916)

home-sweet-home-cottage-east-hampton

Materials: oil on canvas. Dimensions: 52.7 x 61 cm. Source: http://www.the-athenaeum.org/art/display_image.php?id=57262. I have changed the light of the original photo.


Childe Hassam – private collection? Champs Elysées (1889)

Childe_Hassam_-_Champs_Elysées,_Paris

Materials: oil on canvas. Dimensions: 34.9 x 41.6 cm. http://commons.wikimedia.org/wiki/File:Childe_Hassam_-_Champs_Elys%C3%A9es,_Paris.JPG.


Childe Hassam – Herbert F. Johnson Museum of Art LOAN 94.070. Lower Manhattan (View down Broad Street) (1907)

Materials: oil on canvas. Dimensions: 78.7 x 42.5 cm. Nr.: LOAN 94.070. Source: http://www.museumsyndicate.com/images/2/17098.jpg.


Childe Hassam – Dallas Museum of Art 1951.40. Along the Seine, Winter (1887)

Materials: oil on wood. Dimensions: 20.3 x 27.9 cm. Nr.: 1951.40. Source: 3.bp.blogspot.com/_ShSCuaESlVk/TVIs4d_d88I/AAAAAAAAAkY/gG…. P.S. I have changed the contrast of the original photo.

By 1886, Childe Hassam was enjoying artistic success with his atmospheric paintings of Boston street scenes. That same year he left the United States for three years of study in Paris, where he received a disciplined training at the Academie Julian, and at the same time came under the influence of the Impressionists. “Along the Seine, Winter” shares its subject matter with Hassam’s earlier works, but shows very clearly the first changes in his style toward the mature Impressionism of his works of the 1880s and early 1900s. The dark clear colors of the Boston paintings are tempered by the pearlescent light of Paris, which Hassam conveys with a much looser, more fluid brush. The softness of color and touch echoes the mellow winter ambience of the City of Lights (http://dallasmuseumofart.org:9090/emuseum/view/objects/asitem/search$0040/6/title-desc?t:state:flow=3eda45ec-ffa5-40c1-a628-554dfdc828bb).


Childe Hassam – Toledo Museum of Art 1956.53. Rainy Day, Boston (1885)

Materials: oil on canvas. Dimensions: 66.3 x 122 cm. Nr.: 1956.53. Source: www.oceansbridge.com/paintings/artists/h/Frederick-Childe…

Painted at a time when urban landscapes were still a novel subject in the United States, Rainy Day, Boston depicts the intersection of Columbus Avenue and Appleton Street in Boston’s South End. When Childe Hassam painted this picture, he and his wife lived at 282 Columbus Avenue. According to the artist, “The street was all paved in asphalt, and I used to think it very pretty when it was wet and shining, and caught the reflections of passing people and vehicles.” In this view seen through the atmospheric filter of rain, Hassam accentuated the pictorial effects produced by the light and the weather conditions. Rain causes the broad expanse of pavement to glisten with reflections and casts a soft rosy tone over the damp red bricks. The overcast sky and pearly light produce a misty atmosphere that enshrouds buildings and pedestrians alike, and—combined with the muted palette of dull pinks, grays, and blacks—unifies the composition.
Rainy Day, Boston also celebrates Boston’s fashionable, clean, and spacious cityscape. Hassam had been to Europe in 1883 and had seen the new appearance of Paris with its wide boulevards created by Baron Haussmann for Napoleon III. This painting’s wide angle of vision, uncluttered setting, and deep perspective recall Haussmann’s municipal improvements, which had inspired Boston’s own concurrent developments in the 1860s and 1870s. They also suggest the influence of photography, still relatively new. Hassam’s interest in showing the effects of weather and the subject of city life with its to-and-fro bustle indicate that here, in his first major oil painting, he was trying out for an American audience the modern urban theme so embraced by the French Impressionists that he had encountered in Paris (http://classes.toledomuseum.org:8080/emuseum/view/objects/asitem/search$0040/2/invno-asc?t:state:flow=c2993ae1-2e9a-439f-aec4-14c7a12920a8).