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After Breakfast, 1887. Oil on canvas, 28-1/4 x 39-5/8 in. (73 x 100.7 cm). Private collection.What seems to be one of Hassams first major floral subjects is also one of his finest, the large exhibition picture entitled After Breakfast (also known as After Lunch and In the Garden). The artists wife wields a large watering can while another woman sits reading a newspaper; behind Maude is a multitiered pot of geraniums. Even this early in his career Hassam was already uniting images of lovely women with luscious, colorful flowers. This picture is almost surely the work exhibited at the Paris Exposition Universelle in 1889 under the title After Breakfast and in the annual exhibition of the National Academy of Design in New York in the spring of 1890 as After Lunch, with a price of twelve hundred dollars assigned to it--almost double what the artist had asked for Rainy Day four years earlier.
Right: Formerly Now and Nevertheless, 1933. Oil on canvas, 35 x 31 in. (88.9 x 78.7 cm). Private collection. Below: Heavenly Blues, 1931. Oil on canvas, 13 x 33 1/2 in. (33 x 85.1 cm). American Academy of Arts and Letters, New York.Hassam railed against foreign influence, modernist dissolution, and especially the role played by foreign-born art dealers who promoted European art and ideas at the expense of the native school. He blasted collectors whose snobbery blinded them to the virtues of American art, and increasingly he claimed independence for American art--a claim that influenced his search for characteristic American themes in his own art. The modernists saw their art as a powerful new voice, elevated by its emphasis on pure form and expressive color. Their radical simplifications and pictorial structuring embraced the realities of modern life. Hassam considered it all bunk. But notwithstanding his acerbic view, modernist resonance did find its way into Hassams work in the 1930s as, late in life, he grappled with a desire to create more aggressive and powerful works. Angular simplifications, expressive brushwork, and flat abstracted composition appear in works such as Formerly Now and Nevertheless and Heavenly Blues.
Boston Common at Twilight, 1885-6. Oil on canvas, 42 x 60 in. (106.7 x 152.4 cm) Museum of Fine Arts, Boston; Gift of Miss Maud E. Appleton.Boston Common at Twilight--painted not far from his views of Columbus Avenue and close to his old studio in Tremont Street--offers a subdued setting that combines a sunset view with a wintry blanket of snow.
July Fourteenth, Rue Daunou, 1910. Oil on canvas, 29-1/8 x 19-7/8 (74 x 50.5 cm). The Metropolitan Museum of Art, New York; George A. Hearn Fund, 1929.In late 1908 or early 1909 the Hassams moved to 130 West Fifty-seventh street, a large duplex with a two-story studio and a view of Central Park. Hassam was enjoying critical and financial success; his work was being collected by a veritable Whos Who of American millionaires and was rapidly entering museum collections. In June 1910 the Hassams visited Europe after a thirteen year absence. Hassam painted and visited museums in England, the Netherlands, and Belgium before going to Paris in July. He decidedly did not like Paris any more, but he did paint two significant canvases in his hotel there. July Fourteenth, Rue Daunou foreshadows his flag series of a few years later. He records the Bastille Day Festivities in his realist-Impressionist style, rendering the architecture, crowds of people, and vehicles as seen from his hotel balcony. This subject was not new to Hassam, and it was a theme well-established in French painting. In June 1878 the city of Paris held its first national holiday since the devastation of the Franco-Prussian War--the
The Church at Glouster, 1918. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm). The Metropolitan Museum of Art, New York; Arthur Hoppuck Hearn Fund, 1925.Hassam had tremendous admiration for the architecture of New England churches as well as for their spiritual significance, for their classic proportions underscored their sense of permanence. As quoted by the daughter and biographer of his friend and Impressionist colleague J. Alden Weir, Hassam said,
Childe Hassam, Impressionist
By Warren Adelson, Jay E. Cantor, and William H. Gerdts

Size: 10 X 12", 
Cloth, 256 pages
230 illustrations, 200 in full color
Published 1999
ISBN: 978-0-7892-0587-2
In Stock

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Hassams impressive career as one of Americas foremost Impressionists is celebrated and illuminated in this dazzlingly beautiful volume.

"This is an art-lovers dream of a book. The triumvirate of authors are well-known experts on the American impressionist movement, and obviously care deeply about their subject.It is a lavishly lighted, flower-bedecked, and flag-draped beautiful world that Childe Hassam saw from the window of his upper floor studio, and this book is like a gift of that world, beautifully wrapped for the reader." -- The Bloomsbury Review

No other American Impressionist ever surpassed the quality and variety of Hassams output as a painter and draftsman. Equally talented in oils, watercolors, and prints, he explored rain-swept city scenes, glorious gardens, exquisite women, and stirring flag-lined streets. Many of these irresistible pictures are hidden in private collections and are rarely, if ever, accessible to the public; others are on view at major museums across the country, from the Metropolitan Museum to the Museum of Fine Arts, Boston, to the Los Angeles County Museum of Art.

By approaching Childe Hassam (1859-1935) from different angles, the three authors reveal this multitalented artists many facets and uncover previously unknown aspects of his life and work. The authoritative essays are illustrated with a brilliant array of color illustrations that represent all of Hassams styles, from Barbizon-inspired Tonalism to Impressionism to Post-Impressionism. The book concludes with an invaluable illustrated chronology and an annotated bibliography.

Warren Adelson is president of Adelson Galleries, New York, and a recognized authority on American Impressionism. Jay E. Cantor established the American Paintings Department at Christies and has taught, lectured, and written widely on American art. William H. Gerdts—recently retired as professor of art history, Graduate Center of the City University of New York—is the author of several Abbeville titles, including American Impressionism, California Impressionism, and Impressionist New York. All three live in New York.

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