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Childe Hassam, a pioneer of American Impressionism
Wednesday, June 9, 2004

Childe Hassam Country Road (Wayside Inn, Sudbury, Massachusetts), 1882 Watercolor on paper; 9 1/2 x 14 in. (24.1 x 35.6 cm) Private collection (detail)

 NEW YORK. - Childe Hassam (1859-1935), a pioneer of American Impressionism and perhaps its most devoted, prolific, and successful practitioner, was born in Dorchester, Massachusetts (now part of Boston), into a family descended from settlers of the Massachusetts Bay Colony. Equally adept at capturing the charms of country retreats and the excitement of modern cities, Hassam became the foremost chronicler of New York City at the turn of the century. In our day, he is best known for his depictions of flag-draped Fifth Avenue during World War I.

This spring, The Metropolitan Museum of Art will offer Childe Hassam, American Impressionist, an unprecedented exhibition of about 120 of Hassam’s finest oil paintings, watercolors, and pastels, and some 30 prints. Opening on June 10, the retrospective – the first to appear in a museum since 1972 – will celebrate Hassam’s brilliant handling of color and light and will examine his responses to the advent of the modern era in view of his credo that "the man who will go down to posterity is the man who paints his own time and the scenes of every-day life around him."

The exhibition is made possible by The Peter Jay Sharp Foundation. Additional support has been provided by the Marguerite and Frank A. Cosgrove Jr. Fund.

After establishing his reputation in Boston and studying in Paris – where he was unusual among his American contemporaries in his attraction to French Impressionism – Hassam returned to the United States and took up lifelong residence in New York. The exhibition will feature many of Hassam’s signature images of Boston, Paris, and New York – three cities whose places and pleasures he captured with affection and originality. Examples include Boston Common at Twilight (Museum of Fine Arts, Boston) from 1885-86; April Showers, Champs Elysées, Paris (Joslyn Art Museum), painted in 1888; and Late Afternoon, New York: Winter 1900 (Brooklyn Museum of Art).

While Hassam was unusual among the American Impressionists for his frequent depictions of burgeoning cities, he spent long periods in the countryside, where he found respite from urban pressures and inspiration for numerous important works of art. Hassam’s many portrayals of the old-fashioned gardens, rocky coast, and radiant sunlight of the Isles of Shoals, Maine, are among his most cherished works and will be represented extensively. Among them will be the 1894 interior scene The Room of Flowers (private collection) and the 1901 view Coast Scenes, Isles of Shoals, the first canvas by the artist to enter the collection of the Metropolitan Museum.

Hassam’s views of Newport, Portsmouth, Old Lyme, Gloucester, and other New England locales exemplify the late 19th-century appreciation of the picturesque region redolent of early American settlement and colonial growth. An example is the 1905 work, Church at Old Lyme (Albright-Knox Art Gallery, Buffalo).

Increasingly challenged by modern life – and modern art – after 1900, Hassam chose to paint tranquil interior vignettes, iconic churches in the northeast, patriotic urban scenes –especially the memorable Flag series – and glimpses of East Hampton, Long Island, where he purchased a summer residence in 1919. These images will also be highlighted.

The exhibition is organized by H. Barbara Weinberg, the Alice Pratt Brown Curator of American Paintings and Sculpture.

The exhibition will be accompanied by an illustrated catalogue containing an overview of Hassam’s career, thematic essays, a life chronology, and a chronology of exhibitions of his works during Hassam’s lifetime. Authors include: (from the Metropolitan Museum) H. Barbara Weinberg, the Alice Pratt Brown Curator of American Paintings, Department of American Paintings and Sculpture, and Elizabeth Barker, Assistant Curator, Department of Drawings and Prints; Elizabeth Broun, the Margaret and Terry Stent Director, Smithsonian Art Museum, Washington; Erica E. Hirshler, Croll Senior Curator of Paintings, Art of the Americas, Museum of Fine Arts, Boston; Kimberly Orcutt, Assistant Curator of American Art, Fogg Art Museum, Harvard University; Carol Troyen, John Moors Cabot Curator of Paintings, Art of the Americas, Museum of Fine Arts, Boston; and independent scholars Kathleen M. Burnside, Stephanie L. Herdrich, Susan G. Larkin, Lisa Miller, and Dana Pilson. Assistance in organizing the exhibition and the accompanying publication was provided by Megan Holloway and Elizabeth Block, Research Assistants, Department of American Paintings and Sculpture, who are also co-authors of the chronologies.

Education programs, including gallery talks and a lecture series for the general public, will complement the exhibition. 

Österreichische Presents Atmospheric Impressionism
Wednesday, June 9, 2004

Work from the exhibition Atmospheric Impressionism
 VIENNA, AUSTRIA. - Österreichische Galerie Belvedere presents “Atmospheric Impressionism,” on view through July 4, 2004. This extensive exhibition represents the different aspects of  “Stimmungsimpressionismus”   (Atmospheric Impressionism) with approximately 180 works. The majority of the paintings originate from Austrian museums and private collections but loans from France (School of Barbizon – Musée d’Orsay, Paris) and the Netherlands (Hague School – Gemeentemuseum, Den Haag) are also to be expected.

“Atmospheric Impressionism” was a movement in Austrian painting between 1870 and 1900 which had a decisive influence upon the artistic approach to landscape. This style turned away from the heroic landscapes of Historicism, yet on the other hand was to a large extent untouched by Secessionism – on the contrary “Atmospheric Impressionism” influenced the Secessionist relationship with landscape. The term has been commonly used for this style of painting since about 1950 and conveys how artists sought to capture atmosphere in their pictures. This was something to which the nature-loving Viennese audience was particularly receptive and to this day this high regard has not changed. Of course the word “Impressionism” cannot be equated with the familiar art historical term. Indeed the compositions of the Atmospheric Impressionists often reflected a style more akin to Realism.

The depictions of the Austrian painters were inspired by the works of the “School of Barbizon” (Millet, Rousseau), but transformed what these artists had accomplished. They went beyond representations of reality and with their special responsiveness went beyond weather conditions to try to convey the mood of the beholder. Emotions more than atmospheres created by light were to be the subject of the depictions. Artists increasingly focused on the unspectacular, “unexciting” landscape and the same applies to unspectacular things: flowers and vegetables in gardens and fields. These were rendered unusually close-up for the time and this imbued them with a mysterious life of their own.

The main master of this movement in painting was Emil Jakob Schindler (1842 – 1892). He discovered the motifs for his pictures in the immediate vicinity of Vienna, the Prater meadows, Vienna Woods and the Wachau. His view of nature was very personal and depended on the atmospheric situations of weather and light. He passed on his emotional and poetic empathy with nature and his way of capturing the unique characteristics of a landscape to his students and kindred spirits – to such an extent that ultimately this could even be deemed to be a separate “school”. Of these Olga Wisinger-Florian, Marie Egner, Carl Moll and Tina Blau deserve special mention. They carried their own individual and poetic view of nature – something that was also not unfamiliar to Gustav Klimt – into the twentieth century.

 

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