Tuesday, October 12, 2021 – THE BEAUTY OF HASSAN’S ART NEVER FAILS TO DELIGHT ME

By admin

TUESDAY,  OCTOBER 12 2021

The

492nd Edition

CHILDE  HASSAM

The Gilded Age painter

devoted to

‘scenes of every-day life around him’

“I believe 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,” Childe Hassam said in 1892, three years after this Boston-born Impressionist painter settled permanently in New York City.FROM EPHEMERAL NEW YORK

Painting scenes of everyday life around him is exactly what Hassam did for the next four decades. From his first studio at Fifth Avenue and 17th Street, he began depicting random moments in the Gilded Age city. His Impressionist style brilliantly captured light and color: of gaslit lamps, snowy sidewalks, rain-slicked umbrellas, and the sky at the “blue hour” just before twilight.

Perhaps his best-known works are urban landscapes near Washington Square, Union Square, and Madison Square, and Ephemeral New York has posted many examples over the years. But ultimately, Hassam was interested in what he termed “humanity in motion.”

“‘There is nothing so interesting to me as people,’ he remarked in 1892,” according to an article from Smithsonian Magazine. “’I am never tired of observing them in every-day life, as they hurry through the streets on business or saunter down the promenade on pleasure. Humanity in motion is a continual study to me.’”

1902 Hassam’s subjects engage in habits and rituals New Yorkers still take part in, and they occupy a city that looks familiar to us today. Despite transportation options like elevated trains, streetcars, and horse-drawn cabs, Gotham was a city of walkers, then and now.

New York was also a class-structured city in Hassam’s era, as it remains today. Elegant men and women enjoy leisure time while cab drivers, messengers, doormen, vendors, and other workers earn a living around them.

Critics then and now have pointed out that Hassam’s work lacks the rough edges and raw social realist energy of many of his contemporaries. “In New York, for example, he ignored the new heterogeneity and hardships, romanticized symbols of modernism such as skyscrapers, and emphasized fast-fading Gilded Age gentility,” states Boston’s Gardner Museum.

Hassam had a simple answer for his critics and those in the art world who latched onto trends. According to the Smithsonian Magazine article, he told a critic in 1901: “I can only paint as I do and be myself. Subjects suggest to me a color scheme and I just paint.”

TUESDAY PHOTO OF THE DAY

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MONDAY PHOTO OF THE DAY

INTERNATIONAL ARRIVALS TERMINAL
JFK AIRPORT
HARA REISER GOT IT.
FROM ED LITCHER:
In 1957, Calder was commissioned to make a monumental work for the International Arrivals Building of Idlewild Airport (now John F. Kennedy International Airport) by the Port Authority of New York. “People think monuments should come out of the ground, never out of the ceiling, but mobiles can be monumental too,” Calder said of the project, “I made three models to scale, 17 inches wide. The one that was bought had to be blown up to forty-five feet wide.” The sculpture, titled .125 after the gauge of the aluminum elements, now hangs over the departure hall in Terminal 4.

Text by Judith Berdy
Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS
Thanks to Deborah Dorff for maintaining our website
Edited by Melanie Colter  and Deborah Dorff

All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated

Source:
ephemeralnewyork | October 11, 2021 at 12:59 am | Tags: Childe Hassam Fifth Avenue, Childe Hassam Impressionist NYC, Childe Hassam New York City, Childe Hassam Paintings NYC, New York City in the gilded age, NYC Gilded Age Painters | Categories: art, Flatiron District, Music, art, theater | URL: https://wp.me/pec9m-9

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