Childe Hassam

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The White Kimono

Childe Hassam

Date: 1915

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.48

Text Entries: Burnside, Kathleen M. and Jeffrey W. Andersen. Childe Hassam in Connecticut. Greenwich, Connecticut: The Lyme Historical Society, 1987, p. 18. Cortissoz, Royal and the Leonard Clayton Gallery. Catalogue of the Etchings and Dry-Points of Childe Hassam, N.A. San Francisco, California: Alan Wofsy Fine Arts, 1989. No. 47, p. 106–107. Larkin, Susan G. The Cos Cob Art Colony: Impressionists on the Connecticut Shore. (exh. cat. National Academy of Design). New Haven, Connecticut: Yale University Press, 2001. Ill. p. 164 (black & white). Reymond, Nathalie. Un regard américain sur Paris (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 40; ill. p. 41. [specific reference to Terra print] The White Kimono, Frederick Childe Hassam. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, March 1999. Ill. (black & white). [specific reference to Terra print] Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text pp. 19, 23 (checklist); fig. 9, p. 19 (black & white). [specific reference to Terra print] Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text pp. 19, 23 (checklist); fig. 9, p. 19 (black & white). [specific reference to Terra print] Larkin, Susan G. "Childe Hassam: Impressions of Cos Cob." American Art Review 16:4 (July–August 2004): 130–33. Text p. 131; ill. p. 131. Weinberg, H. Barbara. Childe Hassam: American Impressionist. (exh. cat., The Metropolitan Museum of Art). New York: The Metropolitan Museum of Art, 2004. Text p. 274; fig. 15, p. 14 (color). Vanessa Lecomte, editor. Portrait of a Lady: peinture et photographies américains. (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text p. 94 (checklist). Green, Nancy E. and Christopher Reed, eds. JapanAmerica: Points of Contact, 1876–1970. (exh. cat., Herbert F. Johnson Museum of Art, Cornell University). Ithaca, New York: Herbert F. Johnson Museum of Art, Cornell University, 2016. Text p. 57; p. 240, cat. no. 127; ill. p. 240, cat. no. 127 (color).

Washington's Birthday-Fifth Avenue & 23rd Street

Childe Hassam

Date: 1916

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.1

Text Entries: Hassam returned to printmaking in 1915 after a thirty year hiatus during a stay in Cos Cob, Connecticut where a friend owned a press. Within a year, he had completed over sixty prints, including The White Kimono, 1915, which depicts Helen Burke, a Cos Cob resident, standing by the mantel in Holly House, a boarding house, which served as the gathering place of the local art colony. Hassam's flag series is considered to be one of his greatest artistic achievements. One of his earlier interpretations of flags as both patriotic symbol and artistic device is seen in Les Buttes, Montmartre July 14, 1889, but the direct antecedent to his World War I flag series is the print Washington's Birthday-Fifth Avenue and 23rd Street, 1916. The portability of an etching plate rekindled Hassam's interest in the urban street scene. Not far from his Fifth Avenue studio, he captured the frenzy of motorcars converging on Madison Square's Flatiron Building. A cascade of American flags decorate austere architectural facades to honor George Washington's birthday of February 22. For Hassam, the critics and his audience, the flag series became a patriotic statement of America's support of the war effort, of the nation's technology and military superiority, and the triumph of democracy over tyranny.

The Lion Gardiner House, East Hampton

Childe Hassam

Date: 1920

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.6

Text Entries: After years of peripatetic traveling in the summer months for artistic inspiration, the Hassams bought Willow Bend, a colonial-era house on Long Island. After 1919, their mid-town Manhattan apartment and studio continued to be a winter domicile. However, each May until his death in 1934, Hassam retreated to the wide tree-lined village streets of East Hampton. After World War I, Hassam associated his distinguished New England lineage with Puritan values that he believed were lost in contemporary society's "melting pot" of cultures. Devoted to the colonial revival phenomenon, the artist selected New England subjects that, for him, symbolized a unified and, supposedly, homogenous society. Ironically, Hassam blended cultures in this print by portraying an exemplary subject of Yankee America in a style-impressionistic-associated with French art. The dappled sunshine that falls on the gray shingled exterior of the Lion Gardiner House, which was named for its distinguished colonial owner, is a tribute to French impressionism.