660:, whom he met through the American Water Color Society, and over the following months he made many connections in the art community through other art societies and social clubs. He contributed works from his European stay to several exhibitions and shows. Hassam enthusiastically painted the genteel urban atmosphere of New York that he encountered within walking distance of his apartment, and avoided the squalor of the lower-class neighborhoods. He proclaimed that "New York is the most beautiful city in the world. There is no boulevard in all Paris that compares to our own Fifth Avenue...the average American still fails to appreciate the beauty of his own country." He captured well-dressed men in bowler hats and top hats, fashionable women and children out and about, and horse-drawn cabs slowly making their way along crowded thoroughfares lined by commercial buildings (which were generally less than six stories high at that time). Hassam's primary focus would forever continue to be "humanity in motion". He never doubted his own artistic development and his subjects, remaining confident in his instinctual choices throughout his life.
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including nudes in outdoor settings. His urban subjects began to diminish and he confessed that he was tiring of city life, as bustling subways, elevated trains, and motor buses supplanted the graciousness of the horse-drawn scenes which he so enjoyed capturing in earlier times. The architecture of the city changed as well. Stately mansions gave way to skyscrapers, which he admitted had their own artistic appeal: "One must grant of course that if taken individually a skyscraper is not much of a marvel of art as a wildly formed architectural freak. It is when taken in groups with their zig zag outlines towering against the sky and melting tenderly into the distance that the skyscrapers are truly beautiful." Hassam's urban paintings took on a higher perspective and humans shrank in size accordingly, as illustrated in
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purposeful impact or impression. The urban scene provided its own unique atmosphere and light, which Hassam found "capable of the most astounding effects" and as picturesque as any seaside scene. The challenge for the urban
Impressionist, however, was that activity moved very quickly, and therefore, getting down a complete impression in oil was next to impossible. To compensate, Hassam would find a suitable location, make sketches of the components of his planned painting, then return to the studio to construct a total impression that was actually a composite of smaller scenes.
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533:, but quickly moved on to self-study, finding that "he Julian academy is the personification of routine... crushes all originality out of growing men. It tends to put them in a rut and it keeps them in it", preferring instead, "my own method in the same degree". His first Parisian works were street scenes, employing a mostly brown palette. He sent these works back to Boston and their sale, combined with that of older watercolors, provided him with sufficient income to sustain his stay abroad. In the autumn of 1887, Hassam painted two versions of
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1092:, among other French artists, had also painted flag-themed works, but Hassam's have a distinctly American character, showing the flags displayed on New York's most fashionable street with his own compositional style and artistic vision. In most paintings in the series, the flags dominate the foreground, while in others the flags are simply part of the festive panorama. In some, the American flags wave alone and in others, flags of the Allies flutter as well. In his most impressionistic painting in the series,
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956:(1916). The scenes were popular with museums and quickly snapped up. Hassam was especially prolific and energetic in the period from 1910 to 1920, causing one critic to comment, "Think of the appalling number of Hassam pictures there will be in the world by the time the man is seventy years old!" Hassam truly did produce thousands of works in nearly every medium during his life. Where his friend Weir might paint six canvases in a season, Hassam would do forty.
537:, employing a breakthrough change of palette. In this dramatic change of technique, he was laying softer, more diffuse colors to canvas, similar to the French Impressionists, creating scenes full of light, done with freer brush strokes. He was likely inspired by French Impressionist paintings which he viewed in museums and exhibitions, though he did not meet any of the artists. Hassam eventually became one of the group of American Impressionists known as "
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844:"with a keen knowledge of distribution, the tactical ability to place his work." As the new century began, some three decades after the Impressionists' first exhibitions in France, Impressionism finally gained a legitimacy in the American art community, and Hassam began to sell to major museums and receive jury awards and medals, vindicating his belief in his vision. In 1906, he was elected Academician of the
1012:, fresh from Europe. He and Weir were the oldest exhibitors, nicknamed at a press dinner as "the mammoth and the mastodon of American Art". Hassam viewed the new art trends from abroad with alarm, stating "this is the age of quacks, and quackery, and New York City is their objective point." He was also displeased that the Armory Show drew attention away from the latest exhibits of The Ten.
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619:. The fashionable street was traveled at that time by horse-drawn carriages and trolleys. It was one of his favorite paintings and he exhibited it several times. It skillfully uses a distinctive dark palette of blacks and browns (normally considered "forbidden colors" by strict Impressionists) to create a winter urban panorama, which
251:. His father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily lidded eyes, many took Childe Hassam to be of Middle Eastern descent—speculation which he enjoyed stoking. In the mid-1880s, he took to painting an
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1532: : August 26, 2017), Norvall Hassam in household of Fred F Hassam, Hyde Park, Norfolk, Massachusetts, United States; citing enumeration district ED 518, sheet 614D, NARA microfilm publication T9 (Washington D.C.: National Archives and Records Administration, n.d.), roll 0548; FHL microfilm 1,254,548.
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Hassam was astute in marketing his work, and was represented by dealers and museums in several cities and abroad. Despite the critics and conservative buyers, he managed to keep selling and painting without having to resort to teaching for financial survival. A colleague described Hassam as an artist
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The completed pictures he sent home also attracted attention. One reviewer commented: "It is refreshing to note that Mr. Hassam, in the midst of so many good, bad, and indifferent art currents, seems to be paddling his own canoe with a good deal of independence and method. When his Boston pictures of
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and other avant-garde movements. Until a revival of interest in
American Impressionism in the 1960s, Hassam was considered among the "abandoned geniuses". As French Impressionist paintings reached stratospheric prices in the 1970s, Hassam and other American Impressionists gained renewed interest and
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The
Hassams sailed first to Naples, then to Rome and Florence. Though staying firmly in the Impressionists' corner, Hassam spent much time in galleries and churches studying the Old Masters. The Hassams arrived in Paris in the spring, and then traveled on to England. He continued producing paintings
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observed that of the "steadily increasing band of impressionists, Mr. Hassam is a priest high in the councils." Most critics were convinced that he had taken
Impressionism too far, one stating that "his key of color has been rising higher and higher until it simply screeches. His impression has been
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and plenty of
Americans just as well able to cope in their own chosen line with anything done over here...An artist should paint his own time and treat nature as he feels it, not repeat the same stupidities of his predecessors...The men who have made success today are the men who have got out of the
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of Rome and that modern
America is as fine as the bric-a-brac of antiquity." However, one Boston critic firmly rejected Hassam's choice of urban subject matter as "very pleasant, but not art." Although he had shown steady improvement in his oil painting, his watercolors continued provided consistent
438:(1884), stated that "the Boston taste for landscape painting, founded on this sound French school, is the one vital, positive, productive, and distinctive tendency among our artists today...the truth is poetry enough for these radicals of the new school. It is a healthy, manly muscular kind of art."
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who hosted artists and literary figures. The group was a "jolly, refined, interesting and artistic set of people...like one large family." There Hassam recalled, "I spent some of my pleasantest summers...(and) where I met the best people in the country." Hassam's subjects for his paintings included
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Being an avid
Francophile, of English ancestry, and strongly anti-Germany, Hassam enthusiastically backed the Allied cause and the protection of French culture. The Hassams joined with other artists in the war relief effort from nearly the beginning of the conflict in 1914, when most Americans, as
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After a brief period of depression and drinking as part of an apparent mid-life crisis, the forty-five-year-old Hassam then committed himself to a healthier life style, including swimming. During this time he felt a spiritual and artistic rejuvenation and he painted some Neo-Classical subjects,
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at the time. The four
Americans represented the core of American Impressionism, dedicated to painting what was real for them, what was familiar and close at hand, out-of-doors when possible, and with the immediacy of light and shadow—which though exaggerated and falsely colored at times—makes a
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February 1884, after a courtship of several years, Hassam married Kathleen Maude (or Maud) Doane (born 1861), a family friend. Throughout their life together, she ran the household, arranged travel, and attended to other domestic tasks, but little is known about their private life. By the
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commented to another artist, "Our mutual friend Hassam has been in the greatest of luck and merited success. He sold his apartment studio and has sold more pictures this winter, I think, than ever before and is really on the crest of the wave. So he goes around with a crisp, cheerful air."
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convinced him to drop his first name and thereafter he was known as "Childe Hassam". He also began to add a crescent symbol in front of his signature, the meaning of which remains speculative, possibly an allusion to his penchant for implying Middle
Eastern or Turkish origins.
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growing more and more bleary-eyed." Another critic declared, "He ignores the public that dearly loves a picture." Hassam realized less than $ 50 per picture at the auction. Other American artists were also having a difficult time during the
840:, he uniquely captures a rare event in the community: the building of a schooner. The ship featured in Hassam's work was paid for by a Chicago millionaire and was the first large ship to be built in Provincetown in a quarter of a century.
587:'s former studio and found some of the painter's oil sketches left behind. "I did not know anything about Renoir or care anything about Renoir. I looked at these experiments in pure color and saw it was what I was trying to do myself."
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and found employment with engraver George Johnson. He quickly proved an adept "draughtsman" and produced designs for commercial engravings such as letterheads and newspapers. Beginning to paint artistically, his preferred medium was
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and the school of extreme Impressionists do some things that are charming and that will live." Hassam was later called an "extreme Impressionist". His closest contact with a French Impressionist artist occurred when Hassam took over
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The most distinctive and famous works of Hassam's later life comprise the set of some thirty paintings known as the "Flag series". He began these in 1916 when he was inspired by a "Preparedness Parade" (for the US involvement in
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tradition of working directly from nature. He absorbed their credo that "atmosphere and light are the great things to work for in landscape painting." In 1885, a noted critic, in part responding to Hassam's early oil painting
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neighborhood of Boston, on October 17, 1859. His father, Frederick Fitch Hassam (1825–1880), was a moderately successful cutlery businessman with a large collection of art and antiques. He descended from a long line of
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Thaxter's flower garden, the rocky landscape, and some interior scenes rendered with his most impressionistic brush strokes to date. In Impressionist fashion, he applied his colors "perfectly clear out of the tube" to
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The Hassams returned to Europe in 1910 to find Paris much changed: "The town is all torn up like New York. Much building going on. They out American the Americans!" In the midst of the vibrant city, Hassam painted
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The couple returned to the United States in 1889, taking residence in New York City. He resumed his studio illustration and in good weather produced landscapes out-of-doors. He found a studio apartment at
977:(1913), which employs an unusually balanced division of sea and rocks diagonally across a nearly square canvas, giving equal weight to sea and land, water and rock. This painting shows the famous writer
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In 1882, Hassam became a free-lance illustrator (known as a "black-and-white man" in the trade), and established his first studio. He specialized in illustrating children's stories for magazines such as
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The sudden shift expanded his options and his range. Through the 1890s, his technique increasingly evolved toward Impressionism in both oil and watercolor, even as the movement itself was giving way to
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canvas without pre-mixing. Artists displayed their work in Thaxter's salon and were exposed to wealthy buyers staying on the island. Thaxter died in 1894, and in tribute Hassam painted her parlor in
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of the painters." In 1904 and 1908, he traveled to Oregon and was stimulated by new subjects and diverse views, frequently working out-of-doors with friend, lawyer and amateur painter Colonel
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816:, which many viewers found unsettling and unfathomable, he was asked how he came up with a particular palette. He responded that "subjects suggest to me a color scheme and I just paint."
748:, Hassam returned to New York and had his first major one-man auction show at the American Art Galleries in 1896, which featured over 200 works that spanned his entire career to date.
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wiped out much of Boston's commercial district, including his father's business. Hassam left high school after two years (at age 17), and by 1880 his family had moved to nearby
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in Paris, winning a bronze medal. At that time, he remarked on the emergence of progressive American artists who studied abroad but who did not succumb to French traditions:
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He denounced modern trends in art to the end of his life, and he termed "art boobys" all the painters, critics, collectors, and dealers who got on the bandwagon and promoted
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crescent moon (which eventually degenerated into only a slash) next to his signature, and he adopted the nickname "Muley" (from the Arabic "Mawla", Lord or Master), invoking
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in New York (renamed the "Avenue of the Allies" during the Liberty Loan Drives of 1918). Thousands participated in these parades, which often lasted for over twelve hours.
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With the art market now eagerly accepting his work, by 1909 Hassam was enjoying great success, earning as much as $ 6,000 per painting. His close friend and fellow artist
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When he returned to New York, Hassam began a series of "window" paintings that he continued until the 1920s, usually featuring a contemplative female model in a flowered
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1194:. Hassam traveled relatively little in his last years, but did visit California, Arizona, Louisiana, Texas, and Mexico. He died in East Hampton in 1935, at age 75.
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President Barack Obama holds a conference call with House Speaker Nancy Pelosi and Senate Majority Leader Harry Reid, in the Oval Office, Labor Day, Sept. 6, 2010
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417:. Sixty-seven of the watercolors that Hassam painted on this trip formed the basis of his second exhibition in 1884. During this period, Hassam taught at the
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of 1913, where Impressionism was finally viewed as mainstream and nearly an historical style, and displaced by the clamor over the radical revolution of
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financial success. He returned with his wife to Paris where in 1886 they were able to engage a well-located apartment/studio with a maid near the
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three years ago...are compared with the more recent work...it may be seen how he has progressed." Hassam contributed four paintings to the
474:(1885) was of his first. He joined a few other progressive American artists who were taking to heart the advice of French academic master
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exhibition in 1889. He managed to exhibit at all three Salon shows during his Paris stay but won only one bronze medal.
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629:(1890), he instead demonstrated a bright pastel palette suffused with white similar to what Monet might have employed.
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and numerous other awards through the 1920s. In 1925 he was featured on 32nd Annual Exhibition of American Art at the
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Having had relatively little formal art training, Hassam was advised by his friend and fellow Boston Art Club member
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Hassam demonstrated an interest in art early. He had his first lessons in drawing and watercolor while attending
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to American collectors, dealers, and museums. He produced over 3,000 paintings, oils, watercolors, etchings, and
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By 1883, Hassam had exhibited watercolors in his first solo exhibition at the Williams and Everett Gallery in
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to join him on a two-month "study trip" to Europe during the summer of 1883. They traveled throughout the
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The American Section...has convinced me for ever of the capability of Americans to claim a school.
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During that period he also returned to watercolors and oils of coastal scenes, as exemplified by
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over the course of his career, and was an influential American artist of the early 20th century.
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Back in New York in 1897, Hassam took part in the secession of Impressionists from the
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and the models and render the intense life which surrounds you and be assured that the
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of the European countryside. Hassam was particularly impressed with the watercolors of
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May, Stephen (December 1990). "An Island garden, a poet's passion, a painter's muse".
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During the summers, he would work in a more typical Impressionist location, such as
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Starting in the mid-1890s, Hassam also made summer painting excursions to
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Hassam became close friends with fellow American Impressionist artists
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In 1913, Hassam was honored with a separate gallery showing at the
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Warren Adelson; Jay Cantor; William H. Gerdts (October 15, 1999).
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celebrations, a forerunner of his famous Flag series (see below).
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Stewart, Doug (August 2004). "Impressionism's American Childe".
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Childe Hassam as printmaker : a selection in various media
2209:"The South Ledges, Appledore by Childe Hassam / American Art"
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painter, noted for his urban and coastal scenes. Along with
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Portrait photograph of Childe Hassam, between 1911 and 1936
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File:Barack Obama in the Oval Office in september 2010.jpg
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1477:. New York: The Metropolitan Museum of Art. p. 3.
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before a light-filled curtained or open window, as in
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As a child, Hassam excelled at boxing and swimming at
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Bronze Medal, Exposition Universale, Paris, 1889, for
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Hassam was known to all as "Childe" (pronounced like
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Members of the American Academy of Arts and Letters
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Impressionism in America: the Ten American Painters
812:. As his colors became paler and closer in tone to
167:
164:
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102:
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84:
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1470:
2600:Links to images by Childe Hassam by Artcylcopedia
2055:Birmingham Museum of Art: guide to the collection
570:As for the French Impressionists, he wrote "Even
1530:https://familysearch.org/ark:/61903/1:1:MHXC-JTG
2408:"Gratz Gallery - Biography of Louise Woodroofe"
1004:Hassam displayed six paintings at the landmark
1977:
1975:
985:. The South Ledges, Appledore is owned by the
625:praised for its "American character". For his
425:, who like the great French landscape painter
293:. During that time, Hassam studied the art of
2782:
2625:
470:mid-1880s, Hassam began painting cityscapes;
184:; October 17, 1859 – August 27, 1935) was an
8:
247:, shared an ancestor with American novelist
2568:. New York: The Metropolitan Museum of Art.
2481:. Seattle: University of Washington Press.
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2632:
2618:
2610:
1449:
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858:, 1905. Oil on canvas. Private collection.
196:, Hassam was instrumental in promulgating
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2353:, Official White House Flickr photostream
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2058:. Birmingham Museum of Art. p. 132.
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989:in Washington D.C. He also produced some
2478:Childe Hassam: Impressionist in the West
3502:Olympic competitors in art competitions
3442:Art Students League of New York faculty
2656:Spring Morning in the Heart of the City
2594:Frederick Childe Hassam Virtual Gallery
2578:, New York: Metropolitan Museum of Art.
2519:. New York: Prestel-Verlag Publishing.
2229:
2126:
2114:
1981:
1437:
1213:
362:, where he took life painting classes.
759:. Hassam decided to return to Europe.
2560:Weinberg, H. Barbara (October 2004).
2517:Childe Hassam: American Impressionist
1473:Childe Hassam: American Impressionist
1164:Pennsylvania Academy of the Fine Arts
127:Pennsylvania Academy of the Fine Arts
7:
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2307:
2295:
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1142:In 1919, Hassam purchased a home in
513:Hassam had moved to France to study
2498:The Flag Paintings of Childe Hassam
2169:"July Fourteenth, Rue Daunou, 1910"
838:Building the Schooner, Provincetown
456:, with "an uncanny resemblance" to
125:Gold Medal (Lifetime Achievement),
3507:20th-century American male artists
3492:19th-century American male artists
3467:National Academy of Design members
14:
3477:20th-century American printmakers
2712:July Fourteenth, Rue Daunou, 1910
2566:Heilbrunn Timeline of Art History
908:July Fourteenth, Rue Daunou, 1910
796:, forming a new society known as
645:(1888) which he presented at the
369:. The following year, his friend
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1182:. His work was also part of the
507:Late Afternoon, New York, Winter
283:disastrous fire in November 1872
143:
3427:American Impressionist painters
1128:Princeton University Art Museum
1102:permanent collection since the
987:Smithsonian American Art Museum
509:, c. 1900. Brooklyn Museum
221:Princeton University Art Museum
3487:Members of the Salmagundi Club
3482:People from Dorchester, Boston
3422:20th-century American painters
3412:19th-century American painters
2961:First Impressionist Exhibition
1317:The Metropolitan Museum of Art
1116:The Metropolitan Museum of Art
1098:(1917), which has been in the
757:general economic slump of 1896
547:Exposition Universelle of 1889
1:
3497:People from Hyde Park, Boston
3127:Marc-Aurèle de Foy Suzor-Coté
2605:Dorchester Atheneum biography
2541:Hiesinger, Ulrich W. (1991).
2515:Hiesinger, Ulrich W. (1994).
2500:. New York: Harry N. Abrams.
2475:Bullock, Margaret E. (2004).
1469:Weinberg, H. Barbara (2004).
2672:Coast Scene, Isles of Shoals
2048:Andrews, Gail; et al. (
1745:Childe Hassam, Impressionist
1375:, 1905. Private collection.
1124:Virginia Museum of Fine Arts
738:World's Columbian Exposition
16:American painter (1859–1935)
3432:American landscape painters
3296:French impressionist cinema
2562:"Childe Hassam (1859–1935)"
1120:New York Historical Society
1110:chose to display it in the
1081:hanging on the wall of the
975:The South Ledges, Appledore
834:Provincetown, Massachusetts
794:Society of American Artists
779:with a very light palette.
772:August Afternoon, Appledore
427:Jean-Baptiste-Camille Corot
291:Little, Brown & Company
3528:
3437:American portrait painters
3337:Pennsylvania Impressionism
2885:
2696:Spring on West 78th Street
2545:. Munich: Prestel-Verlag.
2496:Fort, Irene Susan (1988).
846:National Academy of Design
3391:Pays des Impressionnistes
3185:Giovanni Battista Ciolina
1017:Panama-Pacific Exhibition
892:Pierre Puvis de Chavannes
744:in 1893. After a trip to
722:Gloucester, Massachusetts
627:Washington Arch in Spring
600:Snowstorm, Madison Square
472:Boston Common at Twilight
217:View in Montmartre, Paris
30:
3327:Decorative Impressionism
3322:California Impressionism
2680:Broadway and 42nd Street
2572:Kiehl, David W. (1977).
2050:Birmingham Museum of Art
1662:10.1001/jama.287.14.1769
1403:April - (The Green Gown)
879:, the rugged coast, the
832:In 1900, Hassam visited
3452:People from Long Island
3347:Synthetic impressionism
3312:Amsterdam Impressionism
3137:Helen Galloway McNicoll
2988:Frederick Carl Frieseke
2596:442 works by the artist
1421:National Gallery of Art
1132:National Gallery of Art
1036:, oil on canvas, 1917.
968:National Gallery of Art
687:Smithsonian Institution
463:Paris Street; Rainy Day
139:Frederick Childe Hassam
44:Frederick Childe Hassam
3472:Académie Julian alumni
3417:American male painters
3018:Walter Elmer Schofield
2746:American Impressionism
2728:The Avenue in the Rain
2664:Winter in Union Square
1388:Mt. Beacon at Newburgh
1144:East Hampton, New York
1104:Kennedy administration
1095:The Avenue in the Rain
1086:
1078:The Avenue in the Rain
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1033:The Avenue in the Rain
1001:
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810:American Impressionism
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617:Fifth Avenue in Winter
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568:
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409:together and creating
332:
329:Washington Square Park
279:Dorchester High School
223:
186:American Impressionist
107:American Impressionism
77:East Hampton, New York
3245:Władysław Podkowiński
2983:William Merritt Chase
2874:Pierre-Auguste Renoir
2720:Surf, Isles of Shoals
2688:Cliff Rock--Appledore
2347:(September 6, 2010),
1648:"Rainy Day, Boston".
1417:Girl in a Modern Gown
1206:were bid up as well.
1168:Cincinnati Art Museum
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828:, oil on canvas, 1905
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734:Old Lyme, Connecticut
696:, the largest of the
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598:
551:
531:Jules Joseph Lefebvre
505:
444:
323:
265:Tales of the Alhambra
215:
60:, Massachusetts, U.S.
3447:Painters from Boston
3152:Robert Wakeham Pilot
3142:James Wilson Morrice
3023:John Henry Twachtman
2211:. Americanart.si.edu
1500:Smithsonian Magazine
1456:Smithsonian Magazine
1278:The Gorge, Appledore
1192:1928 Summer Olympics
658:John Henry Twachtman
450:Toledo Museum of Art
194:John Henry Twachtman
3265:Philip Wilson Steer
3117:William Blair Bruce
2904:Gustave Caillebotte
2824:Gustave Caillebotte
2756:Old Lyme art colony
2105:, pp. 127, 131
1747:. Abbeville Press.
1331:The Victorian Chair
954:The Goldfish Window
802:Old Lyme Art Colony
715:The Room of Flowers
521:at the prestigious
423:William Morris Hunt
249:Nathaniel Hawthorne
3374:The Impressionists
3342:Post-Impressionism
3220:Konstantin Korovin
3070:Frederick McCubbin
2914:Henry O. Havemeyer
2011:, pp. 115–116
1656:(14): 1769. 2002.
1087:
1056:well as President
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825:Church at Old Lyme
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751:The New York Times
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635:Post-Impressionism
604:
511:
467:
345:Scribner's Monthly
333:
232:Meeting House Hill
224:
58:Dorchester, Boston
3399:
3398:
3332:Neo-Impressionism
3200:Antoine Guillemet
3180:Marie Bracquemond
3147:Laura Muntz Lyall
3013:Theodore Robinson
3008:Lilla Cabot Perry
2844:Armand Guillaumin
2764:
2763:
2173:www.metmuseum.org
2065:978-1-904832-77-5
1154:and artists like
665:Theodore Robinson
527:Gustave Boulanger
497:Frank Myers Boggs
446:Rainy Day, Boston
429:, emphasized the
419:Cowles Art School
379:Edmund H. Garrett
272:The Mather School
261:Washington Irving
257:Muley Abul Hassan
253:Islamic-appearing
136:
135:
3519:
3376:(2006 TV series)
3368:Wilfrid de Glehn
3240:Nadežda Petrović
3205:Nazmi Ziya Güran
3104:
3047:
2998:Alphonse Maureau
2975:
2945:Ambroise Vollard
2935:Paul Durand-Ruel
2891:
2869:Camille Pissarro
2814:Frédéric Bazille
2800:
2791:
2784:
2777:
2768:
2704:The Water Garden
2634:
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2589:Online Monograph
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1172:Louise Woodroofe
1170:, together with
1066:Corcoran Gallery
983:Appledore Island
942:The Water Garden
694:Appledore Island
476:Jean-Léon Gérôme
356:Lowell Institute
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3260:Joaquín Sorolla
3235:Francisco Oller
3225:Martín Malharro
3170:Eugène Baudouin
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3122:William Brymner
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3060:E. Phillips Fox
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2535:Further reading
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1345:Summer Sunlight
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1307:
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1296:Sterling Turner
1293:
1284:
1282:Brooklyn Museum
1275:
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1264:Brooklyn Museum
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1246:Brooklyn Museum
1239:
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1228:Brooklyn Museum
1221:
1212:
1188:art competition
1140:
1038:The White House
1025:
1023:The Flag series
925:July Fourteenth
900:
865:Lower Manhattan
765:
698:Isles of Shoals
663:It was through
593:
523:Académie Julian
484:Brooklyn Bridge
415:J. M. W. Turner
405:, studying the
360:Boston Art Club
339:Harper's Weekly
325:Washington Arch
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89:Académie Julian
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1505:
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1251:
1249:
1240:
1233:
1231:
1222:
1215:
1211:
1208:
1184:painting event
1139:
1136:
1058:Woodrow Wilson
1024:
1021:
944:, c. 1909
899:
896:
764:
761:
602:, c. 1890
592:
589:
535:Grand Prix Day
515:figure drawing
383:United Kingdom
331:, c. 1893
317:
314:
312:
309:
307:
304:
295:wood engraving
241:New Englanders
209:
206:
134:
133:
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116:
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110:
109:
104:
100:
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95:Known for
92:
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75:
73:(aged 75)
67:
63:
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56:
43:
41:
37:
36:
28:
27:
24:
15:
13:
10:
9:
6:
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3328:
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3317:Boston School
3315:
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3211:
3208:
3206:
3203:
3201:
3198:
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3191:
3190:Lovis Corinth
3188:
3186:
3183:
3181:
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3173:
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3168:
3167:
3165:
3159:
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3110:
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3097:
3091:
3088:
3086:
3083:
3081:
3078:
3076:
3073:
3071:
3068:
3066:
3065:Elioth Gruner
3063:
3061:
3058:
3056:
3053:
3052:
3050:
3048:
3040:
3034:
3033:J. Alden Weir
3031:
3029:
3028:Robert Vonnoh
3026:
3024:
3021:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
3001:
2999:
2996:
2994:
2993:Childe Hassam
2991:
2989:
2986:
2984:
2981:
2980:
2978:
2976:
2968:
2962:
2959:
2958:
2956:
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2946:
2943:
2941:
2940:Georges Petit
2938:
2936:
2933:
2932:
2930:
2926:
2920:
2917:
2915:
2912:
2910:
2907:
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2899:
2895:
2890:
2880:
2879:Alfred Sisley
2877:
2875:
2872:
2870:
2867:
2865:
2862:
2860:
2857:
2855:
2854:Édouard Manet
2852:
2850:
2847:
2845:
2842:
2840:
2837:
2835:
2832:
2830:
2827:
2825:
2822:
2820:
2819:Eugène Boudin
2817:
2815:
2812:
2811:
2809:
2805:
2801:
2799:Impressionism
2792:
2787:
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2653:
2652:
2650:
2646:
2642:
2641:Childe Hassam
2635:
2630:
2628:
2623:
2621:
2616:
2615:
2612:
2606:
2603:
2601:
2598:
2595:
2592:
2590:
2587:
2586:
2582:
2577:
2576:
2571:
2567:
2563:
2558:
2554:
2552:3-7913-1142-5
2548:
2544:
2539:
2538:
2534:
2528:
2526:3-7913-1364-9
2522:
2518:
2513:
2509:
2507:0-8109-1169-8
2503:
2499:
2494:
2490:
2488:1-883124-19-0
2484:
2480:
2479:
2473:
2472:
2468:
2462:, p. 171
2461:
2456:
2454:
2450:
2438:
2434:
2428:
2425:
2413:
2409:
2403:
2400:
2397:, p. 170
2396:
2391:
2389:
2385:
2382:, p. 168
2381:
2376:
2373:
2370:, p. 157
2369:
2364:
2361:
2358:
2352:
2351:
2346:
2340:
2337:
2334:, p. 165
2333:
2328:
2325:
2321:
2316:
2313:
2309:
2304:
2301:
2297:
2292:
2289:
2286:, p. 71.
2285:
2280:
2278:
2274:
2271:, p. 156
2270:
2265:
2263:
2259:
2256:, p. 155
2255:
2250:
2247:
2244:, p. 153
2243:
2238:
2235:
2231:
2226:
2223:
2210:
2204:
2201:
2198:, p. 150
2197:
2192:
2190:
2186:
2174:
2170:
2164:
2161:
2158:, p. 142
2157:
2152:
2150:
2148:
2144:
2141:, p. 141
2140:
2135:
2132:
2128:
2123:
2120:
2116:
2111:
2108:
2104:
2099:
2096:
2093:, p. 135
2092:
2087:
2084:
2081:, p. 124
2080:
2075:
2072:
2067:
2061:
2057:
2056:
2051:
2044:
2041:
2038:, p. 122
2037:
2032:
2030:
2026:
2023:, p. 116
2022:
2017:
2014:
2010:
2005:
2002:
1999:, p. 115
1998:
1993:
1990:
1987:
1983:
1978:
1976:
1972:
1969:, p. 104
1968:
1963:
1961:
1959:
1955:
1951:
1946:
1943:
1939:
1934:
1932:
1928:
1924:
1919:
1916:
1912:
1907:
1904:
1900:
1895:
1892:
1888:
1883:
1880:
1876:
1871:
1868:
1865:, p. 181
1864:
1859:
1856:
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1835:
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1739:
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1720:
1715:
1712:
1708:
1703:
1700:
1697:, p. 31.
1696:
1691:
1688:
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1667:
1663:
1659:
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1538:
1535:
1531:
1527:
1521:
1518:
1515:, p. 13.
1514:
1509:
1506:
1501:
1494:
1491:
1486:
1484:9781588391193
1480:
1475:
1474:
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1407:
1404:
1398:
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1389:
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1374:
1368:
1363:
1360:
1359:Improvisation
1354:
1349:
1346:
1340:
1335:
1332:
1326:
1321:
1318:
1314:
1312:
1311:Celia Thaxter
1305:
1300:
1297:
1291:
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1279:
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1200:
1195:
1193:
1189:
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1177:
1173:
1169:
1165:
1161:
1157:
1156:Edward Hopper
1153:
1152:Ashcan School
1149:
1145:
1137:
1135:
1133:
1129:
1125:
1121:
1117:
1113:
1109:
1105:
1101:
1097:
1096:
1091:
1084:
1080:
1079:
1073:
1069:
1067:
1063:
1062:Liberty Bonds
1059:
1053:
1051:
1047:
1039:
1035:
1034:
1029:
1022:
1020:
1018:
1013:
1011:
1007:
998:
994:
992:
988:
984:
980:
979:Celia Thaxter
976:
969:
965:
964:Self-Portrait
961:
957:
955:
951:
943:
939:
935:
933:
929:
926:
920:
917:
916:J. Alden Weir
910:
909:
904:
897:
895:
893:
890:
886:
882:
878:
874:
873:C. E. S. Wood
870:
866:
857:
853:
849:
847:
841:
839:
835:
827:
826:
821:
817:
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773:
769:
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758:
753:
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747:
743:
739:
735:
731:
727:
723:
718:
716:
712:
707:
706:Celia Thaxter
703:
702:New Hampshire
699:
695:
688:
684:
683:in her Garden
682:
681:Celia Thaxter
677:
673:
670:
666:
661:
659:
655:
654:J. Alden Weir
650:
648:
644:
640:
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536:
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508:
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500:
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494:
493:Place Pigalle
489:
486:is worth the
485:
481:
477:
473:
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459:
455:
451:
447:
443:
439:
437:
432:
428:
424:
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388:
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372:
371:Celia Thaxter
368:
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207:
205:
203:
199:
198:Impressionism
195:
191:
187:
181:
140:
128:
124:
122:
118:
117:
115:
111:
108:
105:
101:
97:
93:
90:
87:
83:
78:
68:
64:
59:
42:
38:
34:
29:
25:Childe Hassam
22:
19:
3373:
3195:Eva Gonzalès
3080:John Russell
2992:
2859:Claude Monet
2834:Paul Cézanne
2829:Mary Cassatt
2726:
2718:
2710:
2702:
2694:
2686:
2678:
2670:
2662:
2654:
2640:
2573:
2565:
2542:
2516:
2497:
2477:
2440:. Retrieved
2436:
2427:
2417:December 10,
2415:. Retrieved
2411:
2402:
2375:
2363:
2349:
2339:
2327:
2322:, p. 15
2315:
2310:, p. 10
2303:
2291:
2249:
2237:
2232:, p. 47
2230:Bullock 2004
2225:
2213:. Retrieved
2203:
2176:. Retrieved
2172:
2163:
2134:
2129:, p. 41
2127:Bullock 2004
2122:
2117:, p. 57
2115:Bullock 2004
2110:
2098:
2086:
2074:
2054:
2043:
2016:
2004:
1992:
1982:Bullock 2004
1952:, p. 99
1945:
1940:, p. 86
1925:, p. 78
1918:
1913:, p. 76
1906:
1901:, p. 77
1894:
1889:, p. 70
1882:
1877:, p. 69
1870:
1858:
1853:, p. 63
1846:
1841:, p. 42
1826:, p. 65
1819:
1814:, p. 64
1807:
1802:, p. 58
1787:, p. 57
1780:
1775:, p. 50
1744:
1738:
1733:, p. 34
1726:
1721:, p. 32
1714:
1709:, p. 27
1702:
1690:
1685:, p. 20
1678:
1653:
1649:
1643:
1631:
1626:, p. 10
1603:, p. 18
1588:, p. 17
1581:
1576:, p. 16
1561:, p. 14
1544:, p. 13
1537:
1526:FamilySearch
1525:
1520:
1508:
1499:
1493:
1472:
1464:
1455:
1416:
1402:
1387:
1372:
1358:
1344:
1330:
1309:
1295:
1277:
1259:
1241:
1223:
1196:
1180:Mary Cassatt
1176:Robert Henri
1160:Robert Henri
1141:
1108:Barack Obama
1093:
1090:Claude Monet
1088:
1076:
1054:
1050:Fifth Avenue
1042:
1031:
1014:
1003:
974:
972:
963:
953:
947:
941:
932:Bastille Day
928:, Rue Daunou
927:
924:
921:
913:
906:
883:, scenes of
864:
861:
855:
842:
837:
831:
823:
791:
777:
771:
749:
746:Havana, Cuba
719:
714:
691:
679:
662:
651:
642:
631:
626:
620:
616:
609:Fifth Avenue
605:
599:
572:Claude Monet
569:
552:
543:
534:
512:
506:
471:
468:
461:
445:
435:
376:
364:
349:
343:
337:
334:
324:
311:Early career
276:
269:
264:
227:
225:
216:
190:Mary Cassatt
138:
137:
120:
71:(1935-08-27)
18:
3462:1935 deaths
3457:1859 births
3381:Louis Leroy
3279:Other media
3255:Max Slevogt
3230:Henry Moret
3075:Tom Roberts
2954:Exhibitions
2839:Edgar Degas
2807:Originators
2345:Souza, Pete
2298:, p. 9
2215:January 21,
1224:A Back Road
1148:Long Island
1138:Final years
1112:Oval Office
1100:White House
1083:Oval Office
1046:World War I
1006:Armory Show
993:paintings.
981:'s home in
930:during the
898:Late career
877:High Desert
730:Connecticut
613:17th Street
458:Caillebotte
436:A Back Road
411:watercolors
407:Old Masters
399:Switzerland
387:Netherlands
358:and at the
351:The Century
208:Early years
202:lithographs
3406:Categories
3291:Literature
3112:Henri Beau
3044:Australian
2178:October 8,
2052:) (2010).
1984:, p.
1754:0789205874
1428:References
1373:The Bather
1203:Surrealism
991:still-life
869:Marco Polo
856:The Bather
763:Mid-career
480:Beaux-Arts
300:watercolor
236:Dorchester
50:1859-10-17
2648:Paintings
2437:Olympedia
2320:Fort 1988
2308:Fort 1988
2296:Fort 1988
2284:Fort 1988
1670:0098-7484
1313:'s Garden
1075:Hassam's
1068:in 1922.
889:Symbolist
643:Geraniums
622:Le Figaro
488:Colosseum
287:Hyde Park
263:'s novel
121:Geraniums
85:Education
3305:See also
3101:Canadian
2972:American
2442:July 27,
1419:, 1922,
1315:, 1890,
1130:and the
966:, 1916,
885:Portland
881:Cascades
808:towards
806:Tonalism
711:unprimed
685:, 1892,
580:Pissarro
559:Whistler
519:painting
460:'s 1877
448:(1885),
431:Barbizon
219:, 1889,
103:Movement
98:Painting
3361:Related
3352:The Ten
3163:artists
3103:artists
3046:artists
2974:artists
2928:Dealers
2897:Patrons
2751:The Ten
2739:Related
2469:Sources
1260:Montauk
1242:Meadows
1210:Gallery
1190:at the
1186:in the
814:Monet's
798:The Ten
787:The Ten
742:Chicago
726:Cos Cob
669:Giverny
639:Fauvism
563:Sargent
539:The Ten
234:in the
2731:(1917)
2723:(1913)
2715:(1910)
2707:(1909)
2699:(1905)
2691:(1903)
2683:(1902)
2675:(1901)
2667:(1890)
2659:(1890)
2549:
2523:
2504:
2485:
2062:
1751:
1668:
1481:
1390:, 1916
1199:Cubism
1126:, the
1122:, the
1118:, the
1085:, 2009
1010:Cubism
950:kimono
774:, 1900
732:; and
585:Renoir
576:Sisley
555:Inness
401:, and
391:France
385:, the
367:Boston
348:, and
306:Career
129:, 1920
113:Awards
79:, U.S.
3386:Nadar
3286:Music
3161:Other
1433:Notes
647:Salon
591:1890s
403:Spain
395:Italy
327:, in
316:1880s
245:Maine
228:child
2547:ISBN
2521:ISBN
2502:ISBN
2483:ISBN
2444:2020
2419:2023
2217:2014
2180:2019
2060:ISBN
1749:ISBN
1666:ISSN
1650:JAMA
1479:ISBN
1178:and
1158:and
700:off
656:and
637:and
611:and
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