William Benton Museum of Art
University of Connecticut
Storrs, CT
860-486-4520
http://www.Benton.UConn.edu
People & Places: Childe
Hassam and Maurice Prendergast, 1887-1923
People & Places
brings together from the collections of the Benton Museum and the New Britain
Museum of American Art thirty-three of the artists' paintings, drawings and
prints of modern life from the 1880s to the 1920s. The exhibition runs from
January 23 - March 16, 2001, with a reception open to the public on Friday,
February 2, from 6-8 p.m. (left: Maurice Prendergast (1858-1924),
New England Shore, c. 1910-11, watercolor and pencil, 9 x 12 inches,
Gift of the Eugénie Prendergast Foundation, WBMA, 75.10 [CMO 1006];
right: Childe Hassam (1859-1935), Old Mumford House, Easthampton, 1919,
oil on canvas, 21 3/8 x 30 inches, Charles and Elizabeth Buchanan Collection,
NBMAA, 1989.25)
Childe Hassam (1859-1935) and Maurice Prendergast (1858-1924)
lived lives that were parallel in many ways yet dramatically different in
others. They were contemporaries who grew up and studied art in Boston.
As exhibiting artists, they likely would have crossed paths. Both were profoundly
influenced by French art but at different times and with strikingly different
results. Hassam's art would become institutionalized as American impressionism
while Prendergast's found few adherents.
The
focal points of the exhibition are Hassam's Le Jour de Grande Prix
(1887) and Prendergast's Lighthouse at St. Malo (c.1907), paintings
that were central to their careers and representative of how American art
was evolving between 1887-1923 and how American artists viewed European,
especially French, modernism. (left: Childe Hassam (1859-1935), Le
Jour de Grande Prix, 1887, oil on canvas, 37 x 49 1/4 inches, Grace
Judd Landers Fund, NBMAA, 1943.14; right: Maurice Prendergast (1858-1924),
Lighthouse at St. Malo, c.1907, oil on canvas, 20 1/8 x 24 5/8 inches,
Gift of the Eugénie Prendergast Foundation, WBMA, 72.31 [CMO 99])
A separate selection of paintings from the Benton collection
by contemporaries of Hassam and Prendergast will also be exhibited in the
main gallery.
On
Wednesday, February 7, at 4 p.m., Dr. Douglas Hyland, Director, New Britain
Museum of American Art, New Britain, CT will lecture on "Beyond Childe
Hassam: Impressionism in Connecticut." February 21, at 4 p.m., Professor
Emeritus Harold Spencer, University of Connecticut, Storrs, will lecture
on "Childe Hassam and Maurice Prendergast: Some Thoughts on Form and
Content." (left: Maurice Prendergast (1858-1924), Sunday
Afternoon , c. 1910-13, oil on panel, 10 1/2 x 13 3/4 inches, Gift Mrs.
Eugénie Prendergast, WBMA, 84.21 [CMO 255]; right: Childe Hassam
(1859-1935), Rigger's Shop, Provincetown, Mass., 1900, oil on canvas,
22 x 19 inches, Gift of Mr. and Mrs. J. Lawrence Pond, NBMAA, 1976.98)
A catalogue essay authored by Thomas P. Bruhn, Curator
at the William Benton Museum of Art, University of Connecticut, Storrs,
CT, accompanies People & Places: Childe Hassam and Maurice Prendergast,
1887-1923. Following are two paragraphs excerpted from the essay and
the related endnotes.
- In 1887 Childe Hassam (1859-1935) painted the Parisian Le Jour du
Grand Prix..., a brilliant conflation of impressionist style, realist
subject, and contemporary urban setting. Although Hassam had briefly visited
Paris in 1883, he returned with his wife Maude in the autumn of 1886 and
stayed for three years. Later, Hassam would rightfully claim that he had
already learned to paint before he came to Paris, just as he could claim
that his favored subjects before 1900 -- urban and figural such as the
evocative Boston Common at Twilight, 1885-6 (MFA Boston) -- he had
found already in Boston. Reflecting at one point in his life about his
early years in Boston, he wrote, "The Street (Columbus Avenue where
he lived) was all paved in asphalt, and I used to think it very pretty
when it was wet and shining, and caught the reflections of passing people
and vehicles. I was always interested in the movements of humanity in the
street...."[3] And his interest in modern urban life and the visual
effects of reflected light and of the mix of light and atmosphere at different
times of the day made him susceptible to the much brighter palette and
fragmented strokes of the Impressionists as well as the urban contemporaneity
of the Realists. Le Jour du Grand Prix was his first Salon-scale
impressionist painting and fully established his reputation as a painter
of the modern world.[4]
-
- Prendergast seems to have discovered in Paris a renewed belief in abstraction
and color based on his profound admiration for Paul Cézanne's paintings
and those of other modernists. Their influence appears in Prendergast's
late summer oils of the seaside resort of St, Malo that he painted after
he had left Paris, The St. Malo paintings were also those which he exhibited
in the notorious 1908 exhibition "The Eight" which traveled around
the United States the following year, Although the exact paintings of the
exhibition cannot be identified, Lighthouse at St. Malo (c. 1907,...),
if not actually exhibited, would be similar to those that were. Lighthouse
of St. Malo emphasizes brush strokes and patches of color that build
to suggest the larger structures of the design. The painting is composed
in browns, bluish-greens and touches of red; scale and a slight flattening
of color distinguish foreground from background and suggest depth.[6] This
level of abstraction was striking to Prendergast's American audience, especially
in the context of other paintings in "The Eight," and abstraction
also diminished the familiar and anecdotal quality found in his earlier
work. The specifics of time and social narrative generally define his work
before 1910 and, in Beechmont (1900-05, ...), Prendergast not only
documented the new found pleasures of the middle class at the seaside but
compositionally arranged the figures -- perhaps tongue-in-cheek -- as though
performers on a dance hall stage. While pattern comprised an important
component in all of Prendergast's paintings, many works before 1910 were
structured by shape-defining areas of bold, saturated color. By contrast,
color in Lighthouse of St. Malo is fragmented into brief brushstrokes
that weave a more complicated pattern. The element of fragmentation and
abstraction led a critic of Prendergast's work to quip that his St. Malo
paintings "look for all the world like an explosion in a color factory."[7]
-
- Endnotes:
-
- [3] Quoted in Adelson, p. 12 (Warren Adelson, Jay E. Cantor, and William
Gerdts, Childe Hassam, Impressionist (New York, Abbeville Press,
1999)
- [4] For this painting specifically see: New Britain Museum of American
Art: Highlights of the Collection, v. 1 (Munich: Prestel Verlag, 1999)
pp. 82-3
- [6] All of the Benton Museum Prendergasts were published in 1985: Harold
Spencer, "Some Works by Maurice Prendergast," Bulletin, no. 13
(Storrs, CT: The William Benton Museum of Art, University of Connecticut,
1985) 3-30. unfortunately, the illustrations were printed in black and
white and the subtlety of color gradations was completely lost.
- [7] Quoted in Mathews, p. 26 (Nancy Mowll Mathews, Maurice Prendergast
(Munich: Prestel Verlag, 1990)
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