1859-1935 Childe Hassam Locations Frederick Childe Hassam (b. October 17, 1859, Dorchester, Boston, Massachusetts ?C d. August 27, 1935, East Hampton, New York) was a prominent and prolific American Impressionist painter, noted for his urban and coastal scenes. Along with Mary Cassatt and John Henry Twachtman, Hassam was instrumental in promulgating Impressionism to American collectors, dealers, and the museums. He produced over 3,000 paintings, watercolors, etchings, and lithographs in his career, and was a founding member of The Ten, an influential group of American artists of the early 20th century. His most famous works are the ??Flag?? paintings, completed during World War I. Hassam (pronounced HASS'm;) (known to all as Childe, pronounced like child) was born in his family home in a suburb of Boston in 1859. His father Frederick was a cutlery merchant and descended from a long line of New Englanders, while his mother Rosa was a native of Maine. He demonstrated an interest in art early in his life. He had his first lessons in drawing and watercolor while attending the Mather public school, but his parents took little notice of his nascent talent. A disastrous fire in November 1872 wiped out much of Boston??s commercial district including his father??s business. To help out the family, Hassam dropped out of high school and his father lined up a job for him in the accounting department of publisher Little Brown & Company. His poor aptitude for figures, however, convinced his father to allow him to pursue an art career, and Hassam found employment with George Johnson, a wood engraver. He quickly proved an adept draftsman (??draughtsman?? in the Boston directory) and he produced designs for commercial engravings, such as images for letterheads and newspapers. Around 1879, Hassam began creating his earliest oil paintings but his preferred medium was watercolors, mostly outdoor studies.   Related Paintings of Childe Hassam :. | New England Headlands | Montauk | Regentag in Boston | Sunset at Sea (nn02) | Still Life with Peaches and Old Glass |
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Giovanni dal ponte
Italian Painter, 1385-1437 He was reputed to have been a student of Spinello Aretino. He acquired the name dal Ponte due to the location of his studio at Santo Stefano a Ponte, Florence. He joined the Arte dei Medici e degli Speziali in 1410 and the Compagnia di S Luca in 1413. Outstanding debts brought him a prison sentence in 1424, but he still owed money to a carpenter three years later. By the late 1420s he had opened his own studio and formed a partnership with the painter Smeraldo di Giovanni (c. 1365-after 1442). Giovanni dal Ponte's varied and prolific production, which continued until his death, included fresco cycles, panels and the decoration of small objects. A number of allegorical panel paintings and cassoni are attributed to him. The animated, stylized figures in the Seven Liberal Arts (1435; Madrid, Prado) are shown in a garden dotted with naturalistic flowers and plants. His early work shows the impact of the Late Gothic style.
Henry Wallis
British 1830-1916 1916). English painter, writer and collector. He first studied at F. S. Cary academy and in 1848 entered the Royal Academy Schools, London. He is also thought to have trained in Paris at some time in the late 1840s or early 1850s, first in Charles Gleyre atelier and subsequently at the Ecole des Beaux-Arts. He specialized in portraits of literary figures and scenes from the lives of past writers, as in Dr Johnson at Cave, the Publisher (1854; untraced). His first great success was the Death of Chatterton (London, Tate), which he exhibited at the Royal Academy in 1856. The impoverished late 18th-century poet Thomas Chatterton, who while still in his teens had poisoned himself in despair, was a romantic hero for many young and struggling artists in Wallis day. He depicted the poet dead in his London garret, the floor strewn with torn fragments of manuscript and, tellingly, an empty phial near his hand. The painting was universally praised, not least by John Ruskin who described it as faultless and wonderful, advising visitors to examine it well, inch by inch. Although Wallis was only loosely connected with the Pre-Raphaelite movement, his method and style in Chatterton reveal the importance of that connection: the vibrant colours and careful build-up of symbolic detail are typical Pre-Raphaelite concerns. The success of Chatterton was such that, when exhibited in Manchester the following year, it was protected from the jostling crowds by a policeman. It was bought by another artist, Augustus
Herbert Paus
American Artist , 1880-1946