Childe Hassam (American, 1859-1935). On The Balcony, 1888. Pastel on paper laid on canvas. 30 x 18 inches (76.2 x 45.7 c...

Description

Childe Hassam (American, 1859-1935)
On The Balcony, 1888
Pastel on paper laid on canvas
30 x 18 inches (76.2 x 45.7 cm)
Signed and dated lower right center: Childe Hassam / 1888

PROVENANCE:
The artist;
The American Academy of Arts and Letters, New York, bequest from the above, 1935 (as On the Balcony):
Milch Galleries, New York, 1951;
John Fox, Boston, Massachusetts; 1951-60;
Babcock Galleries, New York, 1960-63;
Mr. and Mrs. Roger Meier, Portland, Oregon, 1963-2001;
R. M. Thune, Greenwich, Connecticut, 2001;
Private Collection, New York, 2017 to present.

EXHIBITED:
Adelson Galleries, New York, "Light Impressions: American Works on Paper, 1875-1925," May 9-June 30, 2006, no. 14.

LITERATURE:
Adelson Galleries, New York, Light Impressions: American Works on Paper, 1875-1925, exhibition catalogue, 2006, pp. 20-21, no. 14, illustrated;
The New York Times Book Review, April 21, 1963, illustrated.

The term nocturne perfectly encapsulates both the visual and emotional resonance of Childe Hassam's brilliant pastel, On the Balcony. The composition evokes the spirit of James McNeill Whistler, with its elongated, asymmetrical structure and subtle interplay of light. The delicate rendering of the figure and her gown, illuminated by a blend of soft interior light and the glow of a moonlit evening, contrasts beautifully with the hazy density of the early evening sky. This masterful balance enhances the dynamic harmony of the work, providing a sophisticated interplay between flat pattern-reflecting the contemporary enthusiasm for Japanese prints-and a three-dimensional space that stretches into the infinite. Like Whistler, Hassam juxtaposes a vast expanse of subtly colored sky against the equally nuanced color harmonies of the woman's sheer gown, creating a mood that is both reflective and intimate. This emotional depth is a defining feature of Hassam's work, often lying beneath the surface energy of his Impressionist technique.

Executed during Hassam's extended honeymoon in France, this pastel likely portrays his wife, Maude, captured in a private moment of introspection. She is seamlessly connected to the landscape, which is brought to life by the freshness of the air and the pot of geraniums resting on the window ledge-a quiet but potent symbol of life and nature. The scene is believed to depict Villiers-le-Bel, the country estate of the renowned painter and teacher Thomas Couture, whose daughter and her husband, Monsieur Blumenthal, were friends of Maude. Through these connections, Hassam and Maude became regular guests at the estate. Couture had a profound influence on French painting, not only through his own work but also through his role as a teacher to artists like Édouard Manet and William Morris Hunt. Hunt, a pivotal figure in bringing French art to America, was instrumental in connecting Hassam to this legacy, with Manet being one of the first modern painters to embrace the pastel medium.

On the Balcony transcends mere technical brilliance or a fleeting glimpse of contemporary life. It embodies a quiet lyricism that reflects deeper emotions, beyond the surface-level infatuation with visual splendor-a quality that the countryside itself often stirred in Hassam. The absence of city lights or buildings, along with the wooded landscape to the right, indicates a rural setting. Hassam frequently painted scenes from the gardens of Villiers-le-Bel, often including female figures engaged in quiet contemplation or gazing into the landscape. The recurring motif of potted geraniums, seen in many of these works, serves as a subtle yet telling clue to the setting and time.

Also revealing about this pastel is how quickly Hassam gained technical mastery of this challenging medium and an understanding of how to use it expressively. Pastel, which had its heyday in eighteenth-century France, had been revived in the later part of the nineteenth century by some of the more advanced modern painters and was utilized as a medium that expressed spontaneity and modernity. It was especially effective for the representation of shimmering textures of fabrics, glimpsed under artificial illumination, and Hassam has clearly understood this potential and put it to magnificent purpose in this homage to his embrace of modern painting, his admiration of nature, and his love of his bride.

This work will be included in Stuart P. Feld and Kathleen M. Burnside's forthcoming catalogue raisonné of the artist's work.


More information about Childe Hassam. See also: Hassam, Childe, Hassam, Frederick Childe, Hassam, Frederick Childs Artist.

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