Rocky Neck Historic Art Trail Gloucester, Massachusetts

Rocky Neck Historic Art Trail Gloucester, Massachusetts Trail Site 1 Above 186 to 220 East Main St. Rocky Banner Hill Neck 1 Smith Banner The high ridge, or bluff, rising above the Smith Cove inlet on the east side of Cove Hill Gloucester Harbor, is called “Banner Hill.” So named after the Wonson brothers Stevens Lane raised a flag there at the outbreak of the Civil War, it commands a panoramic scene, with the jewel of Rocky Neck’s wharves and houses sitting in the center R a P c k l i of the harbor, framed by the buildings and steeples of the central city beyond. f f S During the second half of the 19th Century and the first decades of the 20th, t many of America’s most important artists journeyed to Gloucester to experience the amazing coastal scenery in this fishing port composed of high hills overlook - DIRECTIONS: ing a protected and deep harbor. Banner Hill afforded perhaps the most dramatic From the end of Rte. 128 (second traffic light) go straight up over hill. Follow East of these views. Main Street about 5/8 mile just past East Gloucester Square. Banner Hill rises up Attracted to Gloucester by its reputation for authentic New England beauty, as along the left side of the road for a few conveyed in the paintings of famed 19th century artists Fitz H. Lane and Winslow hundred yards along Smith Cove, above Homer, the preeminent landscape painters of the American Impressionist move - the section of 186 to 220 East Main Street, ment in the 1890s, including Childe Hassam, Willard Metcalf, Frank Duveneck, just across from Beacon Marine boat yard and extending southwest, topped by several and John Twachtman, created masterpieces from the perspective of Banner Hill. stately houses. They were followed in the 20th century by Max Kuehne, George L. Noyes, Leon Kroll, Theresa Bernstein, William Meyerowitz, and Emile Gruppé. Í Above: Current site photo; the view from Banner Hill. Above: Gloucester Harbor, 1899, by Childe Hassam, oil on canvas, 25 x 2 6½ in. Norton Museum of American Art, W. Palm Beach, FL. Left: Gloucester Harbor, 1895, by Willard L. Metcalf, oil on canvas, 2 6¼ x 2 9¼ in. Mead Art Museum, Amherst College, MA. Rocky Neck Art Colony, PO Box 60, Gloucester, MA 01931 RockyNeckArtTrail.org.

Copy Link

Recommended publications

Twentieth Century Masters
TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works.
[Show full text]
New York City Through the Eyes of Its Artists
New York City through the Eyes of Its Artists In the nineteenth century, American Impressionist artist Childe Hassam described New York City as “the most wonderful and most beautiful city in the world. All life is in it . No street, no section of Paris or any other city I have seen equal to New York.” His artwork was inspired by parks, pristine residential districts and genteel strolling pedestrians. Yet the dawn of the twentieth century would bring a deluge of European immigrants to the shores of New York City and a plethora of rapidly advancing technology, creating a new modern metropolis unlike anything that had been seen before. Gone was the picturesque city of the nineteenth century Hassam adored; a city made of brick and timber, its streets filled with horse drawn carriages. These remnants of a by-gone century had been replaced with soaring towers of glass and steel, streets teeming with noisy streetcars, electrified subways and elevated railroads, motor buses and electric streetlights. Advances in technology had revolutionized the look and feel of the city. The skyscraper towered above it all, its verticality an emblem for urban innovation. For Hassam, a stalwart proponent of the picturesque nineteenth century New York, these new tall buildings were, “wildly formed architectural freak[s]” and not “marvel[s] of art.” The more progressive looking the building, the less appealing it was for Hassam to represent it in his artwork. When he did include modern buildings in his artwork, they were often anonymous and generic, blending in with the older buildings he favored.
[Show full text]
Childe Hassam (1859-1935)
CHILDE HASSAM (1859-1935) Twilight After Rain, c. 1887-89 Oil on board 8 x 6 inches Signed lower left Inscribed in the artist’s hand Twilight after Rain / (The rue Royal and the Church of the Madeleine Paris) / Childe Hassam / 95 5th Ave New York on paper affixed to the reverse Note: This painting will be included in Kathleen M. Burnside's and Stuart P. Feld's forthcoming catalogue raisonné of the artist's work. PROVENANCE Richard Harding Davis, Mount Kisco, New York Mrs. Cecil Clark Davis, Marion, Massachusetts Miss M. Campbell-Hutchinson, New York (sold: Parke-Bernet Galleries, New York, November 13, 1957, lot 4) Estate of Joseph Katz, Baltimore, Maryland, until 1959 Babcock Galleries, New York Acquired by the prior owner from the above, 1959 Private Collection, CT (Frederick) Childe Hassam (1859-1935) was a pioneer of the American Impressionist movement. His body of work comprises over 2,000 oils, watercolors, pastels and illustrations and after 1912, over 400 etchings and prints. Today, he is perhaps best known for his paintings that capture the excitement of New York City at the turn of century, such as his famous depictions of flag-studded Fifth Avenue during World War I, but his unparalleled skill at portraying the tranquility and beauty of the countryside with his bright, tonal palette and descriptive brushwork are considered to be some of his most sophisticated work. Hassam was born in Dorchester, Massachusetts (now a part of Boston) to a prominent merchant family descended from the settlers of the Massachusetts Bay Colony. He initially trained as an apprentice to a wood engraver, and from the late 1870s to the mid-1880s created drawings for book illustrations—largely children’s stories—as well as illustrations for periodicals such as Century and Harper’s magazines.
[Show full text]
CHILDE HASSAM: Docent Notes
CHILDE HASSAM: Docent Notes The Childe Hassam oil painting in the Mint‟s holdings –“The Stone Cottage, Old Lyme”- has always been a favorite of our museum visitors, at least in my experience. This short survey and biographical note is followed by a brief timeline and some authoritative quotes from art historians. Hassam (born in Boston in 1859, died at the summer home East Hampton NY 1935), is widely known as America‟s foremost Impressionist. He is often described as “the American Monet”, and his works were collected and admired during his life by major collectors such as Freer, Whitney, Frick, and White -–no struggling, starving, misunderstood artist he! “Stone Cottage, Old Lyme” is obviously painted outdoors (en plein air to use the French term), with a very pleasing impressionist palette – pastel and deep blues, greens, and yellows. Note that he used no blacks or greys. The sun is to the left and behind the cottage, casting a chimney shadow on the roof and shadow on the ground. While there is a wisp of smoke from the chimney, the people seem warmed by the sun. The adult walker is effectively silhouetted against the tree trunks. Hassam used the quick, short brushstrokes of the impressionist –though he decried this term, and never acknowledged being influenced by the French Impressionists--to give the characteristic vibrant, shimmering light effect. Unlike the French, his works always had form and did not disintegrate into simply “vibrations of light”. The strokes seem loose but controlled. Note the different qualities of brushwork: quick vigorous horizontals for the roof, choppy impasto for the foliage, wide diagonals for the sky.
[Show full text]
Harn Museum of Art Instructional Resource: Thinking About Modernity
Harn Museum of Art Instructional Resource: Thinking about Modernity TABLE OF CONTENTS “Give Me A Wilderness or A City”: George Bellows’s Rural Life ................................................ 2 Francis Criss: Locating Monuments, Locating Modernity ............................................................ 6 Seeing Beyond: Approaches to Teaching Salvador Dalí’s Appollinaire ............................. 10 “On the Margins of Written Poetry”: Pedro Figari ......................................................................... 14 Childe Hassam: American Impressionist and Preserver of Nature ..................................... 18 Subtlety of Line: Palmer Hayden’s Quiet Activism ........................................................................ 22 Modernist Erotica: André Kertész’s Distortion #128 ................................................................... 26 Helen Levitt: In the New York City Streets ......................................................................................... 31 Happening Hats: Pierre-Auguste Renoir’s Le chapeau épinglé .............................................. 35 Diego Rivera: The People’s Painter ......................................................................................................... 39 Diego Rivera: El Pintor del Pueblo ........................................................................................................... 45 Household Modernism, Domestic Arts: Tiffany’s Eighteen-Light Pond Lily Lamp .... 51 Marguerite Zorach: Modernism’s Tense Vistas ..............................................................................
[Show full text]
Childe Hassam, Study for Across the Avenue in Sunlight, 1918 Oil on Board, 8 X 9.8 In
Childe Hassam, Study for Across the Avenue in Sunlight, 1918 Oil on board, 8 x 9.8 in. (20.3 x 24.9 cm.) New York Private Collection Three enormous flags of the major Allied nations–Britain, France and the United States–are draped over the grand Beaux-Arts style façade of Knoedler & Company, at its original location at 556 Fifth Avenue at 46th Street. The painter’s vantage point is from across Fifth Avenue to the north and east. As pedestrians stroll underneath the flags, these monumental symbols of patriotic fervor hang somberly over them, as if to offer protection from the threat of barbarous Teutonic hordes across the sea. This small oil on panel by Childe Hassam (Figs. 1–7) is likely a study for a larger work on canvas, Across the Avenue in Sunlight, June [1918] (Fig. 8), currently in the collection of the IBM Corporation in Armonk, New York. This larger version is somewhat richer in detail, and notably displays the flags hanging from the Knoedler building in a different order. Also notable is the difference in the use of light between the two versions. The subject study has a muted palette. It is predominately painted in grays and beiges, with streaks of blue on the sidewalk, suggesting recent rainfall. Across the Avenue in Sunlight, June, however, true to its title (and rather unusually, among paintings from Hassam’s Flag series), glows with the bold light of an early summer morning. Hassam, the patriarch of American impressionism and among the most famous living American artists at the outset of World War I, is probably best known for his series of paintings depicting Fifth Avenue adorned with the flags of the United States and those of her allies (Figs.
[Show full text]
Gardening with a Paintbrush
Chicago Tribune | Arts+Entertainment | Section 4 | Thursday, July 2, 2015 3 VISUAL ARTS AMERICAN IMPRESSIONISTS Gardening with a paintbrush By Mark St. John Erickson Tribune Newspapers When the first American impressionists began returning from Europe in the mid-1880s, they soon found themselves embracing a familiar yet unex- pectedly rich and rewarding subject. Newly trained by their French mentors to paint out of doors — where they could revel in the mysteries of shifting light and color — they set out looking for American settings just as the nation’s late-19th-century gar- den movement was taking off. So as they had seen the great Claude Monet do in his beloved home garden at Giverny, artists started packing up their palettes, canvases and paints and walking out their back doors in search of spaces filled with flowers. What resulted was one of art history’s great marriages of subject and style as — over the following three decades — such talented painters as Frederick Childe Hassam, Philip Leslie Hale and Maria Oakey Dewing paired the country’s new fasci- nation for horticulture and gar- dens with their own blossoming passion for loose brushwork, dappled light and seemingly CURRIER MUSEUM OF ART, MANCHESTER, N.H. infinite variations of color. A new traveling show on American impressionists holds over 70 paintings, such as Frederick Childe Hassam’s 1916 “The Goldfish Window,” above, Acentury later, more than 70 that paired the country’s fascination with gardens, starting in the late 1880s, with artists’ rising passion for loose brushwork and dappled light. of the finest and most eye-catch- ing examples can be found at the shimmering sunlight and vibrant Pennsylvania Academy of the Chrysler Museum of Art in a flowers.
[Show full text]
Chapter 5 a Shared Vision: the Rise of the Cape Ann Art Colonies, 1890-1920
PORTRAIT of a PLACE CHAPTER 5 A Shared Vision CHAPTER 5 A Shared Vision The Rise of the Cape Ann Art Colonies, 1890–1920 Artists at work on Lighthouse Beach, Sept. 21, 1896. Left to right: Poland (model), Potthast, Bicknell, Jones, Buhler. Photo by George B. Wood. Artists Turned to Europe By 1900, art colonies attracting both European and art colonies brought the idea back home and recreated American artists had established themselves in several the atmosphere of conviviality and communal experi- places in America. This period was known as the Pro- ence here. Gloucester’s scenic neighborhoods inspired a gressive Era. It was a time when social activism and po- number of loosely affiliated groups of artists who shared litical reform spread across the United States to combat common aesthetic visions to live and work together. the rise in government corruption and abuses of power. The era of the teaching artist also began at this time, America was no longer rejoicing in an expanding and drawing professional students and tourists to the area and exuberant American identity. adding to the attraction of the colonies. Many artists turned to Europe for artistic ideas. Most American artists went overseas temporarily to work, but The art colonies and their artists benefited from some stayed on as expatriates, including James McNeill changing views of art and an expanding market. In the Whistler (1834–1903), Mary Cassatt (1844–1926) and last quarter of the nineteenth century, painting, sculp- John Singer Sargent (1856–1925). Those who went for ture and classical music were highly valued as tools for limited periods brought the new French style, Impres- education and the assimilation of urban immigrants.
[Show full text]
Joslyn Art Museum WEBOLOGY – Claude Monet
Joslyn Art Museum WEBOLOGY – Claude Monet • Art Institute of Chicago, The. “Act it Out (Lesson Plan).” The Art Institute of Chicago. http://www.artic.edu/artaccess/AA_Impressionist/pages/IMP_lesson2.shtml • Art Institute of Chicago, The. “Art Access – Claude Monet.” The Art Institute of Chicago. http://www.artic.edu/artaccess/AA_Impressionist/pages/IMP_2.shtml • Art Institute of Chicago, The. “Send a Postcard (Lesson Plan).” The Art Institute of Chicago. http://www.artic.edu/artaccess/AA_Impressionist/pages/IMP_lesson3.shtml • Cauderlier, A. “Welcome to Claude Monet’s.” A. Cauderlier. http://giverny.org/monet/welcome.htm • Earth Pigments Company, The. “Basic Oil Paint Recipe.” The Earth Pigments Company. http://www.earthpigments.com/art/artists-oil-paints.cfm#basic • Google Videos. “Andy Goldsworthy, Autumn Works.” Google Videos. http://video.google.com/videoplay?docid=-288023216970768712 • Grbomr’s Channel. “Rivers and Tides (clip).” YouTube, LLC. http://www.youtube.com/watch?v=3TWBSMc47bw • Met Podcast. “Americans in Paris, 1860-1900.” The Metropolitan Museum of Art. http://tinyurl.com/METPodcast • Metropolitan Museum of Art, The. “Childe Hassam American Impressionist.” The Metropolitan Museum of Art. http://www.metmuseum.org/explore/childe_hassam/index.html • Metropolitan Museum of Art, The. “Mary Cassatt.” The Metropolitan Museum of Art. http://www.metmuseum.org/explore/CASSATT/HTML/index.html • MoMA. “Pioneering Modern Painting: Cézanne and Pissarro.” MoMA. http://www.moma.org/interactives/exhibitions/2005/cezannepissarro/index.html • National Gallery of Art. “The Magic of Fountainebleau.” National Gallery of Art. http://luxmedia.vo.llnwd.net/o10/clients/nationalgallery/audio/0803bs01.mp3 • National Gallery, London, and the Museum of Fine Arts, Boston, in association with The Metropolitan Museum of Art, New York.
[Show full text]
AP Art History Required Works & Related Works from the Cornell
AP Art History Required Works & Related Works from the Cornell Fine Arts Museum Content Area 2: Ancient Mediterranean, 3500 BCE-300 CE 47. Battle of the Romans and Barbarians (Ludovisi Battle Sarcophagus), ca. 250-260 C.E., marble. Sarcophagus, 2nd century, marble, Rome. Content Area 3: Early Europe and Colonial Americas, 200-1750 CE 71. Fra Filippo Lippi Madonna and Child with Two Angels, c. 1460-1465, tempera on panel. Cosimo Roselli, Madonna Enthroned Nursing the Christ Child, ca. 1470, tempera, oil, gilding on panel. 74. Albrecht Dürer, Adam and Eve, 1504, engraving. Albrecht Dürer, The Seven Trumpets from the Apocalypse, 1496-97, woodcut. 75. Michelangelo, Ceiling of the Sistine Chapel, 1508-12, fresco. Cosimo Roselli, Madonna Enthroned Nursing the Christ Child, ca. 1470, tempera, oil, gilding on panel. 78. Jacobo da Pontormo, Entombment (or Deposition from the Cross), 1525-28, oil on panel. Lavinia Fontana, The Dead Christ with Symbols of the Passion, 1581, oil, tempera on panel. 83. Pieter Bruegel the Elder, Hunters in the Snow (Winter), 1565, oil on wood. Gerolamo Bassano, Noah Leading Animals into the Ark, 1595, oil on canvas. 85. Caravaggio, Calling of Saint Matthew and Inspiration of St. Matthew, c. 1599-1600, oil on canvas. Francesco Solimena, St. Francis Xavier Baptizing the Indians, ca. 1680-85, oil on canvas. 87. Rembrandt van Rijn, Self-Portrait with Saskia, 1636, etching. Rembrandt van Rijn, Seated Naked Woman, 1658. 92. Johannes Vermeer, Woman Holding a Balance, 1664, oil on canvas. Pieter Cornelisz van Slingeland, A Lady with Her Dog, 1691, oil on panel. 98. William Hogarth, The Tête à Tête, from Marriage a la Mode, ca.
[Show full text]
The Magazine of The. Visual Arts
The magazine of the.visual arts July August 1981 $3 .50 Portrait: Art of the American Southwest Reassessing Lichtenstein, by Lawrence Alloway Henri Matisse and Dance, by Carter Ratcliff Summer Art Colonies John Perreault on Usable Art Photographs of Liberty in the Making Lannuier Furniture Painting on the Straw Hat Circuit At the turn of the century, American artists fleeing the summer heat established a string of lively art colonies from New York to Maine. by Karal Ann Marling route. Unspoiled scenery-sandy shut down and the farming of mountain beaches, opalescent wetlands, virgin rock was as unprofitable as it was tedi- Art journals used to succumb every Au- forests-was paramount, along with ous. The Catskill meadows seemed to gust to a delightful form of summertime the sleepy, backwater loveliness of an- be awaiting discovery by a founding madness-the special art colony issue. cient villages, where the odd studio sky- colonial father. Along with coat and tie, the dourest of light piercing the roof of barn or fish Thoreau could have been writing the critics shed all pretense of aesthetic house did nothing to ruin the illusion of script for the New England art colonies rigor to celebrate the latest squabbles, bucolic peace. in 1849, when he predicted great days fads, and fancies of the "Straw Hat Cir- The locations of the eastern colonies ahead for Cape Cod: "It only remained cuitThe art world hit the road for a were-still are-extraordinarily beau- to make these towns easy of access by traditional holiday spin through the tiful, which is why artists flocked to rail to turn the outside world toward Muses' seasonal campgrounds on the them in the first place.
[Show full text]
Northwest Impressionism, 1910-1935
Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Susan Casteras, Chair René Bravmann Douglas Collins Program authorized to Offer Degree: Art History University of Washington Abstract Hidden in Plain Sight: Northwest Impressionism, 1910-1935 John E. Impert Chair of the Supervisory Committee: Professor Susan Casteras Art History Northwest Impressionist artists are among the forgotten figures in American art history. Responsible for bringing Modernism to Washington and Oregon, they dominated the art communities in Seattle and Portland from about 1910 to 1928, remaining influential until the mid 1930’s. After describing the artists briefly, this dissertation summarizes and evaluates the slim historiography of Northwest Impressionism. Impressionism and Tonalism are contrasted in order to situate these artists within the broad currents of American art history. Six important artists who have not been studied in the past are each accorded a chapter that summarizes their educations, careers, and artistic developments. In Seattle, Paul Gustin, the early leader of the Seattle art community, was most closely associated with images of Mount Rainier. Edgar Forkner, a well established Indiana artist, moved to Seattle and painted numerous canvases of old boats at rest and still lifes of flowers. Dorothy Dolph Jensen, a latecomer, emphasized shoreline and harbor scenes in her work. In Portland, Charles McKim traded complete anonymity in Portland, Maine for the leadership of the Oregon art community, creating a variety of landscapes and seascapes. Clyde Keller produced an enormous output of landscapes over a long career that extended to California as well as Oregon.
[Show full text]