writers and critics as Royal Cortissoz, Ernest Haskell, 

 Walter Pach, and Frank Weitenkampf. 

 Says A. E. Gallatin^: 



Mr. Hassam is not only the greatest exponent in America of the 

 teachings of Impressionism, possessed of a very sensitive color 

 vision, but his work, executed in black and white, is also very dis- 

 tinguished. . . . 



and Oliver W. Larkin* remarked that — 



. . . when Crumbling Idols [Hamlin Garland's novel championing 

 Impressionism in America] appeared, Twatchtman had become 

 the Monet of the icebound Hudson, and Hassam the Sisley of 

 Madison Avenue in the Spring. 



Yet among Hassam' s lithographs, only a half dozen — 

 Afternoon Shadows (no. 42), Camouflage (no. 8), Colonial 

 Church, Gloucester (no. 41), Haskell Street (no. 25), Inner 

 Harbor (no. 16), and Plum Street, Gloucester (no. 28) — 

 are clearly and unequivocally impressionistic. A similar 

 number, previously mentioned, are equally in the ex- 

 pressionist tradition, and the bulk of the remainder 

 combine elements of both styles. 



It will be recalled that the lithographs were the 

 product of the mature years of Hassam' s career and it 

 is interesting to observe that the experimentation, if 

 such it was, did not enter to the same extent into his 

 paintings and etchings of the same period. 



Although these lithographs have been unwarrantably 

 neglected, they probably constitute Hassam's most 

 original body of work. 



^ Royal Cortissoz and others, "Childe Hassam and His Prints," Prints 

 (October 1935), vol. 6, no. i, p. 5. 

 ■* Art and Life in America (New York: Rinehart & Co., Inc., 1949), p. 304. 



