In its range and depth of expression it is strikingly 

 modern, even in comparison with prints by present- 

 day abstractionists. Viewed apart from the other 

 lithographs, Storm King would not be recognized im- 

 mediately as the work of Childe Hassam; in conception 

 and outlook it is more concerned with style and handling 

 than with choice of pictorial content, with the 20th 

 rather than the 19th century. 



The personal world of expressionism is also strongly 

 evidenced in French Cruiser. Stone Fences, Land of Nod 

 (no. 18) bears a striking resemblance to Erich Heckel's 

 expressionist drypoint Fjord Landscape,'^ executed in 

 1924, a style also in evidence to a lesser degree in such 

 prints as The Lithographer, The Little School House, Land 

 of Nod (no. 19), Thunderstorm (no. 26), and The Wild 

 Cherry Tree (no. 37). 



Finally, another quality, although not so apparent, 

 colors the fabric of Hassam' s work in all media, a 

 curious, indefinable archaism that echoes older civili- 

 zations and primitive forms. Such treatment in 

 modified form can best be seen in the stiffness of the 

 figures in the lithographs Virginia and The Wild Cherry 

 Tree, and it also manifests itself in the faint smile on 

 the woman's lips in Red Cross Nurse, an expression often 

 associated with archaic Greek sculpture. This quality 

 also appears in the figures in Hassam' s etchings Mary 

 Mullane, Girl in a Modern Gown, and the timeless Apollo- 

 like treatment of the face in his etched portrait of 

 Helen Burke. 



Without exception all previous studies of Hassam 

 have regarded him as an impressionist and his reputation 

 has now been solidly established in this tradition. 

 Among those who have so regarded him are such 



Illustration 43 in Carl Zigrosser, The Expressionists, (New York, 1957). 



