detail without actually rendering them. This can be 

 seen especially in Afternoon Shadows (no. 42). Stylisti- 

 cally his prints reveal the heavy influence of Whistler, 

 whom he admired. His lithograph Virginia (no. 10) 

 shows strong resemblances in composition to Whistler's 

 etching Annie Seated; his The Spar Shop, Gloucester (no. 

 23) shows similar affinity with Whistler's Wheelright. 

 Yet as an impressionist Hassam was unable, tempera- 

 mentally, to accept the soft looseness and sensuality 

 associated with Monet and Renoir. In draughtsman- 

 ship his lithographs are more akin to expressionism 

 than to the diaphanous nuances of impressionism. 



In certain of the lithographs such as French Cruiser 

 (no. 13) he emphasized form and minimized attention 

 to surface phenomena and the study of light, and in 

 such prints he came close to German expressionism, a 

 movement to which he voiced violent antipathy. Other 

 lithographs reveal Hassam' s use of crayon and tusche 

 in powerful staccato strokes and bold slashes to produce 

 vibrant patterning. Indeed, Broad Curtain (no. 29), 

 The Lithographer (no. 9), Storm King (no. 45), and Nude 

 (no. 38) show none of the impressionists' concern for 

 atmospheric conditions or lighting, but reveal rather 

 the flat, shadowless, monumental patterns of expres- 

 sionism. 



Storm King, a heavy, somber, introspective treatment 

 of the well-known stretch of the Hudson River near 

 West Point, achieves its strength through lithotint 

 washes laid on the stone in rude strokes like those of a 

 painter. The water is represented by the stark white 

 of the paper, an area intercepted only by the suggestion 

 of a ship. Adjacent to this white area the rich, black 

 mountain masses form a middle ground over which 

 loom washes of grey storm clouds executed in nervous, 

 erratic strokes of tusche. 



