Avenida Ipiranga, São Paulo, Brasil

 

Avenida Ipiranga, São Paulo, Brasil
São Paulo - SP
Fotografia 

Avenida Ipiranga, 1953, São Paulo, Brasil

 

Avenida Ipiranga, 1953, São Paulo, Brasil
São Paulo - SP
Fotolabor A-15
Fotografia - Cartão Postal

Em 1953, a praça Roosevelt (no canto inferior direito) podia não ser a mais bonita do mundo, mas ainda não era o verdadeiro viaduto em que foi transformada alguns anos mais tarde.
Mas, o que mais me chamou a atenção neste cartão postal não foi a praça, e sim o gigantesco buraco que estava sendo cavado um pouco acima, num terreno da avenida Ipiranga. São as escavações para a construção do futuro edifício Copan.

Dia da Itália, Maio de 1918, Nova York, Estados Unidos (Italian Day, May 1918) - Childe Hassam

 

Dia da Itália, Maio de 1918, Nova York, Estados Unidos (Italian Day, May 1918) - Childe Hassam
Nova York - Estados Unidos
Art Bridges, Estados Unidos
OST - 91x66 - 1918


In 1916, Charles Hassam began a series of about 30 paintings depicting Manhattan’s Fifth Avenue decorated with flags. The city frequently held parades in response to World War I, and the artist’s studio on West 57th Street afforded him an opportunity to observe these festive displays. Hassam studied French impressionism in Paris during the 1880s, and was directly influenced by Claude Monet’s depictions of Bastille Day. The pageantry recorded in Italian Day, 1918 commemorated the third anniversary of the Italian declaration of war against Austria-Hungary in May 1915. American, Italian and Red Cross flags are painted side by side in Hassam’s image, representing the cooperation of Allied forces. The vertical thrust of skyscrapers asserts America’s formidable ambition and modernity.

Avenida dos Aliados, Grã-Bretanha, 1918, Nova York, Estados Unidos (Avenue of the Allies, Great Britain, 1918) - Childe Hassam

 

Avenida dos Aliados, Grã-Bretanha, 1918, Nova York, Estados Unidos (Avenue of the Allies, Great Britain, 1918) - Childe Hassam
Nova York - Estados Unidos
Metropolitan Museum of Arts, Nova York, Estados Unidos
OST - 91x72 - 1918

The only major American Impressionist to depict the home front during World War I, Hassam produced his Flag series, some thirty canvases representing Manhattan’s Fifth Avenue and adjacent streets decorated with patriotic emblems, from 1916 to 1919. For Liberty Loan drives, organized by the United States government to promote the sale of savings bonds, stretches of Fifth Avenue were draped with flags and red-and-white Liberty Loan banners. Here, Hassam looked north from Fifty-Third Street and compressed into a vibrant pattern three blocks of the avenue bearing flags of the Allies Great Britain, Brazil, and Belgium in addition to the Stars and Stripes.

14 de Julho, Rue Daunou, 1910, Paris, França (July Fourteenth, Rue Daunou, 1910) - Childe Hassam

 

14 de Julho, Rue Daunou, 1910, Paris, França (July Fourteenth, Rue Daunou, 1910) - Childe Hassam
Paris - França
Metropolitan Museum of Arts, Nova York, Estados Unidos
OST - 74x50 - 1910


On July 21, 1910, Hassam wrote to the artist J. Alden Weir that he had been in Paris for two weeks and found it dirty and noisy. He added, “I have made a 14th July from the balcony here”— evidently referring to this painting, which depicts the street below the Hôtel l’Empire (located at 7, rue Daunou, near the Opéra) during Bastille Day celebrations. For Hassam, the holiday would have recalled the Fourth of July, perhaps prompting him to exaggerate the number of American flags displayed. The canvas anticipates the Flag series Hassam began in New York six years later, which included "Avenue of the Allies, Great Britain, 1918".

Laranjas Embrulhadas (Wrapped Oranges) - William J. McCloskey

 

Laranjas Embrulhadas (Wrapped Oranges) - William J. McCloskey
Amon Carter Museum of American Art, Fort Worth, Estados Unidos
OST - 30x40 - 1889


Part of McCloskey’s training at the prestigious Pennsylvania Academy of the Fine Arts involved sharpening his skills at conveying form, light, and texture by creating still lifes. His interest in painting fruit, particularly oranges, continued well beyond his initial studies. Depicting citrus fruits in all their various guises—from wrapped in the crinkled protective paper that aided in their safe transport to unwrapped, peeled, with juicy insides on display—showed his painterly virtuosity. This artwork contains a complex range of textures seen in the folds of the paper, the rough skin of the fruit, and the highly polished table that reflects everything resting on its surface.

Bandeiras no Waldorf, Nova York, Estados Unidos (Flags on the Waldorf) - Childe Hassam

 

Bandeiras no Waldorf, Nova York, Estados Unidos (Flags on the Waldorf) - Childe Hassam
Nova York - Estados Unidos
Amon Carter Museum of American Art, Fort Worth, Estados Unidos
OST - 92x79 - 1916


Between 1916 and 1919, Hassam was the only major impressionist to document the occasions during World War I when Allied Flags flew along New York City’s Fifth Avenue in support of the war effort. This painting, however, predates America’s entry into the war and may depict the commemorative events held in 1916 marking the one-year anniversary of Germany’s sinking of the Lusitania on May 7, 1915. This masterwork and others in the series represent hallmarks of American Impressionism, seen in Hassam’s application of short, broken brushstrokes of unblended colors that evoke the people and facades of the city. The stone and brick-clad building at right is the original Waldorf–Astoria Hotel, which was demolished in 1929 to make way for the Empire State Building.

O Quatro de Julho de 1916, A Maior Exibição da Bandeira Americana já Vista em Nova York, Clímax da Parada de Preparação em Maio, Nova York, Estados Unidos (The Fourth of July, 1916, The Greatest Display of the American Flag Ever Seen in New York, Climax of the Preparedness Parade in May) - Childe Hassam

 

O Quatro de Julho de 1916, A Maior Exibição da Bandeira Americana já Vista em Nova York, Clímax da Parada de Preparação em Maio, Nova York, Estados Unidos (The Fourth of July, 1916, The Greatest Display of the American Flag Ever Seen in New York, Climax of the Preparedness Parade in May) - Childe Hassam

Nova York - Estados Unidos

New York Historical Society, Nova York, Estados Unidos

OST - 91x66 - 1916

This monumental painting by American Impressionist Childe Hassam depicts Fifth Avenue bedecked with dozens of American flags in celebration of Independence Day in 1916. The artist was a committed supporter of the Preparedness Movement, which advocated for a strengthened national defense after the outbreak of war in Europe in July 1914. Proponents of the cause staged parades in cities across the country for the next two years. Witnessing one such parade in May 1916, Hassam commented: “. . . I looked up the Avenue and saw those wonderful flags waving, and I painted a series of flag pictures after that.”
This is the second of Hassam’s flag pictures. The full title of this painting conflates the annual July 4th celebration with the nationalistic fervor created by the Preparedness Movement.

Dia dos Aliados, Maio de 1917, Nova York, Estados Unidos (Allies Day, May 1917) - Childe Hassam

 

Dia dos Aliados, Maio de 1917, Nova York, Estados Unidos (Allies Day, May 1917) - Childe Hassam
Nova York - Estados Unidos
National Portrait Gallery, Washington D.C., Estados Unidos
OST - 92x76 - 1917

A patriotic whirlwind overtook mid–town Manhattan as America entered the First World War in the spring of 1917. On Fifth Avenue, the British Union Jack, the French Tricolor, and Stars and Stripes were displayed prominently during parades honoring America's allies. The colorful pageantry inspired Childe Hassam, who dedicated this picture "to the coming together of [our] three peoples in the fight for democracy." Hassam's flag paintings were first shown as a group in New York's Durand–Ruel Gallery in November 1918, just four days after the armistice was declared. Thus, the works, originally created to herald America's entry into the war, also served to commemorate its victorious resolution.
Hassam had studied in Paris from 1886–1889 and was strongly influenced by the impressionists. In many respects, Allies Day resembles the vibrant boulevard paintings of Monet and Pissarro. Like these contemporary French artists, Haassam selected a high vantage point overlooking a crowded urban thoroughfare to achieve an illusion of dramatic spatial recession. But, rather than using daubs of shimmering pigment to dissolve form, he applied fluid parallel paint strokes to create an architectonic patterning. Although he shared the impressionists' interest in bright colors, broken brushwork, and modern themes, Hassam's overall approach was less theoretical and his pictorial forms remained far more substantial than those of his European contemporaries.

Rua da Conceição, 1909, São Paulo, Brasil

 

Rua da Conceição, 1909, São Paulo, Brasil
São Paulo - SP
Álbum Comparativo da Cidade de São Paulo 1887/1919 - W. Luiz P. de Souza
Fotografia