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Frederick Carl Frieseke (1874-1939)
Frederick Carl Frieseke (1874-1939)

The Hammock

Details
Frederick Carl Frieseke (1874-1939)
The Hammock
signed 'F.C. Frieseke' (lower left)
oil on canvas
32 x 31 ¾ in. (81.3 x 80.6 cm.)
Painted by 1923.
Provenance
The artist.
Estate of the above.
Irving Stewart, Massachusetts.
Private collection, by descent.
[With]Beacon Hill Fine Art, New York.
Acquired by the present owner from the above, 1997.
Literature
N. Kilmer, et al., Frederick Carl Frieseke: The Evolution of an Impressionist, exhibition catalogue, Princeton, New Jersey, 2001, p. 106.
Exhibited
(Probably) New York, National Academy of Design; Washington, D.C., Corcoran Gallery of Art; New York, Grand Central Art Galleries, Inc., Commemorative Exhibition by Members of the National Academy of Design, 1825-1925, October 17, 1925-January 3, 1926, p. 14, no. 408.
(Probably) Detroit, Michigan, The Detroit Institute of Arts, Twelfth Annual Exhibition, April 13-May 31, 1926, no. 39.
(Probably) New York, Grand Central Art Galleries, Inc., Eighth Annual Exhibition, The New Society of Artists, November 15-December 4, 1926, no. 58.

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Lot Essay

This painting will be included in the Frederick C. Frieseke Catalogue Raisonné being compiled by Nicholas Kilmer, the artist's grandson, with the support of the Hollis Taggart Galleries, New York.


Frederick Frieseke's The Hammock intimately captures the artist's wife Sarah, whom he nicknamed Sadie, lounging in the private garden of their home in Giverny, France. The present work closely relates to another painting by the artist, also entitled The Hammock, in the collection of the Telfair Academy of Arts and Sciences, Savannah, Georgia.

Incorporating a still life at lower left and the bold striped background of the hammock, both versions of the portrait represent Frieseke at the height of his experimentation with color and modern composition. Hollis Koons McCullough writes of the related work, "Frieseke's interest in sunlight is especially evident in The Hammock...The entire surface of the work is dappled with brilliant spots of sunlight filtered through the trees...yet the predominant blue and lavender tones evoke instead the cool of the shaded hammock. This painting has all the hallmarks of Frieseke's mature impressionist style--loose brushwork, a fascination with sunlight, and a highly decorative surface treatment characterized by abundant pattern and vibrant color. The diagonal disposition of the figure across the canvas lends a dynamic element to the composition, while the surface pattern and elevated point of view call attention to an insistently flat picture plane. Frieseke's assertion of flatness reflects the mature stylistic ideals of the original French impressionists and their followers, while embodying the strong abstract tendencies and surface tensions that characterize twentieth-century art." (Telfair Museum of Art: Collection Highlights, Savannah, Georgia, 2005, p. 172)

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