{"id":4063,"date":"2025-03-19T14:46:44","date_gmt":"2025-03-19T18:46:44","guid":{"rendered":"https:\/\/sites.bc.edu\/museum\/?p=4063"},"modified":"2025-03-24T17:03:26","modified_gmt":"2025-03-24T21:03:26","slug":"frederick-childe-hassam-water-hazard","status":"publish","type":"post","link":"https:\/\/sites.bc.edu\/museum\/frederick-childe-hassam-water-hazard\/","title":{"rendered":"Frederick Childe Hassam Water Hazard"},"content":{"rendered":"<style>.kadence-column4063_76f0c6-38{max-width:100%;margin-left:auto;margin-right:auto;}.wp-block-kadence-column.kb-section-dir-horizontal:not(.kb-section-md-dir-vertical)>.kt-inside-inner-col>.kadence-column4063_76f0c6-38{-webkit-flex:0 1 100%;flex:0 1 100%;max-width:unset;margin-left:unset;margin-right:unset;}.kadence-column4063_76f0c6-38 > .kt-inside-inner-col,.kadence-column4063_76f0c6-38 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column4063_76f0c6-38 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column4063_76f0c6-38 > .kt-inside-inner-col{flex-direction:column;}.kadence-column4063_76f0c6-38 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column4063_76f0c6-38 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column4063_76f0c6-38{position:relative;}@media all and (min-width: 1025px){.wp-block-kadence-column.kb-section-dir-horizontal>.kt-inside-inner-col>.kadence-column4063_76f0c6-38{-webkit-flex:0 1 100%;flex:0 1 100%;max-width:unset;margin-left:unset;margin-right:unset;}}@media all and (max-width: 1024px){.kadence-column4063_76f0c6-38 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.wp-block-kadence-column.kb-section-sm-dir-vertical:not(.kb-section-sm-dir-horizontal):not(.kb-section-sm-dir-specificity)>.kt-inside-inner-col>.kadence-column4063_76f0c6-38{max-width:100%;-webkit-flex:1;flex:1;margin-left:auto;margin-right:auto;}.kadence-column4063_76f0c6-38 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column4063_76f0c6-38 mobile-section\"><div class=\"kt-inside-inner-col\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"774\" height=\"114\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/lynch-logo.png\" alt=\"Carolyn A. and Peter S. Lynch Collection\" class=\"wp-image-2922\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/lynch-logo.png 774w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/lynch-logo-300x44.png 300w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/lynch-logo-768x113.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-4063_297b67-0c .kt-block-spacer{height:60px;}.wp-block-kadence-spacer.kt-block-spacer-4063_297b67-0c .kt-divider{border-top-width:1px;height:1px;border-top-color:#f1f1f1;width:100%;border-top-style:solid;}@media all and (max-width: 767px){.wp-block-kadence-spacer.kt-block-spacer-4063_297b67-0c .kt-divider{width:100%!important;}}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-4063_297b67-0c\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\" \/><\/div><\/div>\n\n\n\n<p><strong><strong>Frederick Childe Hassam (1859\u20131935)<\/strong><br><em>Water Hazard\u2014Maidstone Links<\/em>, 1923<br><\/strong><\/p>\n\n\n\n<p>Oil on canvas<br>McMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.51<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"724\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam.jpg\" alt=\"Water Hazard\u2014Maidstone Links\" class=\"wp-image-4065\" style=\"width:1202px;height:auto\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam.jpg 1200w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-300x181.jpg 300w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-1024x618.jpg 1024w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-768x463.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\" \/><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-background is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\" style=\"background-color:#f1f1f1\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-small-font-size\"><strong><strong><strong><strong><strong><strong>Oliver Wunsch<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><br>Assistant Professor, Art History<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"200\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/wunsch-5.jpg\" alt=\"Oliver Wunsch\" class=\"wp-image-4066\" style=\"width:78px;height:auto\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/wunsch-5.jpg 200w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/wunsch-5-150x150.jpg 150w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"361\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-dome-1024x361.jpg\" alt=\"The Dome Green (Maidstone)\" class=\"wp-image-4068\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-dome-1024x361.jpg 1024w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-dome-300x106.jpg 300w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-dome-768x271.jpg 768w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-dome.jpg 1160w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>The Dome Green (Maidstone)<\/em>, 1923. Oil on panel, private collection.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"753\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-east-1024x753.jpg\" alt=\"East Course, Maidstone Club\" class=\"wp-image-4067\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-east-1024x753.jpg 1024w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-east-300x221.jpg 300w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-east-768x564.jpg 768w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-east-1536x1129.jpg 1536w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/hassam-east.jpg 1800w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>East Course, Maidstone Club<\/em>, 1926. Oil on board, private collection.<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>When Hassam made this painting, golf courses and country clubs were relatively new features of American life, constructed with Gilded Age fortunes and shaped by a nostalgia for the landscapes of British manor estates.<sup>1<\/sup>&nbsp;Hassam himself was an avid golfer and member of the Maidstone Club on Long Island, which he used as the setting for multiple paintings (see images). Several of these works depict women golfers, whose presence in American country clubs attracted extensive social commentary at the time. Many writers argued that country clubs provided an unprecedented degree of female autonomy.<sup>2<\/sup>&nbsp;\u201cIt has brought our women out of stuffy houses and out of their own hopeless, aimless selves,\u201d&nbsp;<em>Munsey\u2019s Magazine<\/em>&nbsp;declared in 1902.<sup>3<\/sup>&nbsp;Women\u2019s roles in country clubs, however, remained circumscribed; when golfing, they were frequently relegated to secondary courses or allowed to play the regular eighteen holes only after proving their skill, as was the rule at Maidstone.<sup>4<\/sup><\/p>\n\n\n\n<p>Hassam\u2019s depiction of women golfers may have been driven less by an interest in changing gender norms than by his fascination with the female form in the landscape, which he regarded as an ancient subject. The statue-like rigidity of Hassam\u2019s golfers and their arrangement in the flattened configuration of a frieze reflect Hassam\u2019s efforts in the 1920s and 1930s to evoke the archaic forms of the Classical world.<sup>5<\/sup>&nbsp;His attachment to ancient culture was intertwined with what Barbara Weinberg has described as his growing \u201cxenophobia and nativism,\u201d according to which modernism was the corrupt product of \u201cforeign\u201d influence.<sup>6<\/sup>&nbsp;By this late phase in his career, Hassam denied his obvious debt to French impressionism, and he was fond of quoting the critic Royal Cortissoz\u2019s denigration of modernist painting as \u201cEllis Island art.\u201d<sup>7<\/sup>&nbsp;The Maidstone Club, like many country clubs at the time, provided a hospitable environment for these views, codifying them in its membership policies (Jews were first admitted to Maidstone in 1976, and the club reportedly had no Black members into the twenty-first century<sup>8<\/sup>).<\/p>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-ub-divider ub_divider ub-divider-orientation-horizontal\" id=\"ub_divider_01645e21-afc8-48ca-8593-6da58dad46b5\"><div class=\"ub_divider_wrapper\" style=\"position: relative; margin-bottom: 2px; width: 100%; height: 2px; \" data-divider-alignment=\"center\"><div class=\"ub_divider_line\" style=\"border-top: 2px solid #ccc; margin-top: 2px; \"><\/div><\/div><\/div>\n\n\n<p>1. James M. Mayo,&nbsp;<em>The American Country Club: Its Origins and Development<\/em>&nbsp;(New Brunswick: Rutgers University Press, 1998).<\/p>\n\n\n\n<p>2. Mayo,&nbsp;<em>American Country Club<\/em>, 82\u201387.<\/p>\n\n\n\n<p>3. Frank S. Arnett, \u201cAmerican Country Clubs,\u201d&nbsp;<em>Munsey\u2019s Magazine<\/em>&nbsp;27, no. 4 (July 1902): 482.<\/p>\n\n\n\n<p>4. Mayo,&nbsp;<em>American Country Club<\/em>, 99.<\/p>\n\n\n\n<p>5. H. Barbara Weinberg,&nbsp;<em>Childe Hassam, American Impressionist<\/em>&nbsp;(New York: Metropolitan Museum of Art, 2004), 244\u201346.<\/p>\n\n\n\n<p>6. Weinberg, 18 and 244.<\/p>\n\n\n\n<p>7. Hassam quoted in Weinberg, 18.<\/p>\n\n\n\n<p>8. For the first Jewish members, see Paul Delaney, \u201cDiscrimination Remains a Policy and a Practice at Many Clubs,\u201d&nbsp;<em>New York Times<\/em>, Sept. 13, 1976, 29; Steven Gaines,&nbsp;<em>Philistines at the Hedgerow: Passion and Property in the Hamptons<\/em>&nbsp;(New York: Little, Brown, 1998), 195. For the absence of Black members, see Bruce Weber, \u201cMembers Only,\u201d&nbsp;<em>New York Times<\/em>, June 14, 1992, sec. Style, 10; Peter de Jonge, \u201c<a href=\"https:\/\/nymag.com\/nymetro\/news\/sports\/features\/12549\/\">Barbarian at the Tee: An Uninvited Non-Member Plays a Round at the Maidstone Club<\/a>,\u201d&nbsp;<em>New York Magazine<\/em>, Aug. 18, 2005.<\/p>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-background is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\" style=\"background-color:#f1f1f1\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-small-font-size\"><strong><strong><strong><strong><strong><strong><strong><strong><strong>John Ebel<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><br>Professor, Earth &amp; Environmental Sciences<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"200\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/ebel.jpg\" alt=\"John Ebel\" class=\"wp-image-4069\" style=\"width:78px;height:auto\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/ebel.jpg 200w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/ebel-150x150.jpg 150w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Two women with their young caddies are enjoying a round of golf on a beautiful summer\u2019s day. One woman has just hit her tee shot and looks at the result of her endeavor. The other patiently waits her turn, club in hand. Hassam captures the natural beauty of eastern Long Island, New York, with a small pond guarded by a thick growth of reeds in the foreground and an expanse of grass and sand in the background. The women are dressed in the bright colors and styles of the 1920s, as are the caddies. The timeless beauty of this golf course is enjoyed today in much the same way as it was a hundred years ago.<\/p>\n\n\n\n<div class=\"wp-block-columns is-not-stacked-on-mobile has-background is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\" style=\"background-color:#f1f1f1\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-small-font-size\"><strong><strong><strong><strong><strong><strong><strong><strong><strong><strong>Eileen Sweeney<\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><br>Professor, Philosophy<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"200\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/sweeney.jpg\" alt=\"Eileen Sweeney\" class=\"wp-image-4070\" style=\"width:78px;height:auto\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/sweeney.jpg 200w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/sweeney-150x150.jpg 150w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>With its explosion of color and visible separate brushstrokes,&nbsp;<em>Water Hazard\u2014Maidstone Links<\/em>&nbsp;shows the strong influence on Hassam by the impressionists. Philosophical ideas about the relationship between sensation and concept formation illuminate the name \u201cimpressionism\u201d as did Monet\u2019s advice to students to paint what they see, not so much objects but patches of color, which we see enacted in Hassam\u2019s work. Immanuel Kant (1724\u20131804) argued that we take in raw sensation, for example, patches of color rather than fully formed objects, and only come to \u201csee\u201d things as distinct and three-dimensional objects by processing them, placing them in space (and time) and organizing them under concepts using reason. Moreover, Kant thought that the experience of pleasure in&nbsp;<em>beauty<\/em>&nbsp;is in the \u201cplay\u201d of imagination and reason, using reason but not to organize impressions into fully formed defined objects, but rather to reflect back on the subject who sees and experiences. Hassam presents impressions of the scene on the links before they are turned into full-fledged objects, giving access to the naive sensations before they are processed. The grassy foreground is composed of disaggregated spots of color, while in the distance the color is blended into larger patches. According to Kant&nbsp;<em>reason<\/em>&nbsp;tells us that the grass we see in the distance is like the grass we see up close, that it is not really a single carpet of green but composed of multiple colors, but what we actually&nbsp;<em>see<\/em>, the sense impressions, in the distance is different from what we see up close, and this difference is what Hassam depicts. It is a new way of seeing that is both more \u201crealist\u201d\u2014what we \u201creally\u201d see\u2014and more \u201csubjective\u201d\u2014about what is going on in the viewer\u2019s mind, that brings us the pleasure in sensation itself, which is normally lost in the structuring and rationalization of experience.<\/p>\n\n\n\n<p>Hassam paints a very ordinary scene from his present, not from history or allegory. Although playing golf requires wealth and privilege, he depicts the people here as ordinary, wearing basic golfing attire. It is a \u201cmodern\u201d scene, where the women are playing the sport, attended by male caddies. Kant thought that we have to place the onslaught of sensation into three-dimensional space as well as into the sequence of time. This painting is of an unremarkable moment in time abstracted from any sequence without any evocation of a larger narrative. Nature rather than people was the most common impressionist subject, but here Hassam blends the people into the landscape. The landscape is not there to show them but vice versa. Hassam seems to have chosen to depict the people as \u201cwooden\u201d in an attempt to access sensation freed from concepts and three-dimensionality. In ordinary experience, visual data is subsumed under concepts\u2014man, woman, male, female\u2014and the visual details fade into that whole. We only see one side of an object and reason supplies the sides and the back, their three-dimensionality. Hassam brings us back to the experience of the human figures as bright and vibrant patches and dabs of color, flat rather than rounded. He focuses on the surface and patterns on their clothing, rather than on their depth. The depiction of the players is detached and also takes steps toward abstraction as they are rendered as shapes and patterns, and as elongated and still. The movement in the painting comes from the beautiful grasses on the shore on the bottom right that bend in the breeze.<\/p>\n<\/div><\/div>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-4063_f1aa9d-1d .kt-block-spacer{height:60px;}.wp-block-kadence-spacer.kt-block-spacer-4063_f1aa9d-1d .kt-divider{border-top-width:1px;height:1px;border-top-color:#f1f1f1;width:100%;border-top-style:solid;}@media all and (max-width: 767px){.wp-block-kadence-spacer.kt-block-spacer-4063_f1aa9d-1d .kt-divider{width:100%!important;}}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-4063_f1aa9d-1d\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\" \/><\/div><\/div>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"383\" src=\"http:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/mcmullen-logo-gold-1024x383.png\" alt=\"Logo Gold\" class=\"wp-image-2910\" style=\"width:569px;height:auto\" srcset=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/mcmullen-logo-gold-1024x383.png 1024w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/mcmullen-logo-gold-300x112.png 300w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/mcmullen-logo-gold-768x287.png 768w, https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/01\/mcmullen-logo-gold.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Frederick Childe Hassam (1859\u20131935)Water Hazard\u2014Maidstone Links, 1923 Oil on canvasMcMullen Museum of Art, Boston College, Carolyn A. and Peter S. Lynch Collection, 2022.51 Oliver WunschAssistant Professor, Art History When Hassam made this painting, golf courses and country clubs were relatively new features of American life, constructed with Gilded Age fortunes and shaped by a nostalgia [&hellip;]<\/p>\n","protected":false},"author":140560,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4063","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"featured_image_src":null,"author_info":{"display_name":"margaret-sandbox","author_link":"https:\/\/sites.bc.edu\/museum\/author\/margaret-sandbox\/"},"_links":{"self":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts\/4063","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/users\/140560"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/comments?post=4063"}],"version-history":[{"count":4,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts\/4063\/revisions"}],"predecessor-version":[{"id":4449,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts\/4063\/revisions\/4449"}],"wp:attachment":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/media?parent=4063"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/categories?post=4063"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/tags?post=4063"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}