Amon Carter print details

Idle Hours

William Merritt Chase (1849-1916)

Object Details

  • Date

    ca. 1894

  • Object Type

    Paintings

  • Medium

    Oil on canvas

  • Dimensions

    25 1/2 x 35 1/2 in.

  • Inscriptions

    Recto:

    signed l.l.: Wm. [monogram] M. Chase.

  • Credit Line

    Amon Carter Museum of American Art, Fort Worth, Texas

  • Accession Number

    1982.1

  • Copyright

    Public domain

Object Description

“I want all the light I can get,” Chase explained in 1891. “When I have found the spot I like, I set up my easel, and paint the picture on the spot. I think this is the only way to interpret nature.” For more than a decade, Chase imparted this sensibility to students as the director of the Shinnecock Hills Summer School of Art on Long Island. After accepting this position in 1891, he quickly established a reputation as a charismatic teacher of plein-air painting, and he and his students made many works showing the undeveloped coastline near the school, including Idle Hours, one of Chase’s largest Shinnecock Hills landscapes. Portraying four figures lounging in the grass—likely Chase’s wife, two of his children, and his sister-in-law—the picture exemplifies the sunny, brightly painted imagery that helped popularize the area as a hotspot for tourism and real estate development.

—Text taken from the Carter Handbook (2023)

Additional details

Location: On view
W28-artist-CMYK-CarterBlack
See more by William Merritt Chase

Tags

  • Horizontally-oriented in a thick, ornately carved gold frame, this oil on canvas painting, 25.5 inches tall by 35.5 inches wide, depicts an outdoor scene of four females resting along a coastline on a partially cloudy day.

    Starting with the focal point in the center, bottom half of the canvas are four White females resting in patchy green and yellow grass dunes. Moving left to right across this part of the painting, the first person is a little girl in a white dress, sitting in the grass and facing us. To our left, her right, rests a white pillow with poppy-red detailing in the center and on the corners. The young girl has brown hair and is wearing a slightly darker brown hat; the artist left out any facial features, simply using a flesh-colored circle to represent the visible three-quarters of her face. A little in front of her and to her left sits a blue cup nestled in the grass.

    To our right and just to the left of this girl, an older woman lounges in the grass. She wears a long, white dress with long sleeves that puff at the shoulders. She rests her weight on her hip and extended arm closest to the little girl, while her other hand holds an open book with white pages on her lap. Her stacked legs, with knees slightly bent, stretch away from the little girl toward the right side of the canvas. She wears a poppy-red hat that ties under her chin in a red bow over her pulled-back brown hair. Her head angles downward to read her book, and like the little girl, her face lacks facial details. A white, open parasol with a light-brown handle rests at her feet; the top of the parasol points to the upper right of the canvas.

    In the foreground from the woman in the red hat lies another young girl, this one sporting a soft blue dress with a white apron overtop and soft black stockings. Her head is closest to the woman, and her feet are closer to the bottom of the canvas; her body angles toward the right. Her head and back rest on a black and poppy-red pillow, and from the waist down her body is on the grass. She bends her elbow, and both hands cover her face. Her left knee is bent and her foot sits flat on the other side of her right leg, which rests completely flat on the ground. There is a poppy-red cup near the hem of her dress, in the middle of the lower half of the canvas. Closest to the sandy beach and farthest right of all the figures sits a grown woman with her back to the viewer. She wears a white dress with long white sleeves. Her soft brown hat blends a little with her soft brown hair. Her face is in profile, but again, does not have facial features. A partially opened parasol rests on her shoulder angled away from her companions toward the right edge of the canvas.

    To the right and above this leisurely group of women, mid-canvas, is a soft tan and white-sand beach in a half moon shape that curls in a capital C shape and extends to almost touch the right edge of the canvas. This thin strip of beach meets the shoreline, indicated by a little white foam and soft blues with dark blue accents of water. An oval-shaped bay of water extends from the right side of the canvas toward the center, taking up about a quarter of that side of the artwork. The beach, water, and sky are above the green and yellow grass dunes where the figures are placed, which predominately takes up the bottom half of the artwork. This takes up mostly the upper half of the painting; the sky is hazy blue with fluffy gray and white clouds occupying the left side and thinning over the bay, opening to more blue sky as they seem to move from left to right across the scene.

    The artist does not sign his name on the canvas. The overall scene feels light and breezy. This depiction of how these females spend their idle hours, indicated by the title, is conveyed through the soft and bright colors, the sunny spring-like weather, and the quietness conveyed by the four sitters.

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