twenty-sixth of june, old lyme 1912 Childe Frederick Hassam (1859-1935)

The composition presents a woman positioned near a window, her gaze directed towards her reflection in a mirror affixed to the wall. The scene is bathed in a diffused light emanating from beyond the windowpane, creating a luminous atmosphere that softens the edges of the figures and objects within the room.
Here we see a domestic interior, characterized by an intimate scale and a sense of quiet contemplation. The woman’s posture – her back turned towards the viewer – suggests introspection or perhaps a moment of solitude. Her attire, a patterned robe in shades of blue, hints at leisure and comfort. The mirrors presence is significant; it not only duplicates her form but also introduces a subtle duality – an encounter with oneself that can be both revealing and unsettling.
The window itself serves as a visual portal to the exterior world. A vibrant display of pink blossoms in a vase sits on the windowsill, their delicate forms rendered with loose brushstrokes. The foliage visible through the window is painted with energetic strokes, suggesting movement and vitality beyond the confines of the room. This contrast between the stillness within and the dynamism outside reinforces the womans internal state – a sense of being suspended between two realms.
The color palette is dominated by cool tones – blues, greens, and pinks – which contribute to the overall mood of serenity and melancholy. The use of impasto, particularly in the depiction of foliage and blossoms, adds texture and depth to the painting.
Subtly, the arrangement evokes themes of identity, self-perception, and the relationship between interiority and exteriority. The mirror acts as a symbolic device, prompting questions about authenticity and the constructed nature of the self. The placement of the woman near the window suggests a yearning for connection or escape, while the blossoms offer a fragile beauty that underscores the fleeting nature of time and experience.