A-D

• The Blue Kimono, 1914, Philbrook Museum of Art, Tulsa, Oklahoma

One of a number of Chase's paintings with Oriental motifs and inspired by Diego Velázquez and seventeenth-century Dutch masters, a fleeting moment is captured with the model striking a "studious yet captured pose", according to the painting's description at the Philbrook Museum of Art Web site. The work features a "flourish of contours, stunning colors, decorative patterns and broad, broken brushwork". Oriental decorative and design elements are incorporated, perhaps showing the influence of Chase's contemporaries, James Abbott McNeill Whistler and John Singer Sargent.^[1]

• Did You Speak to Me?, 1897, Butler Institute of American Art, Youngstown, Ohio

The painting focuses on the girl's implied movement (she has just turned around from looking at one of the paintings), by rendering her in greater detail than the objects around her. The girl is Alice Dieudonne, Chase's daughter, then 10 years old, at his studio at Shinnecock Hills on Long Island. Her bracelets and gold hair band suggest genteel, graceful prosperity, and it has been said that the paintings also suggest it, although Chase at that point had some difficulty maintaining his lifestyle. The painting captures "a casual image of life suspended in time which, while looking effortless and unpremeditated, was actually carefully composed to reflect the movement of real people in real life situations." Chase learned much of this from French Impressionists.^[2] The artist was also enamored of the Dutch painter Frans Hals, who also strove to capture moments in time.

E-K

L-N

• Mother and Child (The First Portrait), c. 1888, Museum of Fine Arts, Houston, Texas

Chase paints his daughter, holding a coral whistle, and her mother, wearing a Japanese-inspired costume. The black tones of the kimono and the background reflect Chase's experiments with delicate tonal harmonies, which contrast sharply with the white of the child's clothing and the red near the mother's neck. One critic wrote of " . . . the tingling pleasure that one receives from the one note of vivid scarlet that cuts through this quiet harmony like a knife . . .".^[4]

O-R

• Portrait of Master Otis Barton and his Grandfather, 1903, Currier Museum of Art, Manchester, New Hampshire

Both figures look out at the viewer with composed expressions, as if they are conscious of the dignity of their pose. Yet the double portrait shows signs of a natural bond, especially the intertwined hands, suggesting affection between the grandfather and grandson, who share the same name. Chase combined a fashionable painting style of loose brushwork and dark palette with conventions of formal portraiture to create portraits that Americans with money would want. Scattered magazines on the floor and similar details add touches of authenticity that moderate the artificiality of the formal portrait.^[5]

S

• Self-portrait: The Artist in his Studio, Richmond Art Museum, Richmond, Indiana

The painting was commissioned for the Richmond Art Museum, where it now hangs. Chase painted himself in his studio at his easel, holding his artist palette and with a blank canvas before him. In a letter to the museum director, Chase wrote: "I painted that picture for you people in Richmond. I thought you deserved something good. I have been interested in what you have been doing in the west for art." He added that the blank canvas in the picture was " the great picture I am going to paint someday".^[6]

• Self Portrait, c. 1914, Detroit Institute of Arts, Michigan

The beribboned pince-nez eyeglasses, the carnation in his lapel and his cravat were all signature elements of Chase's typical dress and were caricatured in the press. When the Detroit Institute of Arts bought the painting in 1916, the museum stated "As a likeness it reproduces the artist as his many friends and pupils know him". The painting also exemplifies his technique, with "sure, quick brushwork". The painting has not been lined, so the original impasto (build up of paint) can be seen, especially on the forehead. The work was used to illustrate a reprint of a 1916 speech Chase made to the American Federation of Arts.^[7] The portrait shows Chase, head and shoulders, in a quarter turn to the right, head turned toward the viewer, his right side somewhat in shadow, looking directly at the viewer, eyebrows crossed. He wears a jet black jacket (and sits in front of a jet black background) with very white collar and cravat, along with a very delicate white carnation (carefully painted) in his lapel.

• Still Life Urns and Red Peppers, c. 1895, Sheldon Swope Art Museum, Terre Haute, Indiana

An example of Chase's "Munich-school" style, "characterized by bravura brushwork, heavy impasto, and muted colors"; inspirations for the style came from Frans Hals and Velázquez.^[8]

• Studio Interior, c. 1882 Brooklyn Museum, New York City

Chase's studio conveyed the sophisticated, worldly image he wanted to project. This rendering of it gives examples of the brilliant colors and bravura brushwork he could use. Near the center is a copy of Malle Babbe by Frans Hals, a painter Chase revered.^[9] Contrasting textures can be seen throughout the painting, as for instance between the rougher rug, the woman's softer clothing and the pages of the books (the edges of which are rendered with careful brushstrokes) and the hard, reflective pot at the left, contrasted with the soft, reflective wall hanging and the large green plant; the shelves are full of smaller items of contrasting textures and colors.

• A Summer Day, c. 1892, Art Gallery of the University of Rochester, New York

In this pastel on canvas, Chase used "[h]igh-keyed summary colors and rapid Impressionistic strokes" to depict the brilliant sky, wildflowers and ocean. He often painted his daughters exploring the area around his home in Shinnecock, Long Island.^[10]

T-Z

• Venetian Balcony, 1913, Albrecht-Kemper Museum of Art^[11] St. Joseph, Missouri

Painted during Chase's final summer abroad, the painting shows the influence of Impressionism on his work. A student of his from the St. Joseph, Missouri, area urged the St. Joseph Art League to buy the painting, which became the first piece in the collection that later became the Albrecht-Kemper Museum of Art.

• The White Rose, c. 1886, Phoenix Art Museum, Arizona

The figure, Josephine Jessup, was a student of the artist. The entire work was drawn in pastel, which takes much longer than painting, so pastel pictures tend to be small, yet this work is life-size and almost six feet in height.^[13]

• Woman in Spanish Shawl (Alice), 1879, Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina

The painting is a portrait of his wife Alice Gerson Chase.

• Young Girl, c. 1900, Bruce Museum, Greenwich, Connecticut

A demonstration piece executed before a class, probably for students at the New York School of Art (given the date). Chase typically took an hour for these paintings and gave them away as prizes to students for good work. The artist concentrated his efforts on the sitter's head to get a "sensitive and expressive portrayal" with minimal brushwork. Dabs of unmixed paint are used to portray the effects of light. The lower end of the painting is unfinished, with exuberant, curving strokes.^[9]

1870s and before

1880s

1890s

1900-1909

1910 and after

Undated

Northeast United States

Midwest United States

• Mrs. Chase and Cosy, Sheldon Museum of Art, Lincoln, Nebraska
• Sunlight and Shadow, 1884, Joslyn Art Museum, Omaha, Nebraska
• The Opera Cloak, c. 1890, Grand Rapids Museum of Art, Michigan
• The Patrician, 1875, Minneapolis Institute of Arts, Minnesota
• Venetian Balcony, 1913, Albrecht-Kemper Museum of Art, St. Joseph, Missouri
• Landscape, c. 1885, Wright Museum of Art at Beloit College, Wisconsin

Southern United States

Western United States

Los Angeles County Museum of Art:

• Pablo de Sarasate: Portrait of a Violinist, c. 1875
• Sketch for a Picture — Columbus before
  the Council of Salamanca (A), c. 1876
• Sketch for a Picture — Columbus
  before the Council of Salamanca (B), c. 1876
• Just Onions (Onions; Still Life), 1912

Montana Museum of Art and Culture, Missoula:

• Portrait of Fra Dana, 1897
• Priam

Elsewhere:

• The White Rose, c. 1886, Phoenix Art Museum, Arizona
• Still Life: Cod and Mackerel, c. 1885, National Museum of Wildlife Art, Jackson Hole, Wyoming
• Harriet Hubbard Ayer, 1880, De Young Museum, San Francisco

Outside the United States

Thyssen-Bornemisza Museum, Madrid, Spain:

• The Kimono, c. 1895
• Shinnecock Hills, 1893–1897
• In the Park. A By-path, c. 1890

Elsewhere:

• Self-portrait, 1908, State Museums of Florence, Italy