Italian day, May 1918

Editor: Childe Hassam’s "Italian Day, May," created in 1918, really captures a moment in time with these vibrant flags. There's almost a sense of bustling activity just implied by the brushstrokes. What story do you see unfolding in this painting? Curator: The story lies not just in the depicted flags, but in the materiality itself. Look at the thick application of paint, the way Hassam uses oil to build texture and light. These flags are commodities, produced and displayed, meant to signal solidarity and… what? To shore up public support for war bonds during World War I. The festive scene masks the serious economic underpinnings of the war effort. How do you think the artist views the social implications? Editor: So you are thinking less about a celebratory moment and more about how it was made? The physical act of painting as a kind of production, the flags symbolizing something… manufactured? Curator: Exactly. Think about the materials involved: the canvas, the pigments. Where did they come from? Who made them? The art market itself is a complex system of labor and consumption. Even Hassam’s impressionistic style – quick brushstrokes, capturing fleeting moments – it’s a deliberate choice, reflecting the rapidly changing social and economic landscape. It's not a static moment, it is built and meant to last. Does this change how you see the activity? Editor: I hadn't considered how deeply intertwined the scene, the flags, and even the artistic process are with the economics of wartime. Curator: It makes us reconsider the very definition of 'celebration', doesn't it? Editor: Absolutely. Looking beyond the surface level to the materials and context reveals a more complex story. Thanks! Curator: Indeed. Recognizing how the social, material and aesthetic intertwine is always enlightening.