William Stanley Haseltine Paintings

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William Stanley Haseltine Biography

(American, 1835-1900)

Born in Philadelphia to painter, Elizabeth William Stanley Haseltine became best known as a landscape and marine painter who had a special talent for conveying light and geological detail.

Haseltine fell in love with Italy, which became a life long "love affair." From 1858 to 1866, William Stanley Haseltine lived and worked in New York City where he had studio space in the Tenth Street Studio Building near studios of Leutze, Whittredge, and Bierstadt. William Stanley Haseltine also did much painting of the American landscape including the coast of Rhode Island and North Shore of Massachusetts. He especially focused on rock formations.

Few of the present group of drawings have exact dates or titles. Our general knowledge of his career comes from the biography published by his daughter Helen Plowden in 1947. From her account of his movements between America and Europe, and from her notations of tentative locations on many of these sheets, we may make approximate sub groupings by period and subject. The largest number of related William Stanley Haseltine paintings appears to have been executed in the 1860s on the New England shore, many near Nahant, Massachusetts, a favorite area for William Stanley Haseltine. Most of these are devoted to the varied rocky outcroppings extending along a beach into the background, in turn set off by one sharp pencil line indicating the horizon.

A few of the drawings were done and titled at Mount Desert Island, Maine, with the higher rising cliffs and stands of evergreen typical of that more rugged part of the coast. One is most likely a view of Thunder Hole, a gorge on the south shore of the island. His colleague from the Tenth Street Studio in New York, Frederic Edwin Church, as well as the Bostonian Fitz Hugh Lane had visited Maine periodically during the 1850s, producing some of their most compelling landscapes there. During the next decade others followed, including Sanford Gifford and Bricher along with William Stanley Haseltine.

While his manner tended to become somewhat more coloristic and painterly in later William Stanley Haseltine painting, his compositions remained fairly consistent: usually open expanses of water or sky set off by a foreground panorama of rock formations, castles, or hillsides. In the New England drawings especially William Stanley Haseltine frequently ruled off the horizon line a quarter or half way down his page from the top. His medium mostly through the 1860s and seventies was pencil or pen on white, tan, or pale green paper.

At his best Haseltine deserves to rank along side his most accomplished friends and contemporaries. William Stanley Haseltine painting firmly belongs within the direction of the later Hudson River school and mature luminist painters. Often more confident than the hard manner of Lane or delicacies of Kensett (though not quite up to them as a painter), he sufficiently understood drawing methods to create both a basis for finest William Stanley Haseltine paintings and solid, sometimes radiant, drawings in their own right.