Software Development Theory: A Survey

Software Development Theory: A Survey Pushpakumar R Abstract— Nowadays, during the Software development process, software developers are involved and their efforts to generate correct approach are the major challenge. In this survey, the planned model is Coat Hanger, for theorizing about development practices. This model focuses on the projected justification for the actual recognition and resulting effects of using particular practices in changing contexts. In the recent practice concerned with articles in the journal Science of Computer Programming explains the use of this model. The software development in professional organizations with actual software consultants as moles. The Coat Hanger model was then used to order the notional assets and weakness of these four practice descriptions. The study is used as the basis to declare the likely of our model as an intangible aid for more structured imagining about software development practices. The goat hanger model expected to deliver and then serve for software development process theory. In th is novel approach the model is also provide a catalog for theory and then development process. Index Terms— Goat hanger, Catalog, Software theory Introduction In this paper we explained Modern software development theory and development. The general software process based on the general theory of software engineering. Particularly, they call for models which should provide analytical and narrow support for software engineering, instead of running costly design procedures that are plainly based on trial and error. They remark the issue of choosing software development methods in development projects and organizations as an example of weighty questions, which should be undertaken by such theory. Principally, Johnson at all. state that â€Å"many planned methods, programming languages and requirements specification languages exist, but very few bare theories explain why or foresee that one method or language would be preferable to another under certain situations†. While it may be true that we lack a â€Å"general theory† of software engineering, we must be more correct in our argumentation, however. What is this lack that we ar e talking about? Are we wanting theories about software artifacts or are we missing theoretical knowledge on the work of software professionals, i.e. software development. Additional approach has been the building of ontologies that give researchers and method-oriented consultants a vocabulary for theoretical constructs. An example of this approach is the semat kernel, which provides a set of concepts, or ontology, for the core of software engineering. In its place of creating theories based on scientific remark, SEMAT has chosen the correction path, where the result is based on agreement, earlier experiences, or a best guess among a body of professionals. Another example is the complete SWEBOK, which is an attempt to protection all relevant areas of software engineering with commonly agreed knowledge. SWEBOK is not, however, focused on a single theory of the whole process; it labels areas defined by agreement or convention instead and therefore cannot be considered as a scientific theory. While mathematics and computer science offer a solid academic basis for kind computational changes and the article the process and performs of structure the artifact. Software development is less enclosed by scientific research. In our work we focus on the problem of theorizing about software growth practices, whic h can create data to support research, education and actual development of practices in software development officialdoms. To build and expressly validate theories about software expansion practices, we want to observe the work of software professionals in the real world context. This means that we must identify software development as a structural action, where the context, the business and then environment and the human organization with its fights and other failures are at least as applicable for the success of software development as the computational changes of the software piece. In this view the observed software development work becomes the source of the theory, and the target of the theory is to know, explain and guess the reason and practices of software developers and the effect these have on the success of software development. The unbiased of this paper is to understand this theorizing process abstractly and to build a model that explains the essential concepts for theo ries of software development practices. Practices and software development The practice of software development, which is â€Å"concerned with creating images of the purposes of the software and its problem domain, of its assembly and performance, of the additions to be achieved, of the boundaries between the software and its environment and its users. Software development contains numerous practices including that of analysis, design, execution and quality management. This kind of organic view to practices implies that in the software development context, practices may include both carefully organized use of predefined development methods and loosely prepared and even emergent activities that may use discrete tools or techniques at hand. They are not a mechanical reply to rules, norms or models, but a tactical, yet regulated improvisation responding to the dialectical connection between a exact situation in a field and habitus. Technical rationality The field of software engineering has over eras twisted numerous methods that are normative models of how software development should take place. However, already in the 1980s, noted that a methodology does not really describe what actually occurs in practice. The real actions in software progress, the working practice in use, what is really done in a situation may be quite different from what is described by a narrow methodology. In the field of information systems development, Larsen et al. describe how a research stream has discussed the related nature of method/practice engineering and acceptance by individual system and software designers, projects, and growth organizations since the 1990s. Recently, this portent has gained increasing attention in the international software engineering community as well. Practice research in organizations We adopt that a software development practice may become an administrative practice, it can be defined as the organization’s routine use of knowledge. Organizational applies can exist at the multiple levels, in that as in a software progress project or in an organization taking part in several projects or development processes. Structural practices often have tacit workings embedded partly in separate skills and partly in collaborative social arrangements. Many vital features of software development practices, such as their starting and evolution, require more courtesy from research and theory to be fully unspoken. The general management literature, however, conjectures with many viewpoints on how structural practices take shape. All existing images of a practice imply that at least one stakeholder in the society has intended that it should be enacted. However the ethnographical studies have shown that such official, prescribed practices often deviate from the actual actions taken Moreover, software development organizations may also follow undocumented, habitual practices. Pent land and Feldman highlight a distinction between the performativity and ostensive aspects of organizational practices. The performativity facet shows â€Å"the specific actions taken by specific people at specific times when they are engaged in what they think of as an organizational routine. service engagements are becoming increasingly more numerous and more complex. We consider service engagements in the broad sense. Fig.1.CoatHanger model for building theories from development practices. Coat Hanger model for resulting theorizing about practices We have shaped a model for a special resolve, for imagining about software expansion practices. We also recognize that there are general principles and models for experimental research and testing in software engineering. These sources define how observed research in software engineering should be conducted and reported, whereas we need to concentrate on theorizing only. Our purpose is not to switch these but to provide a planned way to investigate and create theories about software development practices or sets of practices with a echo in action mode to research and practice. Our model figures on six main concepts that need to be illustrious in order to learn from software development practice and to shape theories of development practices: knowledge, a repetition, development setting, basis, effect, and theory. We use dual naming for each concept, for example rationale excusing and impact gauging. A central concept in our model is the concept of a practice. One dictionary definition of a practice is rather people do often. In the context of a development project or an body, a systems development practice may become an structural exercise or routine, which can be defined as the organization’s routine use of knowledge, especially â€Å"know-how†. The concept of â€Å"best practices† illustrates an assumption that abstractions of such know how can be usefully analyzed, and lessons learned from practice can be transferred between organizational contexts and over time. However, organizational practices often have tacit components embedded partly in individual skills and partly in collaborative social arrangements. If we compare a development method and a practice, a method adopted in an organization always embodies a predefined practice or a set of practices, whereas a practice is not always defined at the detailed level, at least with regard to all potential elements of method knowledge. However, while being cautious on the concept of â€Å"best practices†, we share the belief that practice descriptions and definitions may appear as useful for analyzing recurrent development actions in context, as a basis of learning from them. A software growth effort takes place in a development context, which includes a large number of issues and factors. For example, Clarke and O’Connor identified 140 situated factors from previous literature that may affect the software development process. Similarly, in the field of information systems development, Orlikowski claims that the role of the system, systems development structure and operations, development policies and practices, development staff, corporate strategies, organizational structure and culture, customers, competitors, and available technologies represent contextual categories of issues which may influence the success or suitability of development practices. Discuss the concept of method rationale as an important part of evolutionary method engineering to support software and systems development. While they regard good understanding of the method rationale as necessary for continuing the â€Å"variation and augmentation† of an organization’s methods, we will widen the concept of rationale to be equally useful for understanding the reasons for an organization’s development practices in general. A rationale for a development practice thus provides justifications for the creation, use and alteration of the practice (or a set of practices). Lyytinen and Robey emphasize the significance of learning from the organization’s own growth experience. This clearly requires analysis and identification of the impacts of the expansion practices to software engineering success. Such impacts may be wanted already according to the explicit method foundation or they may be unanticipated, sometimes even unwanted. Finally, the above concepts are needed for making and assessing theories of development practices. That is, we pursue theories which can examine, describe, and explain background software development practices, finally aiming at a level of prediction. We believe that it is useful to evaluate the practice and aim at predictive theories of certain types of development practices, with regard to their impacts on the development products, projects and processes, and contexts. In the following, we relate these concepts to each other to form a model to guide the research on development practices. Fig.1relates these concepts together, whereas their relationships, which we need to understand in order to build theory from practices, are discussed further below. Education is a border spanning machine which needs to exist, on one hand, in a development context so that earlier theories, including previous, more or less well-grounded, organizational commendations of development can notify local rationale for new practices and that the observed impacts of the target organization’s previous practices can inform further local rationality to adjust the practices. On the other hand, learning is needed between development organizations and the theory builders, who observe development actions in practice and try to abstract lessons to be learned from the particular practices in question (Fig.1). The process of theorizing is circular by nature. The local and global theories of observes will affect the rationalizing of practices and practice change in the development context. This in turn will lead to new knowledge that will make new or extended local or global theories. The development context involves all the issues which have impact on how practices in the target organization or project are socially constructed and how the development organization can learn from its practices. The context may have an impact on the basis to tool new practices and how the applied practices are twisted during real development activities, on the impacts reached from the practices in use, and even whether a learning process takes place in a context at all and whether lessons learned from previous experience are made explicit. That is, practices, their impacts, and learning may not be purely based on the identified rationale alone, but can be affected by contextual issues. If contextual issues are explicitly identified before implementing a new set of practices, they may, in turn, become an explicitly recognized part of the rationale. However, some contextual issues may have a more implicit effect on practices in use and their impacts, recognized only after new practice s have been tried out. Learning is the intermediary that enables accumulation of local and global theories and their utilization in the development context. Conclusion In this topic we have discussed the need in software engineering research to observe the work of software professionals in real environments and presented a model that includes essential concepts for the theorizing of software development practices. The Coat Hanger model and then concepts education, a training growth context, motivation, impact, and theory can be used as a tool by research planners and assessors. To illustrate the value of the model we also made a survey of articles in Science of Computer Programming and went through four full years of articles. Out of 371 articles, we found only four articles that studied and observed directly professional software development using physicians as informants. Our study in light of the model could disclose areas of perfection with regard to the theoretical and empirical parts of the four studies. Finally we sharp out that software engineering research tends to value technical rationality instead of reflection in action and emphasized that theorizing of software development practices requires new approaches that recognize also other reference sciences than computer science and mathematics and pays more care to scientific practice. In the future we aim to continue our theory structure on software expansion practices. When combined with our previous model on practice changes, the Coat Hanger model is expected to serve as a conceptually clear and useful instrument for such theorizing. One other for current the study could be to build a catalogue of well-known or otherwise interesting software change practices, their motivations, and impacts on known contexts. References [1]S. Adolph, P. Kruchten, W. Hall, â€Å"Reconciling perspectives: a grounded theory of how people manage the process of software development†, J. Syst. Softw. 85(6) (2012) 1269–1286. [2]Chris Argyris, D.A. Schà ¶n, Organizational Learning II, Addison-Wesley, Reading, MA, 1996. [3]T.B.C. Arias, P. Avgeriou, P. America, K. Blom, S. Bachynskyy, A top–down strategy to reverse architecting execution views for a large and complex software-intensive system: an experience report, Sci. Comput. Program. 76(12) (2011) 1098–1112. [4]M. Bajec, D. Vavpotiˆ¡c, M. Krisper, Practice-driven approach for creating project-specific software development methods, Inf. Softw. Technol. 49(4) (2007) 345–365. [5]V. Basili, R. Tesoriero, P. Costa, M. Lindvall, I. Rus, F. Shull, et al., Building an experience base for software engineering: a report on the first Ce-BASE eWorkshop, in: F. Bomarius, S. Komi-Sirvià ¶ (Eds.), Product Focused Software Process Improvement, in: Lect. Notes Comput. Sci., Springer, Berlin, Heidelberg, 2001, pp.110–125. [6]I. Benbasat, R.W. Zmud, Empirical research in information systems: the practice of relevance, MIS Q. 23(1) (1999) 3–16. [7]H. Berger, P. Beynon-Davies, The utility of rapid application development in large-scale, complex projects, Inf. Syst. J. 19(6) (2009) 549–570. [8]P. Bourdieu, Outline of a Theory of Practice, Cambridge University Press, 1977. [9]P. Bourdieu, The three forms of theoretical knowledge, Inf. Sur Sci. Soc. (Paris) 12(1) (1973) 53–80. [10]J.S. Brown, P. Duguid, Organizational learning and communities-of-practice: toward a unified view of working, learning, and innovating, Organ. Sci. 2(1) (1991) 40–57. [11]P.R. Carlile, A pragmatic view of knowledge and boundaries: boundary objects in new product development, Organ. Sci. 13(4) (2002) 442–455. [12]P. Clarke, R.V. O’Connor, The situational factors that affect the software development process: towards a comprehensive reference framework, Inf. Softw. Technol. 54(5) (2012) 433–447. [13]Collins CoBUILD, English Dictionary, 1989. [14]B. Curtis, H. Krasner, N. Iscoe, A field study of the software design process for large systems, Commun. ACM 31(11) (1988) 1268–1287 . Reactivity of Ashes: Effect of Porosity and Particle Size Reactivity of Ashes: Effect of Porosity and Particle Size Objective: Discuss the effect of porosity, particle size, shape and distribution on reactivity of ashes. Rice Husk Ash The particle size rice husk ash is around 5 micron to 95 micron with average particle size of 25 micron with high percentage of silica. The presence of silica in RHA has been known since 1938 and an extensive literature search has highlighted many uses of RHA as silica replacement. Two main industrial uses have been identified: as an insulator in the steel industry and as a poz- zolan in the cement industry. RHA is used by the steel industry in the production of high quality flat steel. Moreover, RHA is an excellent insulator, having low thermal conductivity, high melting point, low bulk density and high porosity. In particular, there are two areas for which RHA is used: in the manufacture of low cost building blocks, and in the production of high quality cement. The addition of RHA to cement has been found to enhance cement properties. In general, concrete made with Portland cement containing RHA has a higher compressive strength. RHA is finer than cement having very small particle size of 25 microns, so much so that it fills the interstices in between the cement in the aggregate. That is where the strength and density comes from. Incinerator Bottom Ash 1 This sample was imported from Portugal. Upon magnification, agglomerated and irregularly shaped amorphous particles were detected in the bottom ash samples associated with aggregates of polycrystalline, amorphous, and glassy material. The results show that the predominant elements in bottom ash samples were silicon (Si), aluminium (Al), iron (Fe), and calcium (Ca) as oxides, while the predominant elements in all spot points on surface texture of bottom ash. High silica and alumina content in bottom ash could make it a good sorbent while high CaO content is responsible for its alkaline character. It was found that the material was mainly amorphous in nature but also indicated the presence of crystalline phases such as feldspar, mullite, magnetite, and quartz. Bottom ash particles smaller than 11.2 mm accounts for approximately 80 % by mass. About 5 10 % bottom ash particles are between 0.1  µm and 100  µm. These particles are quite porous and look like volcanic lava. One of the m ost common uses for bottom ash is as structural fill. There is possibility of bottom ash being used as substitute/replacement of fine aggregate (sand). Its use in concrete becomes more significant and important in view of the fact that sources of natural sand as fine aggregates are getting depleted gradually, and it is of prime importance that substitute of sand be explored. The ash shows lower density, higher water absorption, and lower strength than natural gravel. They could be considered as average quality aggregates for use in concrete. When directly introduced in concrete, they led to swelling and cracking of specimens, due to the reaction between cement and metallic aluminium. Therefore, a treatment by sodium hydroxide was proposed to avoid such degradation, which made possible the partial replacement (up to 50%) of fine gravel in concrete without affecting the durability. Incinerator Bottom Ash 2 This sample was imported from Czech Republic. Hard Wood Ash Quantity and quality of wood ash may vary with many factors such as combustion temperature, species of wood and combustion technology used. Hence proper analysis of wood ash is important before its application in concrete. Wood ash chemical characteristics differ with species of wood but chiefly contains lime and silica. The size of wood ash varies from 45 micron to 75 micron. The particles of wood ash are little coarser than that of cement and have higher specific surface as compared to cement due to porous nature and irregular shape. Hard wood ash contains carbon (5-30%). Calcium (7-33%), potassium (3-4%), magnesium (1-2%), manganese (0.3-1.3%), phosphorus (0.3-1.4%) and sodium (0.2-0.5%) are the major constituents of wood ash. With increasing carbon content, density of wood ash decreases Incorporation of wood ash as partial replacement of cement adversely decreases the slump of concrete. Water absorption of concrete increases with the increase in wood ash percentage. There was mar ginal decrease in strength with increasing wood ash percentage in concrete, but increased with age due to increased pozzolanic reactions. Wood ash at replacement percentage up to 10% of the weight of binder can be successfully used as additive in place of cement to produce structure grade concrete. Replacement of cement by wood ash does not have negative impact on the chloride permeability. There is a significant decrease in the drying shrinkage on the incorporation of wood ash.

Islamic, Ancient Egyptian, and Ancient Greek Art Essay

Elisabeth Siddiqui has written: â€Å"Art is the mirror of a culture and its world view. There is no case to which this statement more directly applies than to the art of the Islamic world. † Seeing that Muslims are believers in only one true God of the universe, they have been advised by Prophet Muhammad not to make pictures of human beings, for these pictures may often turn out to become idols for people, thereby turning them away from the Lord of the universe. Hence, Islamic art has focused on anything other than the human form. Muslims have used Arabic calligraphy to express their creativity in countless art works. â€Å"Arabic script lends itself wonderfully to decorative use,† writes Siddiqui. It is the language of the Qur’an, even if it is used to write something other than the Qur’anic verse. The choices are limitless. Thus we find a beautiful piece of calligraphic art as an inscription on a carved wood panel from a door that was made in the late medieval Islamic period (See Appendix). The inscription on the panel consists of the signature of its maker. The script is monumental, with large and rounded proportions. The seven words of the inscription are deeply carved in three horizontal registers. These are set against a scrolling leaf background (Late Medieval Period, 2004). Contrary to the believers in the unseen God, the ancient Egyptians were Pharaoh worshippers. The king of ancient Egypt was the Pharaoh, who appeared larger than life in the art works of the period. Ti Hunting the Hippopotamus is a wonderful depiction of the subject (See Appendix). Carved on a surface of a stone, this is a relief using the typical ancient Egyptian style of frontalism, in which the head is drawn in profile while the body is seen from the front. In this ISLAMIC, ANCIENT EGYPTIAN, AND ANCIENT GREEK ART Page # 2 picture, Ti is enormous as compared to his slaves as well as the animals. He is the god of both slaves and animals, and is therefore shown as a higher being as compared to the lesser beings. The slaves in the picture are relaxed. So are the animals. Moreover, the animals shown are more realistic than all humans, perhaps because of the ambivalence felt by the artist toward both the â€Å"higher† and the â€Å"lower beings† within humans (Kremen, 1996). Lastly, the ancient Greeks, who also had plenty of gods and goddesses, downplayed the divine aspects of their gods, unlike the Egyptians, by giving their gods a typically human form. There did not have to be higher or lower beings in ancient Greek art. Instead, the most perfect of figures created were recognized as gods naturally. The ancient Greek civilization enjoyed the beauty of the human form, including the naked human form which was admired for its harmonious proportions. The Torso of Apollo is one of the most perfect examples of this art (See Appendix). Made in 2nd century AD, the torso of marble shows young Apollo, the Greek god of light, music, archery, healing, atonement, prophecy and flocks and herds. The figure was popular with both Greeks and ancient Romans. It is an unclothed manifestation of splendor and courage, only expected to be shown of Apollo, who wears a belt over one shoulder to which a quiver of arrows were attached at his back (Torso of Apollo). By showing the god as distinctly human, the artist inspires into viewers the spirit to take Apollo for a courageous model and turn into heroes themselves. Thus all art appears as a mirror of its culture and the worldview. References 1. Kremen, Lisa. (1996, December). â€Å"Understanding Egyptian Art. † Egyptian Art. Retrieved from http://www. bergen. org/AAST/Projects/Egypt/egyptian_art. html. (10 February 2007). 2. â€Å"Late Medieval Period. † (2004). Islamic Art. Los Angeles County Museum of Art. Retrieved from http://www. lacma. org/islamic_art/intro. htm. (10 February 2007). 3. Siddiqui, Elisabeth. â€Å"Islamic Art. † MSA. Retrieved from http://www.colostate. edu/orgs/MSA/index. html. (10 February 2007). 4. â€Å"Torso of Apollo. † DIA Galleries Ancient Art. Retrieved from http://www. dia. org/collections/Ancient/ancient. html. (10 February 2007). ISLAMIC, ANCIENT EGYPTIAN, AND ANCIENT GREEK ART Page # 4 Appendix Islamic Art Ancient Egyptian Art ISLAMIC, ANCIENT EGYPTIAN, AND ANCIENT GREEK ART Page # 5 Ancient Greek Art.

Comparison of Modern Women and of Ancient Greece

Greece were a little more than virtual slaves, themselves. From the day of their birth, up to their deaths, females were constantly controlled by a master, normally the father than overtaken by her husband. Girls approximately the age of 1 5 were chosen an appropriate suitor by their fathers, usually a man already more than twice her age (p. 75). Most men spent little time at home; therefore, the wives dominated home life through her skills of sewing, cooking, spinning, weaving, and preserving the slaves of the family household.On average there were plenty of slaves to help with the dally chores, only the most destitute homes was the lady responsible for these duties alone. Therefore, wives In some aspect were more privileged than women in our present society, where the domestic labor Is generally completed single-handedly. Women had specific boundaries in society and the events that took place there. Women didn't have the privilege of voting, and were allowed no entitlement into pub lic office. Although women were forbidden in political positions, they were Greek citizens and could not be violated or sold into slavery (p. 4). They were prohibited from watching the Olympic Games as they contained fragments of nudity, and were only permitted to participate in chariot racing. (Graham) Public roles that women were encouraged to take role in were funerals, weddings, and religious celebrations where they could socialize outside of the home. â€Å"A wife's main duty, apart from managing the household, was to provide a male heir n order to maintain the family's hold over its property,† The Western Experience.Since men dictated all property in classical Greece, it was a necessity to produce boys in addition to girls. It is difficult to depict the ancient feminine lives of the Greeks exactly, as we have no recorded verification documented directly by them. A number of Greek gods and written Greek epics portray women as leaders, and are sharply admired by men. Sour ces.

Biography of Childe Hassam, American Painter

Childe Hassam (1859-1935) was an American painter who played a crucial role in popularizing impressionism in the United States. He formed a breakaway group of artists devoted to the style known as The Ten. By the end of his life, he was one of the worlds most commercially successful artists. Fast Facts: Childe Hassam Full Name: Frederick Childe HassamKnown For: PainterStyle: American ImpressionismBorn: October 17, 1859 in Boston, MassachusettsDied: August 27, 1935 in East Hampton, New YorkSpouse: Kathleen Maude DoaneEducation: Academie JulianSelected Works: Rainy Day, Columbus Avenue, Boston (1885), Poppies, Isles of Shoals (1891), Allies Day, May 1917 (1917)Notable Quote: Art, to me, is the interpretation of the impression which nature makes upon the eye and brain. Early Life and Education Born into a New England family that traced its ancestry to 17th-century English settlers, Childe Hassam explored art from an early age. He grew up in Boston and was often amused that the surname Hassam made many think that he had an Arabian heritage. It began as Horsham back in England and went through several spelling changes before the family settled on Hassam. The Hassam family suffered the failure of their cutlery business in 1872 after a catastrophic fire swept through the Boston business district. Childe went to work to help support his family. He lasted only three weeks working in the accounting department of the publisher Little, Brown, and Company. Working in a wood engraving shop was a better fit. By 1881, Childe Hassam had his own studio where he worked as both a draftsman and a freelance illustrator. Hassams work appeared in magazines like Harpers Weekly, and The Century. Hed begun to paint, too, and his preferred medium was watercolor. Corbis Historical / Getty Images First Paintings In 1882, Childe Hassam had his first solo exhibition. It consisted of approximately 50 watercolors displayed in a Boston art gallery. The primary subject matter was landscapes of places Hassam visited. Among those locations was the island of Nantucket. Hassam met poet Celia Thaxter in 1884. Her father owned the Appledore House hotel on the Isles of Shoals in Maine. She lived there, and it was a destination favored by many key figures in the cultural life of late-19th century New England. Writers Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry Wadsworth Longfellow all visited the hotel. Hassam taught Celia Thaxter to paint, and he included the hotels gardens and the islands shores as subject matter in many of his paintings. After marrying Kathleen Maude Doane in February 1884, Hassam moved into a South End, Boston, apartment with her, and his painting began to focus on city scenes. Rainy Day, Columbus Avenue, Boston was one of the most prominent works created shortly after the wedding. Rainy Day, Columbus Avenue, Boston (1885). VCG Wilson / Getty Images While there is no indication that Hassam saw Gustave Caillebottes Paris Street, Rainy Day before painting his piece, the two works are almost uncannily similar. One difference is that the Boston painting is devoid of any of the political symbolism many observers found in Caillebottes masterpiece. Rainy Day, Columbus Avenue, Boston quickly became one of Hassams favorite paintings, and he sent it to be shown a the 1886 Society of American Artists exhibition in New York. Embrace of Impressionism In 1886, Hassam and his wife left Boston for Paris, France. They stayed there for three years while he studied art at the Academie Julian. While in Paris, he painted extensively. The city and gardens were the primary subject matter. Shipment of the completed paintings back to Boston to sell helped finance the couples Parisian lifestyle. While in Paris, Hassam viewed French impressionist paintings in exhibitions and museums. However, he did not meet any of the artists. The exposure prompted a shift in the colors and brushstrokes Hassam used. His style became lighter with softer colors. Friends and associates back home in Boston noticed the changes and approved of the developments. Hassam returned to the United States in 1889 and decided to move to New York City. With Kathleen, he moved into a studio apartment at 17th Street and Fifth Avenue. He created city scenes in all kinds of weather, from winter to the height of summer. Despite the evolution of European impressionism into post-impressionism and fauvism, Hassam firmly stuck to his newly-adopted impressionist techniques. Fellow American impressionist painters J.Alden Weir and John Henry Twachtman soon became friends and colleagues. Through Theodore Robinson, the trio developed a friendship with French impressionist Claude Monet. Poppies, Isles of Shoals (1891). Wikimedia Commons / Public Domain In the mid-1890s, Childe Hassam began traveling during the summer to paint landscapes in Gloucester, Massachusetts, Old Lyme, Connecticut, and other locations. After a trip to Havana, Cuba, in 1896, Hassam held his first one-person auction show in New York at the American Art Galleries and featured over 200 paintings from throughout his career. Unfortunately, the paintings sold for less than $50 on average per picture. Frustrated by the impact of the 1896 economic slump in the U.S., Hassam returned to Europe. After traveling to England, France, and Italy, Hassam returned to New York in 1897. There, he helped fellow impressionists secede from the Society of American Artists and form their own group called The Ten. Despite disapproval from the traditional art community, The Ten soon found success with the public. They functioned as a successful exhibition group for the next 20 years. Later Career By the end of the first decade of a new century, Childe Hassam was one of the most commercially successful artists in the United States. He earned as much as $6,000 per painting, and he was a spectacularly prolific artist. By the end of his career, he produced over 3,000 works. Childe and Kathleen Hassam returned to Europe in 1910. They found the city even more vibrant than before. More paintings emerged depicting bustling Parisian life and Bastille Day celebrations. Upon returning to New York, Hassam began creating what he called window paintings. They were one of his most popular series and usually featured a female model in a kimono near a lightly-curtained or open window. Many of the window pieces were sold to museums. By the time Hassam participated in 1913s Armory Show in New York City, his impressionist style was mainstream art. The cutting edge was far beyond impressionism with cubist experiments and the first rumblings of expressionist art. End of the Trolley Line, Oak Park, Illinois (1893). Buyenlarge / Getty Images Flag Series Perhaps the most popular and well-known series of paintings by Childe Hassam was created very late in his career. Inspired by a parade supporting preparations for U.S. participation in World War I, Hassam painted a scene with patriotic flags as the most prominent element. Soon, he had an extensive collection of flag paintings. Allies Day, May 1917 (1917). VCG Wilson / Getty Images Hassam hoped that the entire flag series would ultimately be sold for $100,000 as a war memorial set, but most of the works were eventually sold individually. Flag paintings found their way into the White House, the Metropolitan Museum of Art, and the National Gallery of Art. In 1919, Hassam settled in Long Island. It is the subject of many of his final paintings. A boom in art prices in the 1920s made Hassam a wealthy man. Until the end of his life, he fiercely defended impressionism against critics who saw the style as old-fashioned. Childe Hassam died in 1935 at age 75. Legacy Childe Hassam was a pioneer in popularizing impressionism in the United States. He also broke ground demonstrating how to turn art into a massively profitable commercial product. His style and approach to the business of art were distinctly American. Despite the pioneering spirit of his early career, Childe Hassam frequently spoke out against modern developments late in life. He saw impressionism as the pinnacle of artistic development and movements such as cubism were distractions. Winter in Union Square (1890). Buyenlarge / Getty Images Sources Hiesinger, Ulrich W. Childe Hassam: American Impressionist. Prestel Pub, 1999.Weinberg, H. Barbara. Childe Hassam, American Impressionist. Metropolitan Museum of Art, 2004.