In January 1895, the artist embarked on a trip to Cuba in the company of Frank Robinson, a coal merchant and long-time friend, as H. Barbara Weinberg wrote in Childe Hassam: American Impressionist, published in 2004. Their destination is Havana, where the painter settles for more than a month. During this fruitful period, he produced three memorable canvases, each capturing striking bird's-eye views of the city's squares, notably the Central Square.
Our work, imbued with a more intimate atmosphere of Havana, is probably the result of contemplation from the heights of a window within Mr. Robinson's home. Childe Hassam, in his artistic quest, frequently expresses his affection for the representation of a mother guiding her child by the hand. This tender maternal representation also finds echo in our canvas.
The stark visual contrast between two opposing buildings – a sturdy building and a humble cabin – accentuates the social disparities of the time. It highlights the dichotomy between the working class, symbolized by the silhouette of a servant hanging laundry in the background, and the dominant bourgeois class.