DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Hoeber, Arthur: Edwin Austin Abbey, illustrator, painter, decorator
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43447#0332
INTERNATIONAL
■ STUDIO
VOL. XL1V. No. 176 Copyright, 1911, by John Lane Company OCTOBER, 1911
Edwin Austin abbey, illus-
trator, PAINTER, DECORATOR
BY ARTHUR HOEBER
Along with Benjamin West and John
Singer Sargent, the late Edwin A. Abbey made the
third of the trinity of American artists to become
prominently identified with membership in the
Royal Academy of Arts, in England, for while there
have been others from the United States to gain
academic distinction, these names are the best-
known of them all. As a painter pure and simple,
of course, Mr. Sargent’s fame stands out preeminent,
though in reality his Americanism is only a matter
of parentage, for he has lived abroad practically all
his life, having little in common with his father’s
countrymen. As a historical personage, Benjamin
West’s name is renowned and writers love to dwell
on his favor with King George III, whose patron-
age he enjoyed for long, though his brother artists
abroad did not hold him in the same favor that did
the king. It is hard to forget the delightful story
of his election as successor to Sir Joshua Reynolds,
when the painter Fuseli was charged with having
given his vote for that high office to a woman—
Mrs. Lloyd, then an academician. “I did vote for
her,” said Fuseli, “but what is the difference?
One old woman is as good as another! ” Mr. Abbey,
however, surely held up the traditions of the vener-
able body and he brought to its exhibitions no little
novelty, a large interest, and he had the approval
both of his brother artists and the general public.
And his career was that of the artist entirely. He
did not depend on the favor of royalty, on fashion,
on politics, or on any of the extraneous aids that
sometimes help to push a painter into prominence.
He was a serious worker, entirely devoted to his
profession, at which he labored faithfully all his life.
That he came at all to England was entirely due to
the fact that he realized he would find there at first
hand and readily that which was necessary to as-
sist him in the themes that were most appealing,
and during the long years of his residence abroad—
three decades and more—he remained ever a pa-
triotic American, refusing, it is said, the honor of
knighthood because of his disinclination to relin-
quish his citizenship in the United States.
Our concern, however, is with Abbey the painter,
irrespective of his national affiliations, and it is in-
teresting to note the influences that, in a way, shaped
his career, which was one of unusual interest and
singleness of purpose, successful beyond the hopes
of most men, since recognition came to him early
and never left him, and he had a material success that,
while by no means the sole object of art, is neverthe-
less of great assistance and encouragement and is
not infrequently a serious factor in the final develop-
ment of talent. His natural endowment fitted him
specially for favor with the new public he was to
find in Great Britain, since, first of all, he had al-
ways much of interest to express with his brush,
always the literary idea more or less, and he held
immediate attention by reason of his entertaining
compositions, an absolute necessity to retain the
favor of the English people. He drew well and
understandingly; he worked along lines which, if
not invariably conventional, disclosed no radical
departures, no stumblings after curious effects and
means of expression. He transgressed no known laws
in art, an offense the English invariably resent, while
his color schemes were generally attractive. Thus
admirably equipped, there was just enough daring
and originality to entertain and somewhat to in-
trigue the visitor to the Royal Academy shows at
Burlington House, who searched for his paintings,
certain of being interested and of realizing no little
enjoyment.
It is astonishing, too, how this clientele grows at
the Royal Academy exhibitions once interest has
been aroused, and, once it is admitted that such and
such an artist is the correct thing to admire, the pub-
lic flock like sheep. Later, came the approbation of
royalty, as shown in the commission to paint the
coronation of King Edward VII. That in itself
LV
■ STUDIO
VOL. XL1V. No. 176 Copyright, 1911, by John Lane Company OCTOBER, 1911
Edwin Austin abbey, illus-
trator, PAINTER, DECORATOR
BY ARTHUR HOEBER
Along with Benjamin West and John
Singer Sargent, the late Edwin A. Abbey made the
third of the trinity of American artists to become
prominently identified with membership in the
Royal Academy of Arts, in England, for while there
have been others from the United States to gain
academic distinction, these names are the best-
known of them all. As a painter pure and simple,
of course, Mr. Sargent’s fame stands out preeminent,
though in reality his Americanism is only a matter
of parentage, for he has lived abroad practically all
his life, having little in common with his father’s
countrymen. As a historical personage, Benjamin
West’s name is renowned and writers love to dwell
on his favor with King George III, whose patron-
age he enjoyed for long, though his brother artists
abroad did not hold him in the same favor that did
the king. It is hard to forget the delightful story
of his election as successor to Sir Joshua Reynolds,
when the painter Fuseli was charged with having
given his vote for that high office to a woman—
Mrs. Lloyd, then an academician. “I did vote for
her,” said Fuseli, “but what is the difference?
One old woman is as good as another! ” Mr. Abbey,
however, surely held up the traditions of the vener-
able body and he brought to its exhibitions no little
novelty, a large interest, and he had the approval
both of his brother artists and the general public.
And his career was that of the artist entirely. He
did not depend on the favor of royalty, on fashion,
on politics, or on any of the extraneous aids that
sometimes help to push a painter into prominence.
He was a serious worker, entirely devoted to his
profession, at which he labored faithfully all his life.
That he came at all to England was entirely due to
the fact that he realized he would find there at first
hand and readily that which was necessary to as-
sist him in the themes that were most appealing,
and during the long years of his residence abroad—
three decades and more—he remained ever a pa-
triotic American, refusing, it is said, the honor of
knighthood because of his disinclination to relin-
quish his citizenship in the United States.
Our concern, however, is with Abbey the painter,
irrespective of his national affiliations, and it is in-
teresting to note the influences that, in a way, shaped
his career, which was one of unusual interest and
singleness of purpose, successful beyond the hopes
of most men, since recognition came to him early
and never left him, and he had a material success that,
while by no means the sole object of art, is neverthe-
less of great assistance and encouragement and is
not infrequently a serious factor in the final develop-
ment of talent. His natural endowment fitted him
specially for favor with the new public he was to
find in Great Britain, since, first of all, he had al-
ways much of interest to express with his brush,
always the literary idea more or less, and he held
immediate attention by reason of his entertaining
compositions, an absolute necessity to retain the
favor of the English people. He drew well and
understandingly; he worked along lines which, if
not invariably conventional, disclosed no radical
departures, no stumblings after curious effects and
means of expression. He transgressed no known laws
in art, an offense the English invariably resent, while
his color schemes were generally attractive. Thus
admirably equipped, there was just enough daring
and originality to entertain and somewhat to in-
trigue the visitor to the Royal Academy shows at
Burlington House, who searched for his paintings,
certain of being interested and of realizing no little
enjoyment.
It is astonishing, too, how this clientele grows at
the Royal Academy exhibitions once interest has
been aroused, and, once it is admitted that such and
such an artist is the correct thing to admire, the pub-
lic flock like sheep. Later, came the approbation of
royalty, as shown in the commission to paint the
coronation of King Edward VII. That in itself
LV