Studio: international art — 15.1899

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1 cm
An American Painter

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• #£> T r #% x ajpfc*. j L ten years old> and Fig- s

^a$®.< -J L . ilP' J r" from a wall-paper whose age

^^^^^^^ >^^*>P '^^^^^^^^^^^^^^^^^^^ i^^^^t^ t0 mi°<^ern

^^^^^^^^T^ '^^j^l^^^ "^^^^^^^^ consciously led us back to

r ■■ • #^ J jMfc, 4kJ^L "T^ printing and weaving instead

r 'j •IF 1 K V J of the fine old brocades of

^j^jF /j^ jtfEft^ \J ' (\ ^^^W jj jV^^L ' manship, doubtless crafts-

No man with work to do

fig. i2.—detail from randworth scref.n desires more than a decent

living which will enable him
to carry it out as he best

symbolic art—but the Tree of Life symbol is one can; his content with the labour that he loves is
of the oldest in the world's history, and we must not a matter for the market,
look upon the symbolism as rather added to already Edward F. Strange.

existent forms than having been the source of them.

Though this fact does not in the least detract from 4 N AMERICAN PAINTER:

the feeling of reverence, which must have inspired /\ ABBOTT H. THAYER. BY
the good and careful work so typical of a time / \ MRS ARTHUR BELL (N.

when great artists were mere honest tradesmen : D'ANVERS")
unknown save by their unsigned and unadvertised ^

craftsmanship—their names written in no higher It is with considerable diffidence that the pre-
roll of fame than the scanty account-books which sent writer approaches the subject of the work of
sometimes recorded the payment of their wages. Abbott Thayer, who in the opinion of his fellow-
In looking at these designs as a whole, one countrymen takes very high rank amongst American
cannot fail to be struck by the curious modernity artists, and is recognised by European critics as a
of them, Is it possible that in this early school— singularly gifted interpreter of human nature.

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