DOI Heft:
No. 70 (January 1899)
DOI Artikel:D'Anvers, N.: An american painter: Abbott H. Thayer
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19230#0283
An American Painter
'Not seen yet understood, renounced yet loved Brunswick, Maine : a fresco representing Florence,
All strength and pity shown in high brave light. an(j forming one 0f four lunettes, the Other three
For she hath looked upon the front of God subjects being Athens, by John La Farge ; Rome,
Her eyes are stilled, her lips have touched the rod. .
, . „. .,, r by Ehhu Vedder; and Venice, by Kenyon Cox.
foreknowing His will, of mercy sure, J ' ' 1 J
They offer her earth's flower as it dies. In Florence the spirit of the Old Masters seems
She sits with folded hands, but in her eyes to live again ; for it combines the deep religious
The infinite compassion of the pure." feeling which characterised so much of their work,
A Virgin represents three figures, the same as with something of the same simplicity of design,
those in the Virgin Enthroned, and in spite of the The winged figure of the central group checks the
hasty execution of certain details, is a yet more eagerness of the little ones leaning confidingly against
remarkable creation than were its predecessors, so her, to respond to the invitation of the kneeling sup-
intense is the ethereal force of expression with which pliants on either side ; these latter recall the saints
the Virgin and her companions seem to be rushing and donors so constantly introduced in altar frescoes,
through the world, radiating forth purity, faith, hope, yet they are thoroughly modern in treatment,
and love, as they go. In Caritas, which, for the present at least,
In 1894, the artist's chief work was the finely closes the series of religious pictures, the figures
conceived mural decoration in the Bowdon College, are the same as those in Florence, though the pose
is slightly different. Stand-
ing against a background of
green vines, in her gracefully
falling Greek robes, the
maiden who symbolises
Charity, or rather love,
stretches out her beautifully
moulded arms over the
charming nude children, who
seem rather to balance and
support the central figure
than to need any help from
her, so chubby and firm are
their rounded limbs, so full of
happiness their baby faces.
Abbott HendersonThayer,
the son of Dr. WilliamThayer,
was born in Boston, U.S.A.,
in 1849, and was brought up
at Dorchester, a little village
near his native city, where
he remained until he was
eighteen, leading a happy
unconventional life, and win-
ning a familiarity with nature
which has stood him in good
stead in his art career. He
began to draw and paint
before he was ten years old,
and some of his studies of
birds at that early age were
very true to life. From the
age of fifteen to eighteen he
was a day pupil in the Chan-
cery Hall School at Boston
'brother and sister" from a painting by abbott h. thayer but he worked between
(By permission of Messrs. Curtis and Cameron, New York) whiles at painting, receiving
252
'Not seen yet understood, renounced yet loved Brunswick, Maine : a fresco representing Florence,
All strength and pity shown in high brave light. an(j forming one 0f four lunettes, the Other three
For she hath looked upon the front of God subjects being Athens, by John La Farge ; Rome,
Her eyes are stilled, her lips have touched the rod. .
, . „. .,, r by Ehhu Vedder; and Venice, by Kenyon Cox.
foreknowing His will, of mercy sure, J ' ' 1 J
They offer her earth's flower as it dies. In Florence the spirit of the Old Masters seems
She sits with folded hands, but in her eyes to live again ; for it combines the deep religious
The infinite compassion of the pure." feeling which characterised so much of their work,
A Virgin represents three figures, the same as with something of the same simplicity of design,
those in the Virgin Enthroned, and in spite of the The winged figure of the central group checks the
hasty execution of certain details, is a yet more eagerness of the little ones leaning confidingly against
remarkable creation than were its predecessors, so her, to respond to the invitation of the kneeling sup-
intense is the ethereal force of expression with which pliants on either side ; these latter recall the saints
the Virgin and her companions seem to be rushing and donors so constantly introduced in altar frescoes,
through the world, radiating forth purity, faith, hope, yet they are thoroughly modern in treatment,
and love, as they go. In Caritas, which, for the present at least,
In 1894, the artist's chief work was the finely closes the series of religious pictures, the figures
conceived mural decoration in the Bowdon College, are the same as those in Florence, though the pose
is slightly different. Stand-
ing against a background of
green vines, in her gracefully
falling Greek robes, the
maiden who symbolises
Charity, or rather love,
stretches out her beautifully
moulded arms over the
charming nude children, who
seem rather to balance and
support the central figure
than to need any help from
her, so chubby and firm are
their rounded limbs, so full of
happiness their baby faces.
Abbott HendersonThayer,
the son of Dr. WilliamThayer,
was born in Boston, U.S.A.,
in 1849, and was brought up
at Dorchester, a little village
near his native city, where
he remained until he was
eighteen, leading a happy
unconventional life, and win-
ning a familiarity with nature
which has stood him in good
stead in his art career. He
began to draw and paint
before he was ten years old,
and some of his studies of
birds at that early age were
very true to life. From the
age of fifteen to eighteen he
was a day pupil in the Chan-
cery Hall School at Boston
'brother and sister" from a painting by abbott h. thayer but he worked between
(By permission of Messrs. Curtis and Cameron, New York) whiles at painting, receiving
252