New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-03-01
MR.. ABBEY'S EXHIBITION.
THE BOSTON LIBRARY DECORATIONS AND
SOME, OTHER WORKS.

A., Galleries he nuts before the puDhc the nrst
half Of his work for the Boston building II com
nrises five large canvases. illustrating as many
en,sodcs In the Arthurian legend OF the quest OF
49, nj, croil which has been chosen as the sub
.ac, tor tho entire series With these decorations
arc exhibited two smaller oil paintings and group
., some three dozen pastels Casting loose for the
,,,,. benr from the black-and-white mediums in
n,b,cb his most familiar work has been done. Mr..
Abbey stands forth an accomplished master OF two
,ob,ces OF expression for which he has never be-
fore shown his gifts in such considerable measure.
There is perhaps other element in the work
shown at the American Art Galleries more refresh
ing and delightful than this one OF authority, OF
nature and finished art. Color fancy. picturesque
ness, facity-Mr Abbey has all OF these. but he
inspires admiration for the constructive skill
and the self-possession which have gone to the
moulding Of these qualities into symmetrical de-
signs. Unity of design is after all the virtue with
out which an artist is quite impotent and as de-
sgner Mr.. Abbey surpasses himself upon this aus
pcious occasion.
AS the library decorations now hung. near
the floor and in a small ROOM their full and proper
effect must be apprehended partly through the
eyes and partly through the imagination 1t VIII
be pleasant 10 return to them when they nave
reached their final destination But justice ca"
even now be done to many Of their good quahties
and most o. all 10 that central merit 10 WHO"
allusion has Just been made No change OF iocus
is necessary for the consideration or the oeslsh
elaborated in each one OF these large canVases
In each case the originality OF the conception IS
felt. Its pcturesqueness and its precision OF oai-
ance The very first fragment prociaims Mr.. Ab-
bey's soundness OF composition II represents the
appearance OF an angel to Galahad in his In
fancy the celestial visitant drifting into a room
accompanied by doves and a sacred effulgence and
beamng down upon the babe uplftcd in the hands
OF a nun. The three figures outlined against
fat wall. covered with conventional ornament
IN blue and gold. The pose Of the design is perfect
Simple and artless he group fills the space with
admirable grace and smoothness The expression
IN details may perhaps be adversely criticised. but
we refrain from comment the personality OF the
nun and the angel upon the character OF the sa-
cred light hrou sht by the latter into the room.
Ill the work is in place and Mr.. Abbey's broad eX
ecution acquires it's full value 1t is sufficient TO
point now the excellence OF the design and the
harmony achieved in handling vivid even brill
liant. colors. This color charm will be noticed with
pleasure everywhere There is nothing to show. In
this direction that Mr.. Abbey has been working
continuously for many years in black and white
He is as fresh, coplous and tasteful as though
he had concentrated his talents upon color for
years. But 20 return to his faculty OF design. In
the second panel II deals with the fastening on o.
Galahad's spurs in clostra privacy. the knight on
his kI,ess before the altar, while Bors and Lancelot
affix the steels and the stand over them in
ranks that appear almost Shostly under the reddish
artifce. but tells clearly, mpressively, upon the
Imagination. In The next scene the artist has a
more difficult theme and many more figures to
handle but he comes triumphantly from the test
IL It is witnessed the reception OF Galahad at the
court OF Arthur and his march to the seat peril
GUS" the kings throne. under the guidance Of
Joseph OF Arima thea. who is wrapped in curious
white robes The immense hall is filed with
knights. whose passionately inqusitive faces and
eager hands. with swordhilts upheld seem in wild
contrast 10 the placid circle Of angels swayng in
mid-ar above the excited assemblage. Here the
canvas is crowded. yet tho significance OF Gaahad.
OF Arthur of Joseph. is never forgotten. and the
numerous figures balance each other with deli
cacy which might be called academic were not
the romantic spirit OF the work whole leagues
away from any such quality. Note in passing
the attitude OF tho frightened jester who crouo hes
behind Arthur's seat Tia, offers good illustra-
ton Of Mr.. Abbey ~ sense OF relations his tact
in placing @~essential JUS; that point. but
not 10 share ZOO generously in the prominence
given the leading actors
. The fourth painting shows Galahad and his
companions On their knees in church and receiving
the benediction they depart on their ques; for
the Grail II Is as woll built 80 "a its preleces-
sors. and the last composition thus far com.
pleted In the series representation Of the numbed
court Of Amfortas where Galahad through his
worldly faint. Just falls short Of accomplishing
his first great action. tae redemption Of the Kin;
and his follow from the spell under which they
lie. 1t is splendid pageant which IS unfoldei IN
this brief succession OF pictures splendid IN each
stage and whole. and both IN its details and
the ensemble Mr. Abbey has displayed the large
manner. the strict sense OF proportion, the stately
decorative styl- which belongs 10 the highest
school OF mural painting. His archaeological
taste is rich and fertile. yet never leads him into
any excuses Of mere furnishing and surface en-
bellishment Much pains. Infinite labor indeed, is
n "a b.en p, I'm be =.
SORES and costumes yet neither interest has been
allowed TO press unduly upon the essential motive
developed. which motive is the romantic life and
movement OF Arthur's misty time. Long as the
eye may dwell upon the armor and dresses. deep
~ fascinated as you may be by the pure spectacle
presented the vision, It is the Imagination
which is most excited and it is the sense OF
Old unhappy far-oH things.
And battles long ago.
20 which Mr. Abbey chiefly ministers HIS color
is lavish and superb. his technique is broad and
flowing. and gives impression Il frmnoss,
soidity. But il is because ne has Put all these
things at the service OF beautiful conception and
has produced a set OF animated. eloquent designs.
that the present exhibition is really bic.
IL Is imaginable that some beHolders viii lind his
designs triie pictorial than decorative. II
might be urged that mural painting demands
more massive. sculpturesque method than he has
employed. Yet, believe these observations are
!usthably anticipated by a further reminder that
the work har still TO be seen In its natural
setting. and until the proper time arrives it is
wiser to leave the matter untouched or approached
tut briefly. In so far az Judgment can be
formed 1t is in favor OF Mr. Abbey'3 treat
ment Of his problem There is nothing crowded
or horated in his paintings. and their anal
enect is awaited with equanimity. They make
every promise OF shedding the utmost distinction
upon Mr abbey and upon American art Ger
leihIy there has been no work Of similar cAar-
scser undertaken in this country which has In
Spired al similar stage more absolute confidence.
an a. mas been said above. Mr.. Abbey wins iInme-
,SnN belief in his capability. faith In the
sn .nougnness and depth Of his art complete rel-
nras., Upon hs mastery. He leaves just that Inn
pne,sn OF sympa thetic Interpretation, aided BY
1erivcd "Hasliation and practised hand, which Is
ines. ~ "'H' Vi MS oHdhcspeai'dh "'H"
Ierv co on ana pasteis assembled IN the upper gal
dncora,1om,"i the judgment invited by the large
cntbmsasrS' ana ,n they excite possibly little more
n,i n louch the emotions a little more al
IectIy and lendery. This is because in his smaller
veys Tho cbsr ,ooey rs necessarily lyric con-