Twenty-Five Years of Scribner´s Magazine
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| Stand: | 2015-08-04 03:50:33 |
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Excerpt from Twenty-Five Years of Scribner´s Magazine: Three Famous Contributors When Abbey sent to America, in 1908, the eight mural decorations he had then completed for the State Capitol, in Harrisburg, he himself addressed the huge packing ease containing them. He sent them to "The Commonwealth of Pennsylvania." In imagination I can see him hovering over the box. brush in hand, half humorously taking pains with his lettering, but setting forth the words just cited with a kind of affectionate gravity, as though even in this trilling matter he would rentier tluc honor to his native State. The episode is, indeed, usefully illustrative. These paintings of his. a later group of which is traversed in this paper, have a meaning apart from their artistic character. We arc forbidden to mix patriotism and art, lest we breed a most unprofitable confusion of ideas, but sometimes the two elements are so felicitously intertwined that we would not separate them if we could. Abbey loved Pennsylvania and its history, and it is in no wise sentimental to think of his work for Harrisburg as promoted by a genuinely patriotic enthusiasm. When he undertook it he was not concerned merely to cxccutca commission, but to pay tribute to his countrymen; and this isonly another way of saying that he was passionately interested, astateof mind not by any meansas common inthchistoryof modern mural decoration as one would naturally take it to be. The painter called upon to till a given space necessarily gives his first thought to the puicly decorative aspects of his problem. Since lie must lay his theme upon a more or less Procrustean bed, it is not surprising that in some cases he ends by leaving the theme to take care of itself, a colorless affair of academic types and symbols, subordinated to conventions of design. The result is alxjut as thrilling as a geometrical diagram. To be saved from this the artist needs nothing so much as a tingling, living interest in the substance as well as in the form of his work. There is a story of Vasari´s which is apposite here. It relates to Ghirlandajo, Abbey´s Renaissance prototype in decorative narration. The old Florentine was an eager business man, who thought that no job was too small (0 be accepted in his Qottego. But as he got more and more authoritatively into his stride the artist in him snuflcd the finer airs of battle and he Hung sordid motives and obligations upon the shoulders of his brother David, "lycavc me to work and do thou provide´ he said, "for now that I have begun to get into the spirit and comprehend the method of this art I grudge that they do not commission me to paint the whole circuit of all the walls of Florence with stories." Vasari tells in this illustration of "the resolved and invincible character" of Ghirlandajo´s mind, ami as showing the pleasure he took in his work. That was like Abbey. He was in love with his work and his themes, and Harrisburg was his Florence. It is said that when there was some temporary uncertainty as to the funds available for part of his decorative scheme he hastened to assure the authorities that it would nevertheless be carried out by him, even if he had to finish some of the panels without any remuneration whatever. I can well believe it. Thus he would have discharged a debt of gratitude. He was born in Philadelphia, on April 1st, 1852. He was educated there. At the Pennsylvania Academy of Fine Arts betook the first steps in his artistic training. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
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