Abbey, Edwin Austin (b Philadelphia, PA, 1 April 1852; d London, 1 Aug 1911). American painter and illustrator, active in England. He began his artistic training in 1866, studying drawing with the Philadelphia portrait and landscape painter Isaac L. Williams (1817–95). In 1868 he attended evening classes in drawing at the Pennsylvania Academy of the Fine Arts underChristian Schussele (?1824–79). In the same year Abbey began to work as an illustrator for the Philadelphia publishers Van Ingen & Snyder. In 1870 Harper’s Weekly published the Puritans’ First Thanksgiving, and in 1871 Abbey moved to New York to join the staff of Harper & Brothers, thus inaugurating his most important professional relationship. Throughout the 1870s Abbey’s reputation grew, both for his detailed exhibition watercolours and for his elegant line drawings, which, translated to wood-engravings in numerous periodicals, illustrated both factual and fictional events of the past and present. The influences on him were mainly English, in particular the works of the Pre-Raphaelite Brotherhood and illustrations in the English press, which he studied avidly. The success of his illustrations to some of Robert Herrick’s poems, such asCorinna’s Going A-Maying in Harper’s New Monthly Magazine (May 1874), prompted Harper & Brothers in 1878 to send Abbey to England to do a complete series of drawings for an illustrated gift-book, Selections from the Poetry of Robert Herrick (New York, 1882). On his arrival in England, Abbey found his spiritual home, and except for a few trips, he never left. Abbey, a small, handsome, athletic man, had a genius for forging long-lasting and often profitable friendships. In 1877 he helped to found the TILE CLUB, which included among its members the architect Stanford White, Augustus Saint-Gaudens and Winslow Homer, whose activities resulted in gift-books and lengthy magazine articles. Abbey’s most intense friendship was with the English landscape painter and illustrator Alfred Parsons (1847–1920). The two artists shared studios and gallery exhibitions, travelled together widely and collaborated on several projects, most notably the gift-books Old Songs (New York, 1889) and The Quiet Life (New York, 1890). Abbey derived much of the inspiration for these from his long sojourns in the English countryside, especially, from 1885 to 1889, as one of the central figures in the artists’ colony at Broadway (Hereford & Worcs), along with Parsons, Frank Millet (1846–1912) and John Singer Sargent. Edwin Austin Abbey: The Queen in Hamlet, pastel on paperboard,…Abbey undertook illustrative commissions throughout his life (his illustrations to Shakespeare’s plays being especially noteworthy,see fig.), but from 1889 on he devoted more time to mural projects and oil paintings. In 1890 he sent his first major oil, May Day Morning (New Haven, CT, Yale U. A.G.), based on one of the Herrick illustrations, to the Royal Academy Summer Exhibition, where it was favourably received. Until 1910 Abbey exhibited there frequently, and he was elected ARA in 1896 and RA in 1898. His exhibited works were usually based on Shakespearean, troubadour or Renaissance themes. Large and richly coloured, the paintings reflect Abbey’s fascination with the stage, particularly in the arrangement of the figures, their poses and sumptuously coloured costumes (Abbeydesigned the costumes for John Hare’s Tosca (1889) and Sir Henry Irving’s Richard II (1898), among other productions). Although he received many honours and awards, the signal event ofAbbey’s career was the commission in 1902 to paint Edward VII’s coronation (London, Buckingham Pal., Royal Col.). The major projects of Abbey’s later life were commissions for murals. He decorated the delivery room of McKim, Mead & White’s Boston Public Library with a 15-panel series (1890–1901) based on the Quest for the Holy Grail . Works for the Royal Exchange, London, and other commissions followed. In 1902 Abbey began the decorations for the Pennsylvania State Capitol at Harrisburg. An allegory of the state’s history and its resources, Abbey’s work here departed from the schematic narrative of his other murals and adopted a full-blown rhetorical style related to the work of Kenyon Cox and Edwin Howland Blashfield. Bibliography E. V. Lucas: Edwin Austin Abbey, Royal Academician: The Record of his Life and Work, 2 vols (London,1921) Edwin Austin Abbey (1852–1911) (exh. cat., ed. K. A. Foster and M. Quick; New Haven, CT, Yale U. A.G.,1973) M. Simpson: ‘Windows on the Past: Edward Austin Abbey and Francis Davis Millet in England’, Amer. A. J.,xxii/3 (1990), pp. 64–89 M. Simpson: Reconstructing the Golden Age: American Artists in Broadway, Worcestershire, 1885 to 1889(diss., New Haven, CT, Yale U., 1993) Unfaded Pageant: Edwin Austin Abbey’s Shakespearean Subjects (exh. cat. by L. Oakley, New York, Columbia U., Miriam & Ira D. Wallach Gal., 1994) Marc Simpson Marc Simpson. Abbey, Edwin Austin. Grove Art Online. Oxford Art Online. Oxford University Press. Web. 22 Apr. 2014. .
Posted on: Tue, 22 Apr 2014 02:56:07 +0000
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