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Press Room

4/20/1999

First Retrospective in Thirty Years Celebrates Abbott Handerson Thayer
Tipper Gore, Wife of the Vice President, Is Honorary Patron

Contact: Smithsonian American Art Museum's Public Affairs Office AmericanArtinfo[at]si.edu
American Art's Web site: AmericanArt.si.edu
.Recorded information: (202) 633-8998

"Abbott Thayer: The Nature of Art," a major exhibition celebrating the 150th anniversary of the birth of Abbott Handerson Thayer (1849–1921), opens April 23 at the Smithsonian's Smithsonian American Art Museum. The exhibition—the first in thirty years to examine the work of this prominent and highly influential figure in American art, famous for his images of angels and his eccentric personality— runs through September 6.

Tipper Gore, wife of Vice President Al Gore, is Honorary Patron for this exhibition. The official Washington residence of the vice president was built in 1893 and since the Gores moved in has been decorated with art and photography from America's Gilded Age. "The Gilded Age is one of my favorite periods," said Mrs. Gore. "Living in a Victorian home built in that period has given me deeper appreciation for Thayer and his contemporaries."

"Angel" (1887), one of the most popular paintings in the permanent collection of the Smithsonian American Art Museum, is a highlight of the exhibition. It appeared on the cover of Time magazine's December 27, 1993, issue. "Caritas" (1894–95), an important early image rarely seen outside the Museum of Fine Arts in Boston, is also featured among the sixty-one works in the show.

"Thayer's art combines Renaissance idealism with a modern concern for science," said Elizabeth Broun, director of the Smithsonian American Art Museum. "He shows us how America in the Gilded Age was poised between a reverence for past traditions and a new empirical approach."

"The Nature of Art" presents paintings, watercolors, drawings, and studies. The exhibition is arranged in four sections: "Portraits and Self-Portraits" traces Thayer's style from elegant early portraits to later psychological studies; "Ideal Figures" highlights Thayer's best known paintings of allegorical women; "Landscapes and Mount Monadnock" shows Thayer's vision of landscape as a powerful presence; "Still-Life and Protective Coloration Studies" reveals his observations of detail and design in nature.

Thayer's introduction to the traditions of the Italian Renaissance and its classical ideals began with academic training in Paris under Jean-Léon Gérôme at the École des Beaux-Arts. Returning to New York in 1879, he established a successful career painting society portraits. His later portraits develop beyond likeness into the psychological examinations that would increasingly occupy him. "The Sisters" (1884), a double portrait of Clara and Bessie Stillman, hints at a complex familial relationship in the unusually close placement of their bodies and their pensive expressions.

The illness and death of Thayer's beloved wife, Kate Bloede, inspired a new direction in his art. In the late 1880s, as her tuberculosis and depression worsened, he began painting their three children in classically inspired compositions that depict them as embodiments of perfection. Thayer's idealism was influenced by Ralph Waldo Emerson's transcendentalist writings and the concept of an ideal world existing beside the material world.

Thayer painted the first of his protective winged figures, "Angel," a luminous portrait of his eldest daughter Mary, when his wife was first hospitalized in 1887. In "Virgin Enthroned," painted in 1891 after his wife's death, Thayer's daughter appears as a Madonna watching over her siblings. Thayer often created large-scale paintings that served symbolically as "guardian angels." His homage to the writer Robert Louis Stevenson, titled "Stevenson Memorial" (1903), features a pale brooding figure enveloped by darkness, seated on a rock marking Stevenson's grave. "Angel of the Dawn" (1919) celebrates the vitality of the New England coast, where Thayer helped establish a bird sanctuary; "Monadnock Angel" (1920–21) commemorates his active role in Mount Monadnock's preservation as a state park.

"Thayer is a curious double figure, a man of extremes and contradictions," said Richard Murray, senior curator at the Smithsonian American Art Museum and organizer of the exhibition. "He embodied elegance and rusticity, enthusiasm and depression. The "Stevenson Memorial" brings together much of his thinking about the polar extremes of darkness and light, symbolizing the coexistence of madness and sanity and good and evil that were found in some of Stevenson's writings."

In 1901, after relocating his family to an artists' colony in Dublin, New Hampshire, Thayer cultivated a rough persona and became disdainful of social conventions. He and his family slept outdoors and kept wild animals as household pets. However, he remained connected to the world of art and ideas, maintaining a lively correspondence with contemporaries such as Samuel Clemens (Mark Twain), patron Charles Lang Freer, and Theodore Roosevelt.

While living in New Hampshire, Thayer's interest in the natural world expanded to include observations of animal camouflage, or "protective coloration." "Peacock in the Woods" (1907) illustrates Thayer's ideas of nature as an artist using color and shadow to disguise animals in the environment. With his son, Gerald, Thayer published his theories in Concealing–Coloration in the Animal Kingdom (1909). He also promoted the idea of camouflage for soldiers and ships during World War I.

In the 1880s Thayer began exploring less traditional working methods, leaving areas of the canvas exposed. Increasingly, he created heavily brushed, almost abstract areas of paint, sometimes using a palette knife. He used unconventional means to manipulate paint; he sometimes applied paint directly from the tube, or brushed the paint surface with a broom. He might work on a single canvas for years, adding paint and scraping it away until he had captured the essence of his subject.

Thayer's deliberately unfinished canvases allow the viewer to experience the painting's creation. "Thayer is working with the modern notion that the key to understanding his paintings is in the process of their creation, an idea that is found in the thinking of the abstract expressionist ideas in the 1950s," said Richard Murray.

The Smithsonian American Art Museum is undertaking the first detailed technical examination of Thayer's work. Initial x-rays and infrared photographs of the museum's collection reveal different compositions and multiple signatures beneath the visible layer of paint. This new information will be used by scholars to establish relationships among paintings and will lead to new interpretations of Abbott Thayer's work.


Online exhibit:

For art lovers who cannot travel to Washington, D.C., this summer, a virtual exhibition is available through the Smithsonian American Art Museum's Web site here.


Credit:

The exhibition is supported by the Pearson Art Foundation—Gerald L. and Beverly Pearson; the Homeland Foundation; the artist's great-grandchildren Margaret Hyland, John Plunket, Kathy Versluys and Elizabeth Riviera; David Hudgens; the Rosse Family Charitable Foundation; Mr. and Mrs. Willard G. Clark; the Dublin Historical Society; numerous individual contributors; and the Smithsonian's Special Exhibition Program.


Publications:

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The summer issue of the museum's journal, American Artwill include an article titled "Abbott Thayer's 'Stevenson Memorial,' " by senior curator Richard Murray. The summer 1997 issue, featuring the article "Vanishing Americans: Abbott Thayer, Theodore Roosevelt, and the Attraction of Camouflage" by Stanford University Professor Alexander Nemerov, has been reprinted for the exhibition. Copies are available for $15 (members $12) through the museum shop; call (202) 357-1545. To subscribe to the journal, call (202) 357-4647.

The Smithsonian American Art Museum, the first federal art collection, is located in the Old Patent Office Building at Eighth and G Streets, N.W. in Washington, D.C. above the Gallery Place Metrorail station. Museum hours are from 10 a.m. to 5:30 p.m. daily (closed December 25). Admission is free. For more information, call (202) 357-2700; (202) 786-2393 (TTY); (202) 633-9126 (Spanish recording).

Luce Center for American Art
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