Richmond Palladium (Daily), Volume 38, Number 30, 14 December 1912 — Page 7

THE RICHMOND PALLADIUM 1M' SUX-TELEGR A31 - SATURDAY DECEMBER 14, 1912.

FAUC SEYEA.

HOLY GRAIL" PRINTS ON EXHIBIT

The Reproductions of These Famous Paintings by Abbey Can Be Seen in the Public Art Galleries which Will Be Open on Sunday Afternoon.

BY ESTHER GRIFFIN WHITE. We hear a lot about the "Quest of the Holy Grail." And of the Arthurian tales. Of Sir Galahad, of Launcelot and Elaine. We vaguely feel that it has to do with the days of chivalry and knighthood and of the long ago. We remember to have read Tennyson's poem. But it is shadowed forth indefinitely. The man who has concretized this for use more positively perhaps than has anyone else, however, is Edwin Abbey. Abbey, the great American artist, long resident in England, who took the Arthurian legend for the subject of his series of mural pictures for the Boston Public library. No doubt many persons in this city have seen the originals in that building. Splendid paintings in the grand manner and of hypnotic richness of color. These aro among the now famous mural paintings of the, world. In the course of time they will be known as well as Is the Sistine Madonna. The story of the Holy Grail is too well known to repeat but Abbey's paintings illustrate that recorded by Sir Thomas Malory. "The Holy Grail," is the cup or receptacle from which Christ drank at the Last Supper. And Sir Galahad, son of Launcelot and Elaine, and a descendent of Joseph of Arimathea who took the cup and held it by the cross the while Christ's blood dripped into its bowl, was destined to find and restore it. To those who have not seen the originals, and Indeed to those who have, the, Curtis-Cameron prints now on exhibit in the public art galleries will be Interesting. These prints given an excellent conception of the originals. The latter, Indeed, lend themselves very readily to the color printing process from their warm, rich tone. Red predominates. The robe of Sir Galahad is red symbolizing purity the purity of experience and not Ignorance. And this color Is woven in and out of the fabric of the story and its painted presentation like the motif in a Wagnerian musical epic. The pictures are, indeed, epic in character. And irresistibly remind of the presentation of "Parsifal," whose story follows the spirit of the Arthurian legends. Abbey was one of the greatest artists this country has yet produced. Ills art was a delicate and refined one and was at its apogee in his illustrations of the Shakesperean dramas. As a draughtsman he was superb. And as a colorist inimitable. In viewing these prints one should bear in mind their raison d'etre. Or, rather, the purpose for which the originals were painted. The art of the mural painter is not that of the easel. The one decorates great wall spaces whose , architectural environs must be considered in the painter's conception. The other is confined to the canvas, which, no matter what size, is small in comparison. Abbey was not, as Puvls de Chavannes the . great French artist whose decorations are also to be

found in the Boston Public library primarily a mural painter. For Chavannes was seen at his greatest climax in this phase of the painting art. And he is without a peer among his contemporaries and indeed, among his predecessors. At least he will hold his own with the greatest of the older masters. But Abbey's genius was so supreme that it could be adjusted to any manifestation of his art. It was catholic, fluid, versatile and possessed that universality which is the acme of artistic creation. It is this which makes his interpretation of Shakespeare's immortals so appealing. Little as we may recognize it, it is nonetheless true that our impressions of the personalities of the great dramatist's characters have been derived from Abbey's bodying forth. It is apt to be his Portia, his Hamlet, his Othello, his Viola, his Sir Toby, his Petruchio that we vizualize in our fancy. Although we may believe them to be the emanations of our own imaginings, attached to the Shakesperean text, or the fixed impression ta ken from the interpretation of some great actor. But in the latter instance, we have Abbey's conception handed down to us through externals. That is, the character is costumed and posed, at certain intervals of course, as is the Abbey model. It is often thus with the public. The thing we fondly fancy is our own is more frequently than not a sort of composite of a thousand impressions, half-vizualizations, traditions, other people's ideas what not! We rarely create our own at first hand. This is more or less an impossibility, or an improbability, since we are a thousand incarnations odds and

'ends of preceding personalities, an injherited trait here, an ineradicable tenIdency there, a rag-bag, a crazy quilt,

FREE TO THE

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a scrap-basket of tag ends that have been projected down the ages. We are not ourselves. No individual is a fresh unit. We cannot establish a fixed center round which personality will revolve. To return to Abbey's "Holy Grail" pictures: The spectators should never forget that these were originally painted as a mural decoration. And that. therefore, the brushwork is more formal, the figures more detailed, than if intended for the' 'easel. In other words, a mural decoration must be considered in its relation to the flat spaces whose hiatuses it fills. In these prints, and in the originals, you will see little of that careful vagueness which is lumped anomalously under the name of "impressionism" by the philistines. The outlines are definite. The figures unmistakably posed. For these pictures are first of all, decorations. Not detached painted records. They must, therefore, be primarily considered from the standpoint of the decorative before they can be understood. Understood as painting. Not as the medium through which a story is told. It Is, of course, in the latter aspect that they are and will be regarded by the majority, who look for the "story" in everything. And do not examine into the latter's mechanics. For the Arthurian legends are fascinating. And Sir Galahad an ideal.

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