HE ALWAYS TAKES PAINS.
“It is well known that you spend much time in preparing the subjects of your paintings,” I said, “but there aren’t many artists who worry about the technical details as you do.”
“I won’t say that I worry about them,” replied Mr. Abbey. “An artist should study for his profession just as a man should prepare for the law or medicine, and should never consider that natural ability is all that he requires for success. He should have a knowledge of architecture and sculpture as well as of the principles of drawing; in short, he should carefully learn what may be called ‘the grammar of his profession.’
“When I am to paint a subject which is mythological, I am at pains to absorb the atmosphere of the period, and to learn something of the geography in which the legendary figures moved. I visit the scene of the story, obtain every picture which will give me a knowledge of the dress of the period, and I am not satisfied until I have exhausted every possible source of information. It is well known that Sir Frederick Leighton constantly refreshed his mind and memory by visiting the classic scenes of his paintings.
“Some artists have been known to go so far as to paint a scene as an artist living in the period of the story would have painted it. I regard this as rather extreme. It is well to have the details perfect, but modern art has some advantage of technique and color which are not to be despised. I would not have you believe that technical efficiency is the greatest essential in an artist’s qualifications, only it is a valuable asset when added to natural ability and earnestness of purpose.”