A remarkable exhibition at London's National Gallery is showcasing the extravagant preparatory works for one of America's most ambitious artistic projects. Edwin Austin Abbey's studies for the Pennsylvania State Capitol murals offer a fascinating glimpse into how the United States used art as a tool of soft power during its industrial heyday.
The Dawn of American Opulence
Visitors to the National Gallery can now witness Abbey's magnificent 12-foot wide study for The Hours, a circular ceiling painting that dominates the Pennsylvania state capitol building. Created between 1909 and 1911, this breathtaking work features twenty-four figures representing the hours of the day, depicted in various states of undress against a deep lapis blue background sprinkled with golden stars.
The exhibition reveals how Pennsylvania, flush with industrial wealth and natural resources following the 1897 fire that destroyed its original statehouse, commissioned Abbey to create artworks that would announce America's arrival on the world stage. The artist, though American-born, had built his reputation in Britain before answering what the exhibition describes as "the call of the motherland."
Art as Political Statement
This collection of studies demonstrates how art has historically served as an instrument of state propaganda. The lavish use of gold leaf and classical imagery represents what curator notes describe as "cultural muscle flexing" - a deliberate display of wealth and power through artistic expression.
The Hours particularly embodies this approach, with its European-inspired symbolism amplified to American proportions. The work recalls influences from Odilon Redon to Gustav Klimt, but executed with what appears to have been an unlimited budget.
Contemporary Resonances and Limitations
The exhibition prompts interesting comparisons with modern displays of power and wealth. As the wall text suggests, the gold-encrusted aesthetic finds echoes in contemporary political styling, notably in Donald Trump's interior design preferences.
However, the display of preparatory works rather than finished pieces presents certain challenges. The six studies shown alongside the main piece, including a smudgy composition featuring American heroes like Daniel Boone and Benjamin Franklin, leave visitors curious about the final murals. The rough nature of these studies, while understandable given their purpose, somewhat undermines the exhibition's attempt to restore Abbey to his rightful place in art historical memory.
Despite these limitations, Edwin Austin Abbey: By the Dawn's Early Light provides a compelling look at how nations have used art to project power across centuries. The exhibition runs at the National Gallery from 20 November to 15 February, offering London audiences a rare opportunity to see these significant works from American art history.
