216.53 x 140.33 cm (85 1/4 x 55 1/4 in.)
Oil on canvas

Inscriptions: Lower right: Abbott H. Thayer

Classification: Paintings

On view in the: Ruth and Carl J. Shapiro Colonnade

Abbott Handerson Thayer was one of the best-known artists in the United States during the 1890s. His art, often inspired by the Italian Renaissance and classical antiquity, fulfilled the aspirations of a country seeking to establish itself on an international stage as the new Rome. With large public buildings in classical styles, with murals, and with allegorical representations like Caritas, American artists created an image of strength and confidence that came to be called the American Renaissance.
Thayer first studied painting in Boston and Brooklyn, then traveled to Paris in 1875 to train at the prestigious Ecole des Beaux-Arts. He based his career in New York, but produced much of his work in the summer studios he kept, first in South Woodstock, Connecticut, and then in Dublin, New Hampshire. The model for the main figure in Caritas was Elise Pumpelly, daughter of a well-known Harvard geologist, who also summered in Dublin and posed frequently for Thayer. The artist idealized her by dressing her in a classical Greek chiton, using its long columnar folds to give the impression of stability and strength. The two children, innocent and trustful, seem embodiments of natural purity. The setting is enlivened by Thayer's opalescent strokes of paint, flickers of light green and blue that seem to vibrate with the freshness of spring.
An intensely spiritual man, Thayer sought to imbue his paintings with the moral principles of his age, hoping to communicate such abstract ideals as virtue, beauty, and truth. In 1893 (along with Elihu Vedder and John LaFarge), Thayer had been commissioned to paint a mural for the art museum at Bowdoin College, an allegorical composition symbolizing the city of Florence. That mural, depicting a winged woman with outstretched arms that protect two children, may have inspired Caritas. The image was a traditional representation of the virtue Charity (caritas in Latin), and the title became associated with this painting when it was first exhibited in Philadelphia in 1895. Thayer later wrote to the MFA asking to change it, explaining that he felt "Spring" or "Morning" would be more appropriate; in 1899 he wrote again, telling the Museum's president that he detested the picture and asking to trade it for another.
Despite the artist's continued protestations, Caritas was highly admired from the time of its first exhibition and won a large prize in Philadelphia. When it was first shown in Boston in 1897, a group of local painters and collectors raised the funds to buy Caritas for the MFA. They admired it intensely and explained that they felt it was of utmost importance that the finest modern works by America's leading contemporary artists should be represented in the Museum's collections.

This text was adapted from Davis, et al., MFA Highlights: American Painting (Boston, 2003) available at www.mfashop.com/mfa-publications.html.

Museum of Fine Arts, Boston

Warren Collection—William Wilkins Warren Fund and contributions, 1897
Accession number: 97.199

Provenance/Ownership History: The artist; to MFA, 1897, purchased for $8,000 through Paint and Clay Club.

This object is included in the following Selected Tour(s):

• American Paintings
• American Paintings Highlights
• MFA Images: Motherhood
• MFA Images: Women in Art