Abbott Handerson Thayer's work can be viewed in several locations. In the United States, these include the Metropolitan Museum of Art in New York; the Los Angeles County Museum of Art (LACMA); the Minneapolis Institute of Arts; the Museum of Modern Art, also in New York; the Virginia Museum of Fine Arts in Richmond; the Hirshhorn Museum and Sculpture Garden in Washington, DC; the National Gallery of Art, also in Washington; the National Museum of American^[1] Art, again in Washington; the Philadelphia Museum of Art; the Yale University Art Gallery in New Haven, CT; and the Charles Hosmer Morse Museum of American Art in Winter Park, Florida. Outside the United States, Thayer's art may be viewed at the Royal Ontario Museum in Toronto.

Abbott Handerson Thayer is best known for his paintings, particularly his idealised figures of women and children and his innovative depictions of protective camouflage in nature. Prints after his works, while not as numerous as his paintings, offer a more accessible way to engage with his artistic vision. Many of Thayer's prints are photogravures, a process that captures the subtle tonal variations of his paintings. These prints often feature his most popular subjects: angelic women, often with wings, and children in classical poses. They reflect his interest in beauty, spirituality, and the idealised form. It is worth noting that Thayer was very particular about the reproduction of his art. He closely supervised the printing process to ensure the prints accurately represented the colours and details of his original works. This makes them desirable to collectors. When examining Thayer's prints, look for the quality of the printing, the clarity of the image, and any signs of fading or damage.

The importance of artists like Abbott Handerson Thayer can be understood by examining the cultural shifts that have occurred since his time. A century ago, occultism and esoteric traditions were supported by the upper classes; figures such as Sir William Crookes, Victor Hugo, and Sir Arthur Conan Doyle were among the fervent subscribers to these beliefs. Today, however, occultists are often disparaged by the upper classes, including art critics and historians. Since World War I, the cultural prestige once enjoyed by occultism has been largely forgotten, along with its effects on the arts. This shift in cultural values means that we must be cautious about imposing postmodernist expectations on early modernist values. By understanding the historical context in which Thayer worked, we can gain a deeper appreciation for his artistic choices and the cultural forces that shaped his work.

Information about Abbott Handerson Thayer's specific techniques and materials is not available in the provided texts. However, the passages do discuss the techniques and materials of some contemporary British artists. J.M.W. Turner, a generation earlier than Thayer, was initially a watercolourist, developing techniques he later used in oils. His early watercolours featured transparent washes over white paper, reserving highlights. He mixed browns and blues to create greens. Turner used white grounds for luminosity in his oil paintings, a practice that became more common among British artists after 1820. James McNeill Whistler, a contemporary of Thayer, favoured texture in his work. From the 1880s, he often used small panels for sketching street scenes, seascapes, and figure studies. For larger works, he preferred canvas to maintain texture, sometimes applying thin grounds. Whistler often used a light grey imprimatura of oil paint on top of the ground, allowing him to paint directly. After 1871^[1], he increasingly used darker grey, exploiting the ground to develop chiaroscuro effects.

It is difficult to identify specific artists directly influenced by Abbott Handerson Thayer. Art history texts tend to focus on influences upon Thayer, rather than those he influenced. However, considering the broader context of American^[1] art during Thayer's time provides some insight. Mark Rothko noted that American artists of the period often emulated European styles. He cites John Singleton Copley and Gilbert Stuart, who emulated their British contemporaries. Rothko also mentions Benjamin West, who painted American historical scenes in the style of French painters like Jacques-Louis David and Jean-Auguste-Dominique Ingres. Rothko further observes influences from the Munich school and the British tradition in artists such as Fuller and Morse, Thomas Eakins, Frank Duveneck, and William Merritt Chase. Winslow Homer was seemingly influenced by Eakins, and George Bellows is considered a descendent of Chase. These artists, along with Albert Pinkham Ryder, contributed to an American artistic tradition, despite their varied influences.

Abbott Handerson Thayer's artistic development involved influences from several sources. As a student in Paris during the 1870s, he was exposed to academic training. He studied at the École des Beaux-Arts, where he learned the established techniques of figure drawing and painting. Thayer admired the Old Masters, particularly Diego Velázquez. Velázquez's approach to realism and his subtle handling of colour had an impact on Thayer's portrait style. Thayer also appreciated the work of painters like Jean-Auguste-Dominique Ingres. In the United States, Thayer was part of the artistic circle that included painters such as George de Forest Brush and Dennis Miller Bunker. These artists shared an interest in classical ideals and figure painting. They encouraged one another's artistic explorations. The American^[1] Pre-Raphaelites, with their attention to detail and naturalism, also resonated with Thayer's aesthetic sensibilities. His exposure to these different styles contributed to the formation of his own distinctive artistic vision.

Abbott Handerson Thayer is best known for his paintings of winged figures, often young women or children. These ethereal works blend classical idealism with a sentimental, American^[1] aesthetic. His most recognised painting is probably *Angel* (1889^[1]), also known as *Angel Holding a Lily*. It depicts Thayer's daughter, Mary, posed as an angel in a white gown and large wings. The work is part of the Smithsonian American Art Museum's collection. Thayer created several versions of this subject, and these paintings established his reputation for portraying idealised womanhood. Thayer's interest in angelic figures stemmed from his broader artistic concerns. These included exploring themes of innocence, purity, and spiritual beauty. He aimed to elevate the everyday, imbuing his subjects with a sense of timeless grace. While he produced portraits, figure studies, and some paintings of animals, his angelic figures remain his most popular and frequently reproduced works. They cemented his place in late 19th- and early 20th-century American art.

Abbott Handerson Thayer's artistic affiliations are complex, as his work incorporates elements of both the late Academic tradition and the emerging Aesthetic movement. He is best known for his paintings of idealized figures, often women with wings, set within atmospheric outdoor settings. These works display a preoccupation with beauty and symbolism that aligns with Aestheticism. However, Thayer also maintained connections to academic art through his emphasis on classical ideals and his meticulous technique. His approach to the natural world, while not strictly Impressionistic, shared an interest in capturing light and atmosphere. He was interested in simplification, or the translation of nature's complexity into readable shapes and patterns. Though he defied easy categorisation, Thayer's art represents a blend of traditional skill and modern aesthetic sensibilities.