Thursday, 12 July 2012

Thomas Eakins - part 4

This is part 4 of a 6-part post on the works of American artist Thomas Eakins. Parts 1 – 4 feature his paintings, parts 5 – 6 his photography. Thomas Eakins (1844-1916) was the most powerful figure painter and portrait painter of his time in America. For biographical notes on Eakins, and for earlier works, see parts 1 - 3.

c1897 Portrait of Jennie Dean Kershaw 
oil on canvas

1898 Salutat 
oil on canvas 127 x 101.6 cm

1898 Taking the Count 
oil on canvas

1898-99 Between Rounds study for The Timer (see below)

1898-99 Between Rounds 
oil on canvas

1899 Portrait of Mary Adeline Williams 
oil on canvas 61 x 50.8 cm

Mary Adeline Williams was a longtime friend of the Eakins family, a best friend to Eakins' younger sister Margaret, and a distant relation through marriage; she would later say that Thomas Eakins "was like a big brother to me." As early as 1867 Eakins took a protective interest in her, writing to his sister Fanny: "She is a pretty little girl & I guess just as good as she is pretty, or she belies her blood. We owe a great deal to her father & mother for their unvarying disinterested kindness to us....Try to make her welcome whenever she comes to town."

1899 The Wrestlers 
oil on canvas 122.9 x 152.4 cm

1900 Antiquated Music aka Portrait of Sarah Sagehorn Frishmuth
oil on canvas

1900 Frank Jay St. John 
oil on canvas 61.3 x 50.8 cm

This portrait of Frank Jay St. John (above) indicates the influence of Whistler's portrait of Carlyle (below) on a realist painter of a different sensibility:

Arrangement in Grey and Black No. 2 - Portrait of Thomas Carlyle by James McNeill Whistler 1872-72

1900 Mrs. Mary Arthur 
oil on canvas 61 x 50.8 cm

1900 Study for the Thinker (see below) 
oil on paper on wood 35.6 x 25.4 cm

1900 The Thinker, Portrait of Louis N. Kenton 
oil on canvas 208.3 x 106.7 cm

1901 Portrait of Leslie W. Miller 
oil on canvas

1903 Portrait of William B. Kurtz 
oil on canvas

1903 The Oboe Player aka Portrait of Benjamin Sharp 
oil on canvas

c1903 Mother (Annie Williams Gandy, mother of Eakins) 
oil on canvas 61 x 50.8 cm

1904 Charles Percival Buck 
oil on canvas 61 x 51 cm
1904 Portrait of Frank B. A. Linton 
oil on canvas
Frank Benton Ashley Linton (1871 – 1943) born in Philadelphia, was an American portrait-painter and teacher. He was an instructor at the Pennsylvania Academy of the Fine Arts. Likely, a closeted gay man, he lived with pianist Samuel Meyers (below) (I could only find a black and white reproduction) for more than 30 years.

On Saturday afternoons, accompanied by his wife Susan, Eakins would visit former student Frank Linton, who with Samuel Myers, put on musical performances in their home. Helen Parker described Eakins as so moved by a performance there that he sat in a corner and unashamedly sobbed.

1904 Portrait of Samuel Myers 
oil on canvas 61.2 x 51.1 cm

c1904 Portrait of William H. Macdowell 
oil on canvas 61 x 50.8 cm

c1906 A Singer (Mrs. W. H. Bowden) 
oil on canvas 61.9 x 51.7 cm 

1907 Dr. Albert C. Getchell  
oil on canvas 61 x 51 cm

1908 William Rush Carving His Allegorical Figure of the Schuylkill River 
oil on canvas 91.3 x 121.5 cm

1908 William Rush's Model 
oil on canvas 92.1 x 122.3 cm

c1908 The Old-Fashioned Dress aka Portrait of Helen Montanverde Parker 
oil on canvas
 

Tuesday, 10 July 2012

Thomas Eakins - part 3

This is part 3 of a 6-part post on the works of American artist Thomas Eakins. Parts 1 – 4 feature his paintings, parts 5 – 6 his photography. Thomas Eakins (1844-1916) was the most powerful figure painter and portrait painter of his time in America. For biographical notes on Eakins, and for earlier works, see parts 1 and 2.


1888 Cowboys in the Badlands 
oil on canvas

1888 Portrait of Letitia Wilson Jordan 
oil on canvas

c1886-90 Miss Van Buren 
oil on canvas 113.1 x 81.3 cm


Amelia Van Buren, an artist who studied with Eakins, and was called "one of his most gifted pupils.” After she had ceased studying with Eakins, Van Buren frequently stayed as a guest in his Mount Vernon Street home, and likely posed for the painting during one of her visits to Philadelphia. It is possible that the portrait could have been painted during a long stay with Eakins and his wife from December 6, 1888 to August 12, 1889. Another friend and student of Eakins's, Charles Bregler, later wrote "I recall with pleasure looking on for several hours one afternoon while he (Eakins) was painting in this room that beautiful portrait of Miss Van Buren....No conversation took place, his attention being entirely concentrated on the painting."


1889 The Agnew Clinic 
oil on canvas 215.3 x 300 cm


The Agnew Clinic depicts Dr. Agnew performing a partial mastectomy in a medical amphitheatre. He stands in the left foreground, holding a scalpel. Also present are Dr. J. William White, applying a bandage to the patient; Dr. Joseph Leidy (nephew of paleontologist Joseph Leidy), taking the patient's pulse; and Dr. Ellwood R. Kirby, administering anaesthetic. In the background, Dr. Agnew's nurse, Mary Clymer, and University of Pennsylvania medical school students observe. Eakins placed himself in the painting – he is the rightmost of the pair behind the nurse – although the actual painting of him is attributed to his wife, Susan Macdowell Eakins. The painting is Eakins's largest work. It was commissioned for $750 (equivalent of approximately $19,400 today) in 1889 by three undergraduate classes at the University of Pennsylvania, to honour Dr. Agnew on the occasion of his retirement. The painting was completed quickly, in three months, rather than the year that Eakins took for The Gross Clinic. Eakins carved a Latin inscription into the painting's frame. Translated, it says: "D. Hayes Agnew M.D. The most experienced surgeon, the clearest writer and teacher, the most venerated and beloved man."


Dr. Hayes Agnew 1892

1889 Preparatory sketch for The Agnew Clinic

c1889 Study of Dr. Agnew for the Agnew Clinic

1889 Portrait of Samuel Murray

c1889 Portrait of Douglass Morgan Hall 
oil on canvas 61 x 50.8 cm

1890 Dr. Horatio C. Wood 
oil on canvas

1890 The Art Student aka Portrait of James Wright 
oil on canvas

1890-92 The Concert Singer 
oil on canvas 191.4 x 138.1 cm

1892 Weda Cook 
platinum print 24.8 x 10.8 cm

c1890 Clara 
oil on canvas

1891 Weda Cook 
oil on canvas 61 x 50.8 cm

c1890 Cowboy Singing 
watercolour
 Cowboy Singing obviously relates to the oil below of approximately two years later:

1892 Home Ranch 
oil on canvas

c1891 Portrait of William H. MacDowell 
oil on canvas 71.1 x 55.9 cm

c1891 Portrait of William H. MacDowell 
watercolour on paper
 William H. Macdowell was a Philadelphia engraver and later Eakins' father-in-law.

c1891 Mr. MacDowell 
albumen silver print

1895 Portrait of Frank Hamilton Cushing 
oil on canvas 228.6 x 152.4 cm

1895 Portrait of Maud Cook 
oil on canvas 61 x 50.8 cm

c1895 Portrait of Charles Linford, the Artist 
oil on canvas

1896 Portrait of Harrison S. Morris 
oil on canvas


Harrison S. Morris (1856-1948) served as the Director of the Pennsylvania Academy of the Fine Arts from 1892 to 1905. He was one of this country's first professional arts administrators, and his impact on the institution was profound. Under Morris the Academy sponsored many important exhibitions including four landmark displays of photographic art, and one-man shows by William M. Chase, Robert Henri, Everett Shinn and Edward Redfield. In addition, he led the Academy in some of its most enlightened collecting, acquiring, among many others, Winslow Homer's The Fox Hunt, Maxfield Parrish's Old King Cole, William M. Chase's Lady with a White Shawl, Cecilia Beaux's New England Woman, Henry O. Tanner's Nicodemus and Childe Hassam's Cat Boats, Newport Harbor.

Active in numerous art organizations, Morris later worked as a magazine editor. He was a prolific author of fiction, poetry, artist biographies and articles, and in 1930 penned his autobiography, Confessions in Art. While strongly critical of the Academy (having departed in a stormy row with the board), his account revealed much about art-world and Academy dynamics in the early twentieth century.

In 1891 Morris encouraged Thomas Eakins to return to the Academy exhibitions after the artist's dismissal five years earlier. In 1896 he advocated acquisition of our first Eakins painting, The Cello Player, and sat for one of Eakins's greatest portraits, a work acquired for the permanent collection in 2000.

1896 The Cello Player 
oil on canvas

1896 The Pianist (Stanley Addicks) 
oil on canvas 81.3 x 72.4 cm

c1897 Portrait of Henry Ossawa Tanner 
oil on canvas


Henry Ossawa Tanner (1859 – 1937) was an African American artist. He was the first African American painter to gain international acclaim.

1897 Professor Henry A. Rowland 
oil on canvas 203.8 x 137.2 cm

1897 Study for Portrait of Professor Rowland 
oil on canvas 30.3 x 22.9 cm