Who Was Thomas Eakins?

By Erwin, Robert | The Antioch Review, Fall 2008 | Go to article overview

Who Was Thomas Eakins?


Erwin, Robert, The Antioch Review


"Posterity is as likely to be wrong as anybody else."

--Heywood Broun

Thomas Eakins, the nineteenth-century painter from Philadelphia, was one of the founders of what we now call American Realism. Shunning neo-classicism, beaux-arts curlicues, and (up to a point) Victorian mawkishness, be depicted naturalistic scenes of boating, swimming, hunting, surgeons operating, scientists with their apparatus, musicians performing, boxers in the ring. He used trigonometry, reference points, and arcs on preparatory grids to ensure accurate perspective. He pioneered in the use of photography as both a source of images and an aid to observation. His portraits are frequently praised for getting at character. Eakins (1844-1916) is a good artist to turn to when you are temporarily tired of picture-postcard aspects of the Hudson River School and the way American Impressionists rode the coattails of the French.

That is part of the story, and yet a funny thing happened on the way to the twenty-first century. The Eakins we appreciate today is a creation of posterity. His pictures hang in prestigious museums, fetch big bucks, and get reproduced in art books. But it was fifteen or twenty years after his death before many curators, critics, and collectors took notice, thirty to forty years till a broad art public began to credit him with showing the "real America" of his day. Few of his works were exhibited or sold during his lifetime. Most of his contemporaries judged the ones they saw vile, and his personal reputation was very low. Hardly anybody paid attention to favorable opinions of his work expressed in passing by Sargent, St. Gaudens, and Robert Henri.

This raises two questions. Why did contemporaries overlook or dismiss his achievements? Why do later generations admire him?

It all started innocuously. Graduating high in his class from Philadelphia's elite Central High School with the equivalent of a B.A. degree today, Eakins received top marks in drawing. Subsequently at Jefferson Medical College he acquired a knowledge of anatomy probably as thorough as that of the average physician of the time. Moving on to the Pennsylvania Academy of Fine Arts but finding its curriculum dull, he sailed to France, talked his way into the Academie des Beaux-Arts, and studied under Jean Leon Gerome, evidently pleasing the master. Eakins continued to excel in mathematics and languages as well as anatomy. As a mature man, for relaxation at the end of a day of painting he sometimes solved calculus problems and diagrammed Latin sentences on a blackboard set up in the dining room. While finishing 110 portraits between the ages of 56 and 61, most of them initiated by him for no pay, he insisted that the subjects return repeatedly to his ill-ventilated studio for more sittings. When one lady, finding this unbearably tedious, offered to send a maid in her place, Eakins delivered a mock apology "for trespassing on your complacency."

Lack of prettiness and decorum were what disgusted his contemporaries. He refused to paint the sort of scene most of them liked if they looked at art at all--say a sweet young thing in a vaguely classical gown, drinking from a fairyland fountain while a butterfly hovers overhead. Initially he seemed to think that by offering a superior vision he would lift them out of philistinism. Thus he worked up a major painting, rich in light and shadow, of surgeons in action before an arena of medical students. He expected The Gross Clinic to attract national attention at the upcoming Centennial Exposition of 1876, and, uncharacteristically for him, he even buttered up a member of the art selection committee in advance. Upon seeing the picture, however, the committee loathed its "gore" and clinical nudity and refused to hang it in the art hall. Instead they put it in a mock army field hospital, a minor exhibit, foreshadowing rejections that dogged Eakins for the rest of his life. When Eakins subsequently turned his hand to The Crucifixion, he assumed his expert knowledge of anatomy equipped him to contribute something new to a traditional and impeccably orthodox subject. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • A full archive of books and articles related to this one
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Who Was Thomas Eakins?
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.