Thomas Eakins Thomas Eakins was born on July 25, 1844, in Philadelphia, and with the exception of four years of study in Paris and Spain, the city remained his home. Its school, public and private art collections, and community of artists, many of whom were recent emigrants from Europe trained in the academic tradition and familiar with new artistic styles, provided Eakins with an unusually wide-ranging art education for an American artist of his day. When Eakins arrived in Paris in 1866 to continue his art studies, he was in the vanguard of young artists who would revolutionize American art over the next two decades, breaking away from the literalism of Hudson River School landscapes to emulate the figurative subject mater of European academic art. For the rest of his career, Eakins would remain the most dedicated American proponent of the painstaking, analytical artistic methods taught in European academies.
Yet, as soon as he arrived back in Philadelphia, Eakins declared his independence from European conventions by painting subjects close to his own experience. Moreover, he did not behave lake his contemporaries. One critic described him as “much more like an inventor working (out) curious and interesting problems for himself than like an average artist.” Eakins was widely recognized as a formidable artistic talent almost as soon as he began to exhibit in the mid- 1870’s. However, his scenes of working- and middle- class life found little support from critics and patrons. His decision to concentrate on portraiture after 1886 presented an even greater challenge for his viewer, who expected flattery and stylistic dash, rather than the intense scrutiny and introspective mood that characterized Eakins’ portraits.
The Essay on African Art Artists Artistic Century
Introduction African Art in general, are works of art created by historical or contemporary African artists living south of the Sahara. The artists belong to a wide variety of cultures from Africa, and everyone is characterized by its own language, traditions, and artistic forms. Although the large Sahara is a natural border within the continent, evidence has shown that there are a lot of ...
After four years of studying in Europe, Thomas Eakins returned to Philadelphia in 1870 and set up a studio in his family home. As did many of his Paris-trained American contemporaries, Eakins brought back a conviction that the figure was the most important subject for art. While his peers remained committed to allegorical, historical, and exotic genre themes, however, Eakins sought his subject’s form the immediate experience of his life in Philadelphia. He began with the now-famous rowing, sailing, and hunting pictures, and made portraits of his family and friends.
Even when Eakins undertook a historical subject, he chose to illustrate the life of William Rush (1756-1833), a Philadelphia sculptor, rather than a scene from ancient history or literature. In the 1880’s, Eakins purchased his first camera during the summer. He had used photographs from the other sources as aids for his painting in the 1870’s, but the acquisition of his own camera inspired a period of intensive investigation of photography as a tool for making art. Eakins made scores of photographs as studies for a group of major paintings, among them Mending the Net, Swimming, and Cowboys in the Bad Lands. He also told students in his academy to take pictures to help them. Following Eakins’ dismissal, thirty-eight of his male students resigned from the Academy and formed the Art Students League of Philadelphia, providing him with a new forum for his life classes.
He also taught at various art schools in New York, including the Art Students League, the Women’s Art School of the Cooper Union, and the National Academy of Design. In 1890’s began a series of disappointments for Eakins. He submitted The Agnew Clinic to the Pennsylvania Academy’s annual exhibition of 1891, but the work was rejected on a technicality. The Society of American Artists in New York declined to exhibit all but one of Eakins submissions for three consecutive years, prompting him to resign in 1892.
The Art Students League of Philadelphia, formed by Eakins students from the Pennsylvania Academy, closed its doors in 1893. Revealing his state of mind at the time, the artist declared in a letter: “My honors are misunderstanding, persecution, and neglect, enhanced because unsought.” In the 1900’s, Eakins began work on a series of life-size portraits, such as The Thinker, that brought him a measure of success. The Faculty Club of the University of Pennsylvania mounted a large exhibition of his paintings, displayed alongside sculptures by his former student Samuel Murray. He was awarded numerous medals and cash prizes, yet most of his works would fail to sell until decades later.
The Essay on A History of Human Art and Body Painting
If the impulse to create art is a defining sign of humanity, the body may well have been the first canvas. Alongside paintings on cave walls visited by early people over 30,000 years ago, we find handprints, ochre deposits, and ornaments. And because the dead were often buried with valuable possessions and provisions for the afterlife, ancient burials reveal that people have been tattooing, ...
One exception was the Portrait of Dr. Agnew, a study for The Agnew Clinic, that was shown at the Pennsylvania Academy in 1914, and caused a sensation when it was purchased for $4, 000 by the outspoken champion of modern art, Dr. Albert C. Barnes. By now, Eakins had gained the esteem of many of his fellow artists, culminating in his election in 1902 to the National Academy of Design, the most prestigious art organization in the United States. Designated an associate-elect in March, Eakins painted the required self-portrait in less than two months, and was elected a full academician in May.
No other artist in the history of the institution previously had been elected both associate and academician in the same year. He received a number of commissions from men in the professional and business communities. Yet, the intensely introspective quality that characterized his best portraits was reserved for people he knows well, such as his father-in-law, William Macdowell. In 1908, perhaps reviewing his own career, Eakins revisited the William Rush theme of thirty-two years before. In one of these paintings, he portrayed his own stocky figure helping a nude model down from the modeling stand. Eakins died on June 25, 1916.
In the following year, the Metropolitan Museum of Art in New York opened a memorial exhibition of sixty of his paintings, and the Pennsylvania Academy mounted and exhibition of more than one hundred of his works.
