And Commerce in the Gilded Age, 1865-1905

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Art of the United States Thursday, February 11, 2021 Bjelajac/Chapter 6: Art and Commerce in the Gilded Age, 1865-1905 Left: Eastman Johnson, Christmastime – The Blodgett Family, 1864. Oil on canvas. Right: Winslow Homer, Veteran in a New Field, 1865. Oil on canvas. Left: David Gilmour Blythe, Prospecting, 1861-63. Oil on canvas. Above: Thomas Nast, ”The ‘Brains’”, from Harper’s Weekly, October 21, 1871. Eastman Johnson, Not at Home, 1873. Oil on canvas. Above left: Winslow Homer, Snap the Whip, 1872. Oil on canvas. Below left: Winslow Homer, Undertow, 1886. Oil on canvas. Winslow Homer, The Gulf Stream, 1899. Oil on canvas. Thomas Eakins, Max Schmidt in a Single Scull, 1871. Oil on canvas. Thomas Eakins, The Gross Clinic, 1875. Oil on canvas. Thomas Eakins, The Swimming Hole, c. 1885. Oil on canvas. Left: Thomas Eakins, Between Rounds, 1898-99. Oil on canvas. Above: Thomas Anshutz, The Ironworkers’ Noontime, 1880. Oil on canvas. William Harnett, After the Hunt, 1885. Oil on canvas. Frederic Remington, A Dash for the Timber, 1889. Oil on canvas. Augustus Saint-Gaudens, The Robert Gould Shaw Memorial, Boston, Massachusetts, 1884-97. Bronze. Henry Ossawa Tanner, The Banjo Lesson, 1893. Oil on canvas. Clockwise from lower left: Mary Cassatt, Little Girl in a Blue Armchair, 1878. Oil on Canvas. Mary Cassatt, Woman and a Girl Driving, 1881. Oil on canvas. Mary Cassatt, Alexander Cassatt and his Son Robert, 1884. Oil on canvas. Left: John Singer Sargent, Madame X, 1883-84. Oil on canvas. Right: John Singer Sargent, Mr. and Mrs. I. N. Phelps- Stokes, 1897. Oil on canvas. James Abbott McNeill Whistler, Arrangement in Gray and Black (Portrait of the Artist’s Mother), 1871. Oil on canvas. Thomas Dewing, After Sunset (Summer Evening), 1892. Oil on canvas. Left: William Merritt Chase, In the Studio, c. 1880. Oil on canvas. Right: Childe Hassam, Washington Arch, Spring, 1890. Oil on canvas. Jacob A. Riis, Five Cents a Spot, 1889. Photograph. Frances Benjamin Johnston, Class in American History, 1899-1900. Photograph..

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Examining American Nationalism and Homoeroticism in Thomas Eakins’ the Swimming Hole
16 FOOTNOTES Volume 2 (2009) Everything for Young Men to Enjoy: Examining American Nationalism and Homoeroticism in Thomas Eakins’ The Swimming Hole Daniella Sanader Abstract Focusing on Thomas Eakins’ The Swimming Hole, this research paper examines the painting as a landscape fraught with conflicting concerns. I explore The Swimming Hole from within the constructed ideals of nineteenth- century American masculinity and discuss how across its surface, notions of homoeroticism, athletic morality and nationalism engage with one another yet remain unresolved and discontinuous. This instability is explained through a contextual history of the nineteenth-century popularity of sports and recreation, the advent of the Young Men’s Christian Association (YMCA), and the association between organized play and the growth of a moral American citizen. Eakins’ use of the male nude will also be examined, while defining the concept of the homoerotic as it relates to the painting. By tying together these varied themes, this research paper reaches a conclusion of how The Swimming Hole fits into art historical discourse, queer studies and the history of American nationalism. They have everythingfor young men to enjoy, You can hang out with all the boys... It ‘sfun to stay at the YMCA. - “YMCA” by The Village People Set against a picturesque backdrop of the American countryside, Thomas Eakins’ The Swimming Hole depicts a lazy afternoon shared between Eakins and five of his male students at Dove Lake, near Philadelphia. For such a simple subject, The Swimming Hole is a remarkably unstable image, and Eakins’ ambiguous artistic strategies have puzzled critics and art historians ever since the painting’s completion in 1885.
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