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Thomas Eakins: Painter of Doctors and Other American "Doers"

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Thomas Eakins: Painter of Doctors and Other American 4COMMENTARY Thomas Eakins: Painter of Doctors and Other American "Doers" Ronald L. Nagel Irving D. Karpas Professor of Medicine Department of Medicine and Hematology Albert Einstein College of Medicine Bronx, New York 10461 here is little doubt that Americans throughout One of Eakins’ grandfathers was a tenant farmer and history have venerated and admired those who the other was a Quaker cobbler in Valley Forge, Pennsyl- T“do,” those who accomplish, and those who excel vania. His father, Benjamin, was a well-known and at what they do. We are also proud of being a “prac- highly appreciated calligrapher, writer, and decorator of tical” people (from the Greek “practikos,” concerning official documents. (Eakins painted a loving portrait of action). Thomas Eakins, in this respect, in addition to his father Benjamin, called the “Writing Master,” which being, arguably, the greatest American painter of the can be found in the collection of the Metropolitan nineteenth century, was an American par excellence. He Museum of Art in New York City.) painted the “doers:” shad fisherman, pugilists, baseball players, sailboat racers, singers, spinners, actresses, scull Thomas Cowperthwait Eakins was born in 1844 in rowers, ice skaters, chess players, swimmers, musicians, Philadelphia and graduated from the local Central High instrument makers, wrestlers, knitters, cowboys, sculp- School with honors in Mathematics, Science, and French. tors, and, of course, scientists, and doctors. (Gordon, He distinguished himself by giving a science address 1974; Fried, 1988) during his commencement from high school. He applied for a position of Professor of Drawing at his alma mater, Thomas Eakins was also authentically American, but failed. He then registered at the Pennsylvania because he was an aficionado of technology (techno Academy of Fine Arts, where he studied drawing from geek in modern parlance), who early on used photog- antique casts, rebelled at the absurdly outdated raphy seriously as a tool for his work. Photography had methods used in this art form, and ultimately changed been invented only a few years before his birth. These over to anatomy classes, given by Dr. A.R. Thomas at the tendencies to use technology in art are also reflected by same Academy. Finally, he was admitted to life drawing the fact that he attended anatomy courses at Jefferson classes at the Academy (and proceeded to pay $25 to Hospital, where he studied human movement through legally avoid conscription into the Union Army being the ingenious use of new photographic techniques. assembled for the Civil War) but used his time, instead, to attend lectures on anatomy given by Dr. Joseph The other aspect of his work that reflects his “Ameri- Pencoast at Jefferson Medical Center (Gordon, 1974; caness” was his consistent use of American themes— Fried, 1988). both human and natural in his work. Although influ- enced by European painters, thematically he painted In 1866, Eakins requested admission to the Ecole des the landscape of his surroundings with genuine Beaux Arts in Paris and received an encouraging letter parochial interest and intent. As a note, his favorite that stated that this French Institution, which had previ- European painter was Velásquez, whose technique he ously consistently rejected American students, had greatly admired and whose paintings he viewed during changed its policy. Americans were now welcome. his visit to Spain. His Spanish notebook records: “The Eakins immediately sailed to France to attend the Ecole, Fable of Arachne is the finest piece of painting I have but worked, in addition to his studies, in private ateliers. ever seen.” He also notes that Velásquez “gives both These ateliers were studios where a variety of artists delicacy and strength at the same time.” gathered in search of privacy and where they explored their individual artistic inclinations, usually through Eakins’ work was considerably less influenced by the painting. Called “ateliers” because they were located, French nineteenth century art milieu than his expatriate usually, on the top floor of buildings, they offered not contemporaries, Whistler and Sargent. Nevertheless the only space and camaraderie, but more importantly, impact of Léon Bonnat seems to emerge in Eakins’ exquisite natural light by which the artists could pursue “Crucifixion:” cringed hands, anatomical details, dirty their talents. Reporting on the assembled paintings that feet nails that have seen the dust of the road, and he viewed exhibited at the Salon of 1868, he writes, “no bitterly criticized at the time as “unreligious.” All tragic, more than 20 of the paintings would I want.” moving, and shocking but not reverential. Although he traveled extensively through Europe So then, how did this authentic American painter begin during this time, his most crucial visit was to Spain, this wonderful, yet, tragically, soon-to-be troubled where he hoped for relief from illness and depression. career? This trip turned out to be a milestone in his life. He Einstein J. Biol. Med. (2003) 20:41-47. 41 4COMMENTARY Thomas Eakins: Painter of Doctors and Other American "Doers" FIGURE 1 The Gross Clinic (reproduced with the permission of Jefferson Medical College of Thomas Jefferson University, Philadelphia) (Philadelphia Museum of Art, 2001). 42 EJBM, Copyright © 2003 4COMMENTARY Thomas Eakins: Painter of Doctors and Other American "Doers" arrived in Madrid in 1869 and devoted himself to the elicited a new bout of depression in Eakins, which he study of Diego Rodriguez de Silva Velásquez’s work, treated by escaping to the BT ranch in the Dakota Terri- which was exhibited at the Prado Museum. He then tory, where he painted his “Cowboys” series. This series moved to Seville, where his first finished composition of events had serious consequences for his career and was completed, called “A Street Scene in Seville.” He affected his wife considerably, as evidenced by the returned to Paris only to have to leave for the United portrait that Eakins painted of Susan Macdowell Eakins States, due to the political instability generated by the during that period (Philadelphia Museum Art, 2001). Franco-Prussian War (1870). “The Gross Clinic” painting (1875) (Figure 1) leaves little His return to Philadelphia was followed by the realiza- doubt that this painting is Eakins chef d’oeuvre. First, it tion of a considerable body of work inspired by his demonstrates his ability to use light as an enhancer of experience in Europe. Once back in Philadelphia, Eakins his message in an almost Rembrandtesque fashion. Here, continued to attend anatomy and dissection exercises at the central figure is Dr. Gross, who is looking away from Jefferson Medical Center. He also registered for surgical the operation being performed. Light from above, but demonstrations at the Jefferson Hospital Gross Clinic. at an angle, illuminates both the head of Dr. Gross and These projects produced two of his major paintings, to his unruly hair (given him a sort of aureole), but empha- be discussed below. In addition, during this time, some of sizes his forehead (conveying pensiveness), obscures his his paintings were accepted at the National Academy of eyes (which suggests an act of introspection), and high- Design in New York (1871), underscoring Eakins’ recogni- lights his bloody hands and the scalpel (underscoring the tion as an American painter of note in his own land. man of action) (Philadelphia Museum of Art, 2001). In his capacity as judge for the annual Pennsylvania The light in the painting reaches across to the thigh of Academy exhibition during those years, he gives Susan the adolescent patient, the object of the surgery, to the Macdowell the Mary Smith Prize, a prize reserved for second surgeon who is using the scalpel, to the anesthe- the best female painter. Interestingly, Eakins married siologist who is busy with his pale hands and the soaked her subsequently, and fortunately her great talent towel, and to the assistants pulling with a tenaculum continued, as she continued to paint for the rest of her holding the incision open. The disease was osteomyelitis; life. Also important to note is the fact that Eakins, the the task was removal of the ailing bone. In addition, we year before his marriage, acquired sophistication in the see the presence of the patient’s blue/gray socks, which use of photographic cameras to study human motion today indicates a wonderful disregard for contamina- and as an aid in the painting of landscapes as well as tion, but at that time was a concept that had not been other works. He demonstrated to the Photographic born yet. Society of Philadelphia a camera of his own design containing an “ingenious exposer for instantaneous Another attendant in the painting, the clinic clerk in a work.” He put this contraption to good use in the study gesture reminiscent of a scribe, records the undertak- of human movement. The Eadweard Muybridge ings and commentaries. Here Eakins has painted a beam Photography Project, in association with the University of light underlining the clerk’s writing hand. Finally, in of Pennsylvania, funded this work. His wife shared his the central part of the picture, there appears a faceless interest in photography and its potential uses for art. non-medical figure, the mother of the patient, who is dressed in rigorous black (with the right to be present In 1886, an event occurred during one of the anatomy indicating her status: a charity case). In the depiction of lectures that forever changed Eakins’ life and would the mother, the painter, indicating her profound fear affect his career. Eakins removed a loincloth from a male and pain, illuminates only her cringing and claw like nude model in the presence of female students. Fully hands. The students are hardly visible in the dark back- nude female models were acceptable for male students; ground, an amorphous mass tightly filling the seats of but fully nude males were not accepted as models at the the surgical theater.
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