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Review Essay: Grappling with “Big Painting”: Akela Reason‟S Thomas Eakins and the Uses of History
Review Essay: Grappling with “Big Painting”: Akela Reason‟s Thomas Eakins and the Uses of History Adrienne Baxter Bell Marymount Manhattan College Thomas Eakins made news in the summer of 2010 when The New York Times ran an article on the restoration of his most famous painting, The Gross Clinic (1875), a work that formed the centerpiece of an exhibition aptly named “An Eakins Masterpiece Restored: Seeing „The Gross Clinic‟ Anew,” at the Philadelphia Museum of Art.1 The exhibition reminded viewers of the complexity and sheer gutsiness of Eakins‟s vision. On an oversized canvas, Eakins constructed a complex scene in an operating theater—the dramatic implications of that location fully intact—at Jefferson Medical College in Philadelphia. We witness the demanding work of the five-member surgical team of Dr. Samuel Gross, all of whom are deeply engaged in the process of removing dead tissue from the thigh bone of an etherized young man on an operating table. Rising above the hunched figures of his assistants, Dr. Gross pauses momentarily to describe an aspect of his work while his students dutifully observe him from their seats in the surrounding bleachers. Spotlights on Gross‟s bloodied, scalpel-wielding right hand and his unnaturally large head, crowned by a halo of wiry grey hair, clarify his mastery of both the vita activa and vita contemplativa. Gross‟s foil is the woman in black at the left, probably the patient‟s sclerotic mother, who recoils in horror from the operation and flings her left arm, with its talon-like fingers, over her violated gaze. -
The Gross Clinic, the Agnew Clinic, and the Listerian Revolution
Thomas Jefferson University Jefferson Digital Commons Department of Surgery Gibbon Society Historical Profiles Department of Surgery 11-1-2011 The Gross clinic, the Agnew clinic, and the Listerian revolution. Caitlyn M. Johnson, B.S. Thomas Jefferson University Charles J. Yeo, MD Thomas Jefferson University Pinckney J. Maxwell, IV, MD Thomas Jefferson University Follow this and additional works at: https://jdc.jefferson.edu/gibbonsocietyprofiles Part of the History of Science, Technology, and Medicine Commons, and the Surgery Commons Let us know how access to this document benefits ouy Recommended Citation Johnson, B.S., Caitlyn M.; Yeo, MD, Charles J.; and Maxwell, IV, MD, Pinckney J., "The Gross clinic, the Agnew clinic, and the Listerian revolution." (2011). Department of Surgery Gibbon Society Historical Profiles. Paper 33. https://jdc.jefferson.edu/gibbonsocietyprofiles/33 This Article is brought to you for free and open access by the Jefferson Digital Commons. The Jefferson Digital Commons is a service of Thomas Jefferson University's Center for Teaching and Learning (CTL). The Commons is a showcase for Jefferson books and journals, peer-reviewed scholarly publications, unique historical collections from the University archives, and teaching tools. The Jefferson Digital Commons allows researchers and interested readers anywhere in the world to learn about and keep up to date with Jefferson scholarship. This article has been accepted for inclusion in Department of Surgery Gibbon Society Historical Profiles yb an authorized administrator of the Jefferson Digital Commons. For more information, please contact: [email protected]. Brief Reports Brief Reports should be submitted online to www.editorialmanager.com/ amsurg.(Seedetailsonlineunder‘‘Instructions for Authors’’.) They should be no more than 4 double-spaced pages with no Abstract or sub-headings, with a maximum of four (4) references. -
The Agnew Clinic, an 1889 Oil Painting by American Artist Thomas Eakins
Antisepsis and women in surgery 12 The Gross ClinicThe, byPharos Thomas/Winter Eakins, 2019 1875. Photo by Geoffrey Clements/Corbis/VCG via Getty Images The Agnew Clinic, an 1889 oil painting by American artist Thomas Eakins. Universal History Archive/UIG via Getty images Don K. Nakayama, MD, MBA Dr. Nakayama (AΩA, University of California, San Francisco, Los Angeles, 1986, Alumnus), emeritus professor of history 1977) is Professor, Department of Surgery, University of of medicine at Johns Hopkins, referring to Joseph Lister North Carolina School of Medicine, Chapel Hill, NC. (1827–1912), pioneer in the use of antiseptics in surgery. The interpretation fits so well that each surgeon risks he Gross Clinic (1875) and The Agnew Clinic (1889) being consigned to a period of surgery to which neither by Thomas Eakins (1844–1916) face each other in belongs; Samuel D. Gross (1805–1884), to the dark age of the Philadelphia Museum of Art, in a hall large surgery, patients screaming during operations performed TenoughT to accommodate the immense canvases. The sub- without anesthesia, and suffering slow, agonizing deaths dued lighting in the room emphasizes Eakins’s dramatic use from hospital gangrene, and D. Hayes Agnew (1818–1892), of light. The dark background and black frock coats worn by to the modern era of aseptic surgery. In truth, Gross the doctors in The Gross Clinic emphasize the illuminated was an innovator on the vanguard of surgical practice. head and blood-covered fingers of the surgeon, and a bleed- Agnew, as lead consultant in the care of President James ing gash in pale flesh, barely recognizable as a human thigh. -
Print This Article
COPAS—Current Objectives of Postgraduate American Studies Issue 17.1 (2016) “Modern Medicine Had to Start Somewhere:” Performing Health and White Privilege in The Knick Claudia Trotzke ABSTRACT: This essay examines the interrelations of health and white privilege in the U.S.- American historical and medical drama The Knick (2014-). Employing a broad definition of health and drawing from performance studies, this article argues that the everyday life within the series depicts a racist society, while the television series itself with its rhetoric of modernity and visual strategies makes white privilege visible in the context of health. The television series and everyday life within the show are examined in regard to their performative dimensions, i.e. both levels of performance do not merely represent, but take an active part in defining health and its surrounding discourses. KEYWORDS: White Privilege, Health, Medicine, Performance Studies, Modernity, The Knick Setting the Stage: Performing Health and White Privilege Health has always been a highly-discussed topic in U.S.-American culture and politics, as, for instance, a historical overview of universal health care and health care politics on the website of the White House demonstrates.1 Still, issues of health have had a particular currency lately due to the health care reform introduced in the form of the Affordable Care Act, which was signed into law in 2010 (see “About the Health Care Law”). Drawing from medical humanities and offering a critical and scholarly engagement with the topic of health and its surrounding discourses, the field of American Studies has recently dealt with many dimensions of health as well. -
Annual Report 2012
BOARD OF TRUSTEES 4 LETTER FROM THE CHAIR 6 A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Teaching and Learning 30 Connecting and Collaborating 38 Building 44 Conserving 50 Supporting 54 Staffing and Volunteering 62 CALENDAR OF EXHIBITIONS AND EVENTS 68 FINANCIAL StATEMENTS 72 COMMIttEES OF THE BOARD OF TRUSTEES 78 SUPPORT GROUPS 80 VOLUNTEERS 83 MUSEUM StAFF 86 A REPORT LIKE THIS IS, IN ESSENCE, A SNAPSHOT. Like a snapshot it captures a moment in time, one that tells a compelling story that is rich in detail and resonates with meaning about the subject it represents. With this analogy in mind, we hope that as you read this account of our operations during fiscal year 2012 you will not only appreciate all that has been accomplished at the Philadelphia Museum of Art, but also see how this work has served to fulfill the mission of this institution through the continued development and care of our collection, the presentation of a broad range of exhibitions and programs, and the strengthening of our relationship to the com- munity through education and outreach. In this regard, continuity is vitally important. In other words, what the Museum was founded to do in 1876 is as essential today as it was then. Fostering the understanding and appreciation of the work of great artists and nurturing the spirit of creativity in all of us are enduring values without which we, individually and collectively, would be greatly diminished. If continuity—the responsibility for sustaining the things that we value most—is impor- tant, then so, too, is a commitment to change. -
0556 JN June Color
JUNE 1, 2002 Jeffwww.Jefferson.edu NEWS www.JeffersonHospital.org Jefferson Students Teach Underserved Children to Read University Honoring James Bagian, MD, dozen for 2001- Few would disagree that studying Class of 1977, at 178th Commencement 2002. The program and training to be a doctor or other complies with health professional is one very Jefferson’s 178th Annual Federal guidelines tough job. Let’s face it: many of us Commencement will be at 10:30 James P.Bagian, MD, JMC ’77 for work-study couldn’t do it. a.m., Friday, June 7, at the Kimmel funding. Dr. Bagian is well known to the That’s what makes so remarkable Center for the Performing Arts. Every Monday University President Paul C. Jefferson community and beyond the feat of an extraordinarily for his service as evening, several Brucker, MD, will deliver the committed dozen students from a NASA astro- students traveled to Jefferson Medical College (JMC) Convocation and confer all degrees. naut from 1980 Acts of the Apostles and the Jefferson College of Health Thomas J. Nasca, MD, FACP, to 1995. Church at 28th and Senior Vice President for Academic Professions (JCHP). He helped plan Master streets to Every Monday evening for the Affairs and Dean, Jefferson Medical and provide teach children from past academic year, members of the College (JMC), will present Doctor emergency med- 2 to 15 in the group broke from their studies to of Medicine degrees to 221 JMC ical and rescue church basement, spend time teaching young students. support for the site of a homeless underprivileged children at a North James S. -
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915
Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: Susan Casteras, Chair Paul Berger Stuart Lingo Program Authorized to Offer Degree: Art History ©Copyright 2015 Kimberly E. Hereford ii University of Washington Abstract Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915 Kimberly E. Hereford Chair of the Supervisory Committee: Professor Susan Casteras Art History This dissertation examines representations in art of the Victorian woman in “altered states.” Though characterized in Victorian art in a number of ways, women are most commonly stereotyped as physically listless and mentally vacuous. The images examined show the Victorian female in a languid and at times reclining or supine pose in these representations. In addition, her demeanor implies both emotional and physical depletion, and there is both a pronounced abandonment of the physical and a collapsing effect, as if all mental faculties are withdrawing inward. Each chapter is dedicated to examining one of these distinct but interrelated types of femininity that flourished throughout British and American art from c. 1850 to c. 1910. The chapters for this dissertation are organized sequentially to demonstrate a selected progression of various states of consciousness, from the most obvious (the sleeping woman) to iii the more nuanced (the female Aesthete and the female medium). In each chapter, there is the visual perception of the Victorian woman as having access to otherworldly conditions of one form or another. -
View the 1967 Memory Book
MEMORIES MEMORIES MEMORIES MEMORIES NECROLOGY G. Thomas Balsbaugh Michael Z. Boris Stephen Byrne Vincent G. Caruso William M. Dellevigne Stephen M. Druckman Sheldon A. Friedman Daniel C. Harrer George H. Hughes Kenneth L. Kershbaum Charles H. Klieman William H. Labunetz Noreen March John H. Meloy Lloyd W. Moseley, Jr. Carl P. Mulveny Paul B. Silverman Anne Salmon Thompson Richard G. Traiman Jonathan Warren Matthew White Herbert S. Woldoff Alan H. Wolson Donald Leslie Adams 1967 IN REVIEW Top Pop Hits of 1967 I’m a Believer by The Monkees King of a Drag by The Buckinghams Ruby Tuesday by The Rolling Stones Love is Here And Now You’re Gone by The Supremes Penny Lane and The Beatles Happy Together by The Turtles Somethin’ Stupid by Nancy Sinatra and Frank Sinatra The Happening by The Supremes Groovin’ by The Young Rascals Respect by Aretha Franklin Windy by The Association Popular Films of 1967 Light My Fire by The Doors The Graduate All You Need is Love by The Beatles Bonnie and Clyde Ode to Billie Joe by Bobbie Gentry In the Heat of the Night The Letter by The Box Tops Cool Hand Luke To Sir With Love by Lulu The Dirty Dozen Incense And Peppermints by Strawberry Alarm Clock Guess Who’s Coming to Dinner Daydream Believer by The Monkees Barefoot in the Park Hello Goodbye by The Beatles Casino Royale Point Blank Camelot 1967 IN REVIEW In the News… The Vietnam War and protests continue The 25th Amendment to the constitution is ratified which deals with succession to the Presidency Interracial Marriage is declared constitutional by The Supreme Court in the "Loving v. -
ESSAY REVIEW Thomas Eakins Reconsidered
ESSAY REVIEW Thomas Eakins Reconsidered Thomas Eakins. By LLOYD GOODRICH. (Cambridge: Published for the National Gallery of Art by Harvard University Press, 1982. Volume I, xvi, 336 p., Volume II, 366 p. Illustrations, chronology, bibliography, index. $90.00.) Thomas Eakins: Artist of Philadelphia. By DARRELL SEWELL. (Philadelphia: Philadelphia Museum of Art, 1982. Catalogue of an exhibition at the Philadelphia Museum of Art and the Museum of Fine Arts, Boston, 1982. xvi, 136 p. Illustrations, checklist. $12.95.) "Thomas Eakins is a difficult subject for the usual biography, because of his objection to having his private life written about," wrote his widow Susan Macdowell Eakins to her grandniece in the 1930s. When the young scholar Lloyd Goodrich brought the manuscript of Thomas Eakins: His Life and Work to her in 1932, she wondered again about so many words on the subject of "a man who did not care to be written about." Goodrich's book, published by the new Whitney Museum of American Art in 1933, now seems like a modest effort, although his claims for Eakins's importance were large and surely the impact of the book was significant. Today, one wonders what Tom and Susie would think of Goodrich's revised biography, now two volumes and almost 700 pages in length, not including a third volume still in the works, containing an up-dated catalogue raisonne. Doubtlessly Eakins himself would be by turns amused, appalled, puzzled and infuriated by this display of research and speculation. Honored in his own day, as he testified, by "misunderstanding, persecution and neglect, enhanced because unsought," Eakins would have to view such belated attention ironically. -
Winslow Homer
..... ' . " - - . .' . OFFICE COpy THE ~USElJM OF MODEiW· -7-~'''''''r4I/-'';'',~-JJ/"J:!.t - - SIXTH LOAN EXHIBITION NEW YORK MAY 1930 MoMAExh_0006_MasterChecklist WINSLOW HOMER ALBERT P. RYDER THOMAS,- EAKINS' _ ......d"""'- --'---~,' WINSLOW HOMER I THE BRIGHT SIDE (THE TEAMSTERS), IS6, OJ! Collection Harold T. Pulsifer, New York , I, 2 CROQUET, IS66 ILLUSTRATED MoMAExh_0006_MasterChecklist Oil 19 x 30 inches Collection Clark G. Voorhees, Old Lyme, Connecticut . Courtesy Wadsworth 'Atheneum, Hartford 3 NEW ENGLAND COUNTRY SCHOOL, 1872 ILLUSTRATED Oil Collection Addison Gallery, Phillips Academy, Andover, Massachusetts 4 NEGRO CABIN, about IS76 Oil Collection C. It.' Henschel, New York 5 SUNpAY MORNING IN VIRGINIA, IS77 Oil Collection Cincinnati Museum 6 WATCHING THE BREAKERS, ISS1 Oil Collection John F. Braun. Merion, Pennsy lvania 7 TO THE RESCUE, ISS, Oil Collection Phillips Memorial Gallery, Washington 8 WATCHING A STORM ON THE ENGLISH COAST, ISS3 ILLUSTRATED Oil Collection Babcock Galleries, New York 9 THE HERRING NET, ISS, ILLUSTRATED Oil Collection Martin A. Ryerson, Chicago 21 · '. 10 TAKING AN OBSERVATION, about 1886 Oil Collection Babcock Galleries,-New York ILLUSTRATI!D II EIGHT BELLS, 1888 Oil Collection Addison GaUery, Phillips Academy, Andover, Massachusetts 18 12 WORLD'S COLUMBIAN EXPOSITION-THE FOUNTAIN AT NIGHT, 93 011 Collection Mrs. Charles S. Homer, New York 13 WATCHING THE BREAKERS, 1896 Oil Collection The AIt Institute of Chicago MoMAExh_0006_MasterChecklist I4 THE WRECK, 1896 Oil Collection Carnegie Institute, pittsburgh ILLUSTRATED 15 THE LEE SHORE, 1900 ~ Oil Collection RhodeIslandSchool of Design 16 SIGNAL OF DISTRESS, 1900-1901 1 Oil \ Collection RalphCudney, Chicago j ILLUSTRATED 02 I7 EARLY MORNING AFTER A STORM AT SEA, 19 all Collection Cleveland Museum of Art [LLUSTRATeD 18 KISSING THE MOON, 19°5-1906 Oil Collection Miss Candace Stimson, New York lLLUSTRATEO 19 WEST WIND, 1908 Oil Collection AddisonGallery, Ph1l!ipsAcademy,Andover, Massachusetts 20 WEATHERBEATEN Oil Collection Mrs. -
THOMAS EAKINS: SCENES from MODERN LIFE Background
THOMAS EAKINS: SCENES FROM MODERN LIFE Background Information Background Information on Thomas Eakins During Eakins’ lifetime, the world experienced remarkable advances in science, industry, and technology. America was a place of new discoveries and new frontiers. Eakins embodied many of the ideals of the period, yet he collided with the moral boundaries of the Victorian era. In the end, Eakins was a brilliant, complicate painter whose ambitious drive towards his art and his visions of perfection left him scorned, disillusioned and alienated. Eakins was not a hero in his time, but his legacy and his impact on both the American art world and society far outlived those who condemned his art. He was an artist who strove to capture scenes from modern life at a time when modern life was evolving at a breathtaking pace. He established a tradition of portraiture that was both distinctly American and distinctly personal. He was an astute observer of the world around him, chronicling his family, friends, and his environment. He pioneered the use of photography in art-making and realized the merits and power the photograph as an art form in itself. His influence has grown dramatically since his death, and his works hand in galleries throughout the world. A Philadelphia native, Eakins graduated from Central High School for Boys, enrolled in drawing classes at the Pennsylvania Academy of the Fine Arts and also took classes in anatomy at Jefferson Medical College (now Thomas Jefferson University). In 1866, Eakins became one of the first of four generations of American artists to travel to Europe for art training in the period between the end of the U.S. -
Let Them Sell Art: Why a Broader Deaccession Policy Today May
NOTES LET THEM SELL ART: WHY A BROADER DEACCESSION POLICY TODAY COULD SAVE MUSEUMS TOMORROW JORJA ACKERS CIRIGLIANA* I. INTRODUCTION In 1972, a New York Times critic unceremoniously introduced the public to deaccessioning when he outed the Metropolitan Museum of Art for selling art ―now that cash is hard for them to find.‖1 Since then, deaccessioning has become a widely implemented process that museums use to (1) remove a qualified object from the museum‘s collection record and (2) dispose of the object through sale, auction, gift, trade, or destruction.2 Despite wide implementation, there is currently a deaccessioning ―crisis‖3 that has instigated public outcry and even legislative reform.4 The crisis stems from the recent financial crisis, which has deeply affected museums. Museums are being forced to choose between making huge cut backs—even permanent closure—and deaccessioning portions of collections at the risk of lawsuits and condemnation. Museums should not have to choose. Instead, museums * Class of 2011, University of Southern California Gould School of Law; B.A. Art History and Theatre 2006, Knox College. The author wishes to thank Professor Scott Altman for his guidance and advice during the Note writing process, Professor Gregory Gilbert for an enthused introduction to the world of art, and the S. CAL. INTERDISC. L. J. staff and board members. 1 Prior to 1972, deaccessioning had gone largely unnoticed by the public. In that year, the Metropolitan Museum attempted to sell art from its collections as it had been doing quietly for the past twenty years. Stephen K. Urice, Deaccessioning: A Few Observations, ALI-ABA COURSE OF STUDY: LEGAL ISSUES IN MUSEUM ADMIN.