Thomas Eakins and the Uses of History by Akela Reason
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Rush Family Papers Rush Finding Aid Prepared by Finding Aid Prepared by Holly Mengel
Rush family papers Rush Finding aid prepared by Finding aid prepared by Holly Mengel. Last updated on September 02, 2020. Library Company of Philadelphia Rush family papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 7 Administrative Information......................................................................................................................... 14 Related Materials......................................................................................................................................... 15 Controlled Access Headings........................................................................................................................15 Other Finding Aids note..............................................................................................................................17 Collection Inventory.................................................................................................................................... 18 Series I. Benjamin Rush papers........................................................................................................... -
Art 334: American Art David Mccarthy Rhodes College, Spring 2006 414 Clough, Ext
Art 334: American Art David McCarthy Rhodes College, Spring 2006 414 Clough, Ext. 3663 417 Clough, MWF: 3:00-3:50 Office Hours: MWF: 1:00- CRN: 20128 3:00 and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive overview of the major works, artists, and movements of American art from the colonial period through 1940; (2) to integrate these works of art within the broader social and intellectual history of the period; and (3) to help students develop their skills in visual analysis, image identification, and historical interpretation. Among the issues we will examine are the following: the development of indigenous styles of architecture, the debt to European conventions in painting and sculpture, the place of the visual arts within a democracy, the attempt to define the experience of America through painting and sculpture, and the periodic attempt to break free of European precedent. Art 334 is a survey of the visual arts produced within the geographic region that became the United States. Though the emphasis of the course is on the visual arts, the ideas covered are applicable to courses covering the same chronological period in American studies, history and literature. This is an intermediate level course with no prerequisites. It satisfies the fine arts requirement and may also be used toward the American studies minor. Art 334 is a lecture course with discussion based on a variety of readings. TEXTBOOKS Barnet, Sylvan. A Short Guide to Writing About Art. 8th ed. New York: Longman, 2005. -
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. -
Charles Coleman Sellers Collection Circa 1940-1978 Mss.Ms.Coll.3
Charles Coleman Sellers Collection Circa 1940-1978 Mss.Ms.Coll.3 American Philosophical Society 3/2002 105 South Fifth Street Philadelphia, PA, 19106 215-440-3400 [email protected] Charles Coleman Sellers Collection ca.1940-1978 Mss.Ms.Coll.3 Table of Contents Summary Information ................................................................................................................................. 3 Background note ......................................................................................................................................... 5 Scope & content ..........................................................................................................................................6 Administrative Information .........................................................................................................................7 Related Materials ........................................................................................................................................ 7 Indexing Terms ........................................................................................................................................... 7 Bibliography ................................................................................................................................................9 Collection Inventory ..................................................................................................................................10 Series I. Charles Willson Peale Portraits & Miniatures........................................................................10 -
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. -
Philadelphia's Third Dimension
PERIODICALS RESOURCES & ENVIRONMENT "human testing problem." The federal government has set maximum contaminant levels for a number of inorganic chemicals, including ar- senic, lead, mercury, and nitrate. But concentrations of these chemicals in the water supply vary not only from place to place but also from seasol;. to season. It is difficult to determine the precise source of any one contaminant present in the human body. (The poisons may come from food or air as well as water.) Our ignorance is compounded by the problems of conducting human tests. The primary threat posed by water pollutants lies in their long- term, low-dose cumulative effects. Because humans live about 35 times longer than mice and have a far more variable genetic composition, high-dose animal exposure tests are no good for determining maximum exposure concentrations in humans. Despite the lack of adequate testing techniques, says Sterrett, scien- tists must keep plodding along, taking care to continuously "review, re-evaluate, and update" all standards-a process that will have to continue far into the future. ARTS & LETTERS "The Origins of Sculpture in America: Philadelphia's Philadelphia, 1785-1830" by Wayne Cra- Third Dimension ven, in American Art Journal (NOV.1977), Kennedy Galleries, 40 W. 57th St., New York, N.Y. 10019. In 1782, Benjamin Franklin, then ambassador to France, advised Ital- ian sculptor Giuseppe Ceracchi not to pin his commercial hopes on the American market. Private persons, he wrote, were not rich enough to afford sculpture, while the public, "being burden'd by its War Debts, will certainly think of paying them before it goes to the Expence of Marble Monuments." Yet three years later, Franklin returned to Philadelphia with French sculptor Jean Antoine Houdon in tow. -
The Annual Report Library Company of Philadelphia
THE ANNUAL REPORT OF THE LIBRARY COMPANY OF PHILADELPHIA FOR THE YEAR 2011 PHILADELPHIA: The Library Company of Philadelphia 1314 Locust Street Philadelphia, Pennsylvania 19107 2012 as of December 31, 2011 President B. Robert DeMento Vice President Howell K. Rosenberg Secretary Helen S. Weary Treasurer Robert J. Christian Trustees Harry S. Cherken, Jr. Martha Hamilton Morris Robert J. Christian Howell K. Rosenberg B. Robert DeMento Richard Wood Snowden Maude de Schauensee Carol E. Soltis Davida T. Deutsch Peter Stallybrass Beatrice W. B. Garvan John C. Tuten Autumn Adkins Graves Ignatius C. Wang Charles B. Landreth Helen S. Weary Gordon M. Marshall Clarence Wolf John F. Meigs Trustees Emeriti Peter A. Benoliel Susan O. Montgomery Lois G. Brodsky Charles E. Rosenberg William H. Helfand William H. Scheide Roger S. Hillas Seymour I. Toll David W. Maxey Michael Zinman Elizabeth P. McLean Director John C. Van Horne James N. Green Librarian Rachel A. D’Agostino Curator of Printed Books and Co-Director, Visual Culture Program Alfred Dallasta Chief of Maintenance and Security Erica Armstrong Dunbar Director, Program in African American History Ruth Hughes Chief Cataloger Cornelia S. King Chief of Reference Phillip S. Lapsansky Curator of African American History Cathy Matson Director, Program in Early American Economy and Society Erika Piola Associate Curator of Prints & Photographs and Co-Director, Visual Culture Program Jennifer W. Rosner Chief of Conservation Molly D. Roth Development Director Nicole Scalessa Information Technology Manager Sarah J. Weatherwax Curator of Prints & Photographs Front Cover: William L. Breton. The Residence of Washington in High Street, 1795-6. Philadelphia, ca. 1828. -
Ben Franklin Parkway and Independence Mall Patch Programs
Ben Franklin Parkway and Independence Mall Patch Programs 1 Independence Mall Patch Program Introduction – Philadelphia’s History William Penn, a wealthy Quaker from London earned most of his income from land he owned in England and Ireland. He rented the land for use as farmland even though he could have made much more money renting it for commercial purposes. He considered the rent he collected from the farms to be less corrupt than commercial wealth. He wanted to build such a city made up of farmland in Pennsylvania. As soon as William Penn received charter for Pennsylvania, Penn began to work on his dream by advertising that he would establish, “ A large Towne or City” on the Delaware River. Remembering the bubonic plague in London (1665) and the disastrous fire of 1666, Penn wanted, “ A Greene county Towne, which would never be burnt, and always be wholesome.” In 1681, William Penn announced he would layout a “Large Towne or City in the most convenient place upon the river for health and navigation.” Penn set aside 10,000 acres of land for the Greene townie on the Delaware and he stretched the town to reach the Schuylkill so that the city would face both rivers. He acquired one mile of river frontage on the Schuylkill parallel to those on the Delaware. Thus Philadelphia became a rectangle 1200 acres, stretching 2 miles in the length from east to west between the 3 rivers and 1 mile in the width North and South. William Penn hoped to create a peaceful city. When he arrived in 1682, he made a Great Treaty of Friendship with the Lenni Lenape Indians on the Delaware. -
Sculptures and Fountains Collection FP.2011.002 Finding Aid Prepared by Andrew Beck and Eric Rosenzweig
Sculptures and Fountains Collection FP.2011.002 Finding aid prepared by Andrew Beck and Eric Rosenzweig This finding aid was produced using the Archivists' Toolkit October 01, 2012 Describing Archives: A Content Standard Fairmount Archives 2011 June 22 Sculptures and Fountains Collection FP.2011.002 Table of Contents Summary Information ................................................................................................................................. 3 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................4 Administrative Information .........................................................................................................................4 Controlled Access Headings..........................................................................................................................4 Collection Inventory...................................................................................................................................... 6 Sculpture and Fountain Photographs and Images...................................................................................6 Sculpture and Fountain Records........................................................................................................... 23 - Page 2 - Sculptures and Fountains Collection FP.2011.002 -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
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.