Selected Bibliography

Sewell, Darrel

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Selected Bibliography

Darrel Sewell (Editor)

Thomas Eakins

Selected Bibliography

Author

Darrel Sewell (Editor)

PublisherPhiladelphia Museum of Art

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Selected Bibliography

Ackerman, Gerald M. “Thomas Eakins and His Parisian Masters Gérôme and Bonnat.” Gazette des Beaux-Arts, series 6, vol. 73 (April 1969), pp. 235–56.

Adelman, Seymour, and Susan P. Casteras. Susan Macdowell Eakins, 1851–1938. Philadelphia: Pennsylvania Academy of the Fine Arts, 1973.

Berger, Martin A. Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. Berkeley: University of California Press, 2000.

Berkowitz, Julie S. “Adorn the Halls”: History of the Art Collection at Thomas Jefferson University. Philadelphia: Thomas Jefferson University, 1999.

Boime, Albert. “American Culture and the Revival of the French Academic Tradition.” Arts Magazine, vol. 56, no. 9 (May 1982), pp. 95–101.

Braddock, Alan C. “Eakins, Race, and Ethnographic Ambivalence.” Winterthur Portfolio, vol. 33, nos. 2–3 (Summer–Autumn 1998), pp. 135–61.

Buki, Zoltan, and Suzanne Corlette, eds. The Trenton Battle Monument: Eakins Bronzes. Trenton: New Jersey State Museum, 1973.

Bolger, Doreen, and Sarah Cash, eds. Thomas Eakins and the Swimming Picture. Fort Worth, Tex.: Amon Carter Museum, 1996.

Chamberlin-Hellman, Maria. “Thomas Eakins as a Teacher.” Ph.D. diss., Columbia University, 1981.

Clark, William J. “The Iconography of Gender in Thomas Eakins’s Portraiture.” American Studies, vol. 32, no. 2 (Fall 1991), pp. 5–28.

Cooper, Helen A., et al. Thomas Eakins: The Rowing Pictures. New Haven: Yale University Art Gallery, 1996.

Danly, Susan, and Cheryl Leibold. Eakins and the Photograph: Works by Thomas Eakins and His Circle in the Collection of the Pennsylvania Academy of the Fine Arts. Washington, D.C.: Smithsonian Institution Press for the Pennsylvania Academy of the Fine Arts, 1994.

Davis, Whitney. “Erotic Revision in Thomas Eakins’s Narratives of Male Nudity.” Art History, vol. 17, no. 3 (September 1994), pp. 301–41.

Dinnerstein, Lois. “Thomas Eakins’ Crucifixion as Perceived by Mariana Griswold van Rensselaer.” Arts Magazine, vol. 53, no. 9 (May 1979), pp. 140–45.

Domit, Moussa M. The Sculpture of Thomas Eakins. Washington, D.C.: Corcoran Gallery of Art, 1969.

Fink, Lois Marie. American Art at the Nineteenth-Century Paris Salons. Cambridge: Cambridge University Press for the National Museum of American Art, Smithsonian Institution, 1990.

Foster, Kathleen A. “Realism or Impressionism? The Landscapes of Thomas Eakins.” Studies in the History of Art, vol. 37 (1990), pp. 68–91.

———. Thomas Eakins Rediscovered: Charles Bregler’s Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts. New Haven: Yale University Press for the Pennsylvania Academy of the Fine Arts, 1997.

Foster, Kathleen A., and Cheryl Leibold. Writing About Eakins: The Manuscripts in Charles Bregler’s Thomas Eakins Collection. Philadelphia: University of Pennsylvania Press for the Pennsylvania Academy of the Fine Arts, 1989.

Fried, Michael. Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane. Chicago and London: University of Chicago Press, 1987.

Goodrich, Lloyd. Thomas Eakins: His Life and Work. New York: Whitney Museum of American Art, 1933.

———. Thomas Eakins. 2 vols. Cambridge, Mass.: Harvard University Press for the National Gallery of Art, 1982.

Hatt, Michael. “The Male Body in Another Frame: Thomas Eakins’ The Swimming Hole as an Erotic Image.” Journal of Philosophy and the Visual Arts (1993), pp. 8–21.

Hendricks, Gordon. “A May Morning in the Park.” Philadelphia Museum of Art Bulletin, vol. 60, no. 285 (Spring 1965), pp. 48–64.

———. The Photographs of Thomas Eakins. New York: Grossman, 1972.

———. The Life and Work of Thomas Eakins. New York: Grossman, 1974.

Homer, William Innes. “Who Took Eakins’ Photographs.” Art News, vol. 82, no. 5 (May 1983), pp. 112–19.

———. Thomas Eakins: His Life and Art. New York: Abbeville Press, 1992.

———. “New Light on Thomas Eakins and Walt Whitman in Camden.” In Walt Whitman and the Visual Arts, edited by Geoffrey M. Sill and Roberta K. Tarbell. New Brunswick, N.J.: Rutgers University Press, 1992. First published as “New Documentation on Eakins and Walt Whitman in Camden,” Mickle Street Review, vol. 12 (1990), pp. 74–82 (special issue on Whitman and the Visual Arts).

Homer, William Innes, with the assistance of John Talbot. “Eakins, Muybridge and the Motion Picture Process.” The Art Quarterly, vol. 26, no. 2 (Summer 1963), pp. 194–216.

Homer, William Innes, ed. Eakins at Avondale and Thomas Eakins: A Personal Collection. Chadds Ford, Pa.: Brandywine River Museum, 1980.

Hoopes, Donelson F. Eakins Watercolors. New York: Watson-Guptill, 1971; New York: Watson-Guptill, 1985.

In This Academy: The Pennsylvania Academy of the Fine Arts, 1805–1976. Philadelphia: Pennsylvania Academy of the Fine Arts, 1976.

Johns, Elizabeth. “Drawing Instruction at Central High School and Its Impact on Thomas Eakins.” Winterthur Portfolio, vol. 15, no. 2 (Summer 1980), pp. 139–49.

———. Thomas Eakins: The Heroism of Modern Life. Princeton: Princeton University Press, 1983.

———. “Thomas Eakins and ‘Pure Art’ Education.” Archives of American Art Journal, vol. 23, no. 3 (1983), pp. 2–5.

Kaplan, Sidney. “The Negro in the Art of Homer and Eakins.” The Massachusetts Review, vol. 7, no. 1 (Winter 1966), pp. 105–20.

Kimmersle, Constance. “Thomas Eakins’ Exploration of the Mechanism and Laws of Human Expression and Understanding in Themes of Mental Effort and Creative Activity.” Ph.D. diss., University of Pennsylvania, 1989.

Leibold, Cheryl. “Thomas Eakins in the Badlands.” Archives of American Art Journal, vol. 28, no. 2 (1988), pp. 2–15.

Lubin, David M. Act of Portrayal: Eakins, Sargent, James. New Haven: Yale University Press, 1985.

———. “Modern Psychological Selfhood in the Art of Thomas Eakins.” In Inventing the Psychological: Toward a Cultural History of Emotional Life in America, edited by Joel Pfister and ‘Nancy Schnog. New Haven and London: Yale University Press, 1997.

McHenry, Margaret. Thomas Eakins, Who Painted. Oreland, Pa.: Privately printed, 1946.

Milroy, Elizabeth. “Thomas Eakins’ Artistic Training, 1860–1870.” Ph.D. diss., University of Pennsylvania, 1986.

———. “‘Consummatum est . . . ’: A Reassessment of Thomas Eakins’ Crucifixion of 1880.’’ Art Bulletin, vol. 71, no. 2 (June 1989), pp. 269–84.

———. Guide to the Thomas Eakins Research Collection with a Lifetime Exhibition Record and Bibliography. Edited, with contributions by W. Douglass Paschall. Philadelphia: Philadelphia Museum of Art, 1996.

Morand, Anne. “Sources of Genius: Influences for Thomas Eakins’s Portrait of Frank Hamilton Cushing.” Gilcrease Journal, vol. 2, no. 2 (Autumn 1994), pp. 44–60.

Onorato, Ronald J. “The Pennsylvania Academy of the Fine Arts and the Development of an Academic Curriculum in the Nineteenth Century.” Ph.D. diss., Brown University, 1977.

Panhorst, Michael. Samuel Murray: The Hirshhorn Museum and Sculpture Garden Collection, Smithsonian Institution. Washington, D.C.: Smithsonian Institution Press, 1982.

Parry, Ellwood C., III, and Maria Chamberlin-Hellman, “Thomas Eakins as an Illustrator, 1878–1881.” American Art Journal, vol. 5, no. 1 (May 1973), pp. 20–45.

Parry, Ellwood C., III. “The Thomas Eakins Portrait of Sue and Harry; or, When Did the Artist Change His Mind?” Arts Magazine, vol. 53, no. 9 (May 1979), pp. 146–53.

Prown, Jules David. “Thomas Eakins’ Baby at Play.” Studies in the History of Art, vol. 18 (1985), pp. 121–27.

Rosenzweig, Phyllis D. The Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden. Washington, D.C.: Smithsonian Institution Press, 1977.

Schendler, Sylvan. Eakins. Boston: Little, Brown, 1967.

Sellin, David. “The First Pose: Howard Roberts, Thomas Eakins, and a Century of Philadelphia Nudes.” Philadelphia Museum of Art Bulletin, vol. 70, nos. 311–12 (Spring 1975), pp. 5–56. First published in Annual Report, Board of Trustees, Fairmount Park Art Association, 1973; reprinted in The First Pose: 1876, Turning Point in American Art; Howard Roberts, Thomas Eakins, and a Century of Philadelphia Nudes (New York: W.W. Norton, 1976).

———. Thomas Eakins, Susan Macdowell Eakins, and Elizabeth Macdowell Kenton. Roanoke, Va.: North Cross School, 1977.

Sewell, Darrel. Thomas Eakins: Artist of Philadelphia. Philadelphia: Philadelphia Museum of Art, 1982.

Siegl, Theodor. The Thomas Eakins Collection. Introduction by Evan H. Turner. Philadelphia: Philadelphia Museum of Art, 1978.

Simpson, Marc. “Thomas Eakins and His Arcadian Works.” Smithsonian Studies in American Art, vol. 1, no. 2 (Fall 1987), pp. 70–95.

Torchia, Robert Wilson. ‘“The Chess Players by Thomas Eakins.” Winterthur Portfolio, vol. 26, no. 4 (Winter 1991), pp. 267–76.

Truettner, William H. “Dressing the Part: Thomas Eakins’s Portrait of Frank Hamilton Cushing.” The American Art Journal, vol. 17, no. 2 (Spring 1985), pp. 48–72.

Turner, Evan H. “Thomas Eakins: The Earles’ Galleries Exhibition of 1896.” Arts Magazine, vol. 53, no. 9 (May 1979), pp. 100–107.

Walter, Marjorie Alison. “Fine Art and the Sweet Science: On Thomas Eakins, His Boxing Paintings, and Turn-of-the-Century Philadelphia.” Ph.D. diss., University of California, Berkeley, 1995.

Weinberg, H. Barbara. The Lure of Paris: Nineteenth-Century American Painters and Their French Teachers. New York: Abbeville Press, 1991.

Werbel, Amy B. “Perspective in the Life and Art of Thomas Eakins.” Ph.D. diss., Yale University, 1996.

Wilmerding, John, ed. Thomas Eakins (1844–1916) and the Heart of American Life. London: National Portrait Gallery, 1993.

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