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Darrel Sewell (Editor)
Description: Thomas Eakins
Thematic essays addressing specific topics are arranged chronologically by decade: the 1870s, the 1880s, the 1890s, and 1900 to 1916. The plate sections illustrating works by Thomas Eakins and his circle have been divided into these four decades, arranged, for the most part, chronologically.
Author
Darrel Sewell (Editor)
PublisherPhiladelphia Museum of Art
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Note to the Reader
Thematic essays addressing specific topics are arranged chronologically by decade: the 1870s, the 1880s, the 1890s, and 1900 to 1916. The plate sections illustrating works by Thomas Eakins and his circle have been divided into these four decades, arranged, for the most part, chronologically.
The dimensions of the works are given in inches, with the height preceding the width.
Duplicate photographic prints borrowed from different lenders—a necessary measure to bring these fragile works before audiences in the three venues of the exhibition—are not illustrated but are listed under Works Not Illustrated.
Eakins’s photographic activities raise special issues in attribution and titling. None of his own photographs, and only a few of those made by his students and friends, are signed. When a work may be firmly assigned or attributed to Eakins, or with confidence to one of his associates, this is indicated. The remainder are assigned to the circle of Thomas Eakins.
Eakins was reluctant to title his photographs. The titles given to his photographs in recent decades vary widely. For consistency in this catalogue, we have used generic descriptive titles, bracketed to indicate that choice. We thank the lenders, who have graciously permitted us to use these titles.
The Pennsylvania Academy of the Fine Arts, Philadelphia, made available, from its collection of Eakins material preserved by his student Charles Bregler, twenty-five of the original 4-by-5-inch glass negatives produced by Eakins and his colleagues, so that modern digital prints could be made of images for which vintage prints do not survive. As most of these images were studies for paintings or teaching aids, we have sought to approach the color and tonal range of albumen prints, Eakins’s preferred process for such works.
For the essay notes, initial references for books are given in full; later citations of the same source are shortened to the author’s last name and year of publication. A listing of sources is also given in Selected Bibliography.
Note to the Reader
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