List of Illustrations

Johns, Elizabeth

Save Cite Share

Free

List of Illustrations

Elizabeth Johns

Thomas Eakins: The Heroism of Modern Life

List of Illustrations

Author

Elizabeth Johns

PublisherPrinceton University Press

Stable URL: https://aaeportal.com/?id=-23365

List of Illustrations

Unless otherwise noted below, works are oil on canvas by Thomas Eakins and photographs have been provided by the owners of the work.

Figure 1. Thomas Eakins, photograph by Frederick Gutekunst, 1893. Philadelphia Museum of Art: Bequest of Mark Lutz.

Figure 2. Thomas Eakins, photograph by an unknown artist, c. 1868. Philadelphia Museum of Art: Bequest of Mark Lutz.

Figure 3. Charles Baudelaire, photograph by Etienne Carjat, c. 1863. International Museum of Photography at George Eastman House.

Figure 4. Thomas Carlyle, photograph by Julia Margaret Cameron, c. 1868–1869. International Museum of Photography at George Eastman House.

Figure 5. Ralph Waldo Emerson, photograph by Curtis and Cameron, c. 1868. Courtesy of the Library of Congress.

Figure 6. Sir Joshua Reynolds, Samuel Johnson, 1756. National Portrait Gallery, London.

Figure 7. Thomas Gainsborough, Carl Frederic Abel, 1788. Henry E. Huntington Library and Art Gallery, San Marino.

Figure 8. J. L. David, Alphonse Leroy, 1782–1783. Musée Fabre, Montpellier. Photograph by Claude O’Sughrue.

Figure 9. Charles Willson Peale, Benjamin Franklin, 1789. The Historical Society of Pennsylvania, Philadelphia.

Figure 10. Thomas Sully, Benjamin Rush, 1811. Pennsylvania Hospital, Philadelphia.

Figure 11. John Neagle, Thomas Birch, n.d. Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia, Gift of John F. Lewis.

Figure 12. Jean-Léon Gérôme, Dante, engraving 1861. Courtesy of the Library of Congress.

Figure 13. Léon Bonnat, Portrait of John Taylor Johnston (1820–1893), First President of the Metropolitan Museum of Art, 1870–1889, 1880. The Metropolitan Museum of Art, Gift of the Trustees, 1880.

Figure 14. Diego Velazquez, Martinez Montañés, 1636. Museo del Prado, Madrid.

Figure 15. Diego Velazquez, Las Meninas, 1656. Museo del Prado, Madrid.

Figure 16. Thomas Couture, The Little Confectioner, n.d. Philadelphia Museum of Art: The William L. Elkins Collection.

Plate 1. Max Schmitt in a Single Scull, or The Champion Single Sculls, 1871. The Metropolitan Museum of Art, Purchase, 1934. Alfred N. Punnett Fund and Gift of George D. Pratt, 1934.

Plate 2. Max Schmitt in a Single Scull, or The Champion Single Sculls, 1871, detail. The Metropolitan Museum of Art, Purchase, 1934. Alfred N. Punnett Fund and Gift of George D. Pratt, 1934.

Plate 3. The Pair-Oared Shell (originally The Biglin Brothers Practising), 1872. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 17. Drawing of the Girard Avenue Bridge with sketch of an oar the verso, pencil on paper, ca. 1870. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.

Figure 18. Perspective Drawing for “The Pair-Oared Shell,” pencil, ink, and watercolor on paper, 1872. Philadelphia Museum of Art: Purchased: The Harrison Fund.

Figure 19. Match Between Eton and Westminster Rowed at Putney August 1, 1843: The Eton winning by fourteen boats length, lithograph by R. F. Thomas, 1843/44. Courtesy of the Parker Gallery, London.

Figure 20. Henry Clasper, Champion of the North of Derwenthaugh by Newcastle on Tyne, lithograph by R. M. Hodgretts and E. Walter, c. 1860, after J. H. Make. Courtesy of Kenneth M. Newman of The Old Print Shop, New York.

Figure 21. James Hammill and Walter Brown, in their Great Five Mile Rowing Match for $4000 and the Championship of America, lithograph by Currier and Ives, 1867. Courtesy of the Library of Congress.

Figure 22. “Barnes Bridge,” Harper’s New Monthly Magazine, December, 1869. Courtesy of the Library of Congress.

Figure 23. “Picked Crew of London Rowing Club” and “Elliott’s Boat,” Harper’s New Monthly Magazine, December, 1869. Courtesy of the Library of Congress.

Figure 24. “Harry Kelley,” Harper’s New Monthly Magazine, December, 1869. Courtesy of the Library of Congress.

Figure 25. “Walter Brown, American champion,” Harper’s New Monthly Magazine, December, 1869. Courtesy of the Library of Congress.

Figure 26. A View of Fairmount Waterworks with Schuylkill in the Distance Taken from the Mount, lithograph by John T. Bowen, 1835. The Library Company of Philadelphia.

Figure 27. A. A. Lawrence, Boat Race, Boston Harbor, 1852. Courtesy, Museum of Fine Arts, Boston, M. and M. Karolik Collection.

Figure 28. “The Rowing Courses Used on the Schuylkill River,” Turf, Field and Farm, June 14, 1872. Courtesy of the Library Company of Philadelphia.

Figure 29. The Biglin Brothers Racing (orig. The Biglin Brothers About to Start the Race), ca. 1873. Gift of Mr. and Mrs. Cornelius Vanderbilt Whitney, National Gallery of Art, Washington.

Figure 30. John Biglin in a Single Scull, watercolor on paper, 1873–1874. The Metropolitan Museum of Art, Fletcher Fund, 1924.

Figure 31. Bufford’s Comic Sheet—No. 419. Courtesy of the Library of Congress.

Plate 4. The Gross Clinic, 1875. The Jefferson Medical College of Thomas Jefferson University, Philadelphia.

Plate 5. The Gross Clinic, 1875, detail. The Jefferson Medical College of Thomas Jefferson University, Philadelphia.

Plate 6. The Agnew Clinic, 1889. The University of Pennsylvania School of Medicine. Photograph Philadelphia Museum of Art.

Figure 32. Composition study for the Portrait of Professor Gross, 1875. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 33. Study for the Head of Professor Gross, 1875. Worcester Art Museum, Worcester, Massachusetts.

Figure 34. Study for spectator (Robert Meyers), 1875. Collection of Mr. and Mrs. Daniel W. Dietrich II, Philadelphia. Photograph Eric Mitchell.

Figure 35. Portrait of Professor Rand, 1874. The Jefferson Medical College of Thomas Jefferson University, Philadelphia.

Figure 36. Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaas Tulp, 1632. Mauritshuis, The Hague. Photograph by Editorial Photocolor Archives.

Figure 37. An operation under ether at Massachusetts General Hospital, photograph, ca. 1850. National Library of Medicine.

Figure 38. Anon. Patient in the presence of Charles X after a cataract operation by Dupuytren, ca. 1820. Musée Carnavalet, Paris.

Figure 39. Marie-François Bichat, engraved 1834 after painting by Emile Béranger. Published in Le Plutarque français, Paris: Mennachet, 1835–1841. National Library of Medicine.

Figure 40. Edouard Hamman, Vesalius at Padua in 1546, 1848. Musée des Beaux-Arts, Marseille.

Figure 41. The Museum of Charity Hospital (Scenes from the Salle de garde). In L’Universe Illustré, 1880, p. 216. Bibliothèque Nationale, Paris.

Figure 42. F.-N.-A. Feyen-Perrin. The Anatomy Lesson of Dr. Velpeau, 1864. Musée des Beaux-Arts, Tours. Photograph by Bulloz.

Figure 43. Louis Matout, Ambroise Paré Applying Ligatures after an Amputation, installed in the amphitheater, École de Médecine, 1864. Engraving by Goupil (painting destroyed). National Library of Medicine.

Figure 44. The Gross Clinic, India ink wash on cardboard, 1876. The Metropolitan Museum of Art, Rogers Fund, 1923.

Figure 45. Ward of Model Post Hospital, Medical Department, Philadelphia Centennial Exposition, photograph, 1876, showing installation of The Gross Clinic. Courtesy of the Library of Congress.

Figure 46. Dr. William Thomson, 1907. The College of Physicians of Philadelphia.

Plate 7. William Rush Carving His Allegorical Figure of the Schuylkill River, 1877. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Plate 8. William Rush Carving His Allegorical Figure of the Schuylkill River, 1877, detail. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Plate 9. William Rush and His Model, 1908. Honolulu Academy of Arts: Gift of Friends of the Academy, 1947.

Figure 47. William Rush, Water Nymph and Bittern or Allegorical Figure of the Schuylkill River, bronze cast of wooden original, 1872. The Commissioners of Fairmount Park, Philadelphia. Photograph by Philadelphia Museum of Art.

Figure 48. Centre Square (an early view, ca. 1809) engraved by C. Tiebout after John J. Barralet. The Historical Society of Pennsylvania, Philadelphia.

Figure 49. William Rush, Allegory of the Waterworks (The Schuylkill Freed), 1825. The Commissioners of Fairmount Park, Philadelphia. Photograph by Philadelphia Museum of Art.

Figure 50. Fairmount Waterworks, From the Forebay, lithograph by Childs and Lehman, 1833 (showing installation of Rush’s reclining figures over wheelhouse doors; arc of spray from fountain figure visible on the left). The Historical Society of Pennsylvania, Philadelphia.

Figure 51. Fountain and Stand-Pipe, engraving by J. W. Lauderbach after J. D. Woodhouse. Reproduced in Earl Shinn, A Century After, Picturesque Glimpses of Philadelphia (Philadelphia: Allen, Lane & Scott & J. W. Lauderbach, 1875). Courtesy of the Library of Congress.

Figure 52. William Rush, George Washington, wood 1814. Independence Hall Historical Park Collection and City of Philadelphia Collection. Photograph by Philadelphia Museum of Art.

Figure 53. William Rush, Self-Portrait, c. 1822. Courtesy of the Pennsylvania Academy of the Fine Arts. Bronze cast from the original in the academy collection.

Figure 54. Installation of Rush’s Nymph with Bittern in Fairmount Park near the Callowhill Street Bridge, photograph ca. 1876. Commissioners of Fairmount Park. Photograph by Philadelphia Museum of Art.

Figure 55. John L. Krimmel, Fourth of July in Centre Square, ca. 1810–1812. Courtesy of the Pennsylvania Academy of the Fine Arts: Academy Purchase from Paul Beck Estate.

Figure 56. Study of Woman with Parasol, 1875–1876. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.

Figure 57. Wax Studies for William Rush Carving His Allegorical Figure of the Schuylkill River, ca. 1875–1876. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 58. Composition Study for William Rush Carving His Allegorical Figure of the Schuylkill River, ca. 1875–1876. Yale University Art Gallery: The James W. and Mary C. Fosburgh Collection.

Figure 59. Gustave Courbet, The Artist’s Studio, 1855. Musée du Louvre, Paris. Photograph by Girardon/Editorial Photocolor Archives.

Figure 60. Eugene Delacroix, Michelangelo in His Studio, 1852. Musée Montpellier. Photograph by Claude O’Sughrue.

Figure 61. J.-L. Gérôme, Rembrandt Etching a Plate, 1861. Engraving by Goupil. Courtesy of the Library of Congress.

Figure 62. Charles Willson Peale, The Artist in His Museum, 1822. Courtesy of the Pennsylvania Academy of the Fine Arts: Joseph and Sarah Harrison Collection.

Figure 63. William Sidney Mount, The Painter’s Triumph, 1830. Courtesy of the Pennsylvania Academy of the Fine Arts: Bequest of Henry C. Carey.

Figure 64. Tompkins H. Matteson, Erastus Dow Palmer in His Studio, 1857. Collection Albany Institute of History and Art.

Figure 65. J.-L. Gérôme, The Artist and His Model, ca. 1890. Haggin Collection, The Haggin Museum, Stockton, California.

Figure 66. L. M. Cochereau, The Studio of David, 1814. Musée du Louvre, Paris. Photograph by Musées Nationaux.

Figure 67. Alice Barber, Female Life Class, 1879. Courtesy of the Pennsylvania Academy of the Fine Arts: Commissioned by the School.

Figure 68. Pen and Ink Drawing after William Rush Carving His Allegorical Figure of the Schuylkill River, 1881. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.

Figure 69. William Merritt Chase, The Tenth Street Studio, ca. 1905–1906. Museum of Art, Carnegie Institute, Pittsburgh: Purchase, 1971.

Figure 70. William Rush Carving His Allegorical Figure of the Schuylkill River, 1908. Courtesy of the Brooklyn Museum, Dick S. Ramsay Fund.

Figure 71. Sketch for William Rush and His Model, ca. 1908. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Plate 10. The Concert Singer, 1892. The Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Plate 11. Professionals at Rehearsal, 1883. Philadelphia Museum of Art: The John D. Mcllhenny Collection.

Plate 12. The Cello Player, 1896. Courtesy of the Pennsylvania Academy of the Fine Arts: Temple Fund Purchase.

Figure 72. John Singer Sargent, Rehearsal of the Pasdeloup Orchestra at the Cirque d’Hiver, ca. 1870. Courtesy, Museum of Fine Arts, Boston. Charles Henry Hayden Fund.

Figure 73. Edgar Degas, The Orchestra at the Opéra, ca. 1869. Musée du Louvre, Jeu de Paume, Paris. Photograph Musées Nationaux.

Figure 74. George Hollingsworth, The Hollingsworth Family, ca. 1840. Courtesy, Museum of Fine Arts, Boston. M. and M. Karolik Collection.

Figure 75. J. M. Whistler, At the Piano, 1859. The Taft Museum, Cincinnati: Louise Taft Semple Bequest.

Figure 76. Edgar Degas, Mlle. Dihau at the Piano, ca. 1869. Musée du Louvre, Jeu de Paume, Paris. Photograph by Musées Nationaux.

Figure 77. Home Scene, ca. 1871. The Brooklyn Museum: Gift of George A. Hearn, Frederick Loeser Art Fund, Dick S. Ramsay Fund, Gift of Charles A. Schieren.

Figure 78. Frances Eakins, 1870. Nelson-Atkins Museum of Art, Kansas City, Missouri: Nelson Fund.

Figure 79. At the Piano, ca. 1872. Gift of Dr. Caroline Crowell, Archer M. Huntington Art Gallery, The University of Texas at Austin.

Figure 80. Elizabeth at the Piano, 1875. Addison Gallery of American Art, Phillips Academy, Andover.

Figure 81. Pompeo Batoni, Luigi Boccherini, 1800. Institut für Kunstwissenschaft, Zurich.

Figure 82. Edgar Degas, The Cellist Pillet, ca. 1869, Musée du Louvre, Jeu de Paume, Paris. Photograph by Musées Nationaux.

Figure 83. F. A. Kummer, photograph ca. 1865. From Edmund van der Straeten, History of the Violincello, 2 vols. (London: William Reeves, 1915; rpt. New York: AMS Press Inc., 1976). Courtesy of AMS Press, Inc.

Figure 84. Music, 1904. Albright-Knox Art Gallery, Buffalo, New York: George Cary, Edmund Hayes and James G. Forsyth Funds, 1955.

Figure 85. J. M. Whistler, Arrangement in Black: Pablo de Sarasate, 1884. Museum of Art, Carnegie Institute, Pittsburgh: Purchase, 1896.

Figure 86. The Piping Shepherd, wood engraving after Fortuny, Scribner’s Magazine October 1879. Courtesy of the Library of Congress.

Figure 87. Photograph of J. Laurie Wallace Seated on Rock, Study for Arcadia Relief, 1883. Philadelphia Museum of Art: Bequest of Mark Lutz.

Figure 88. Study of Ben Crowell for Arcadia, 1883. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.

Figure 89. Arcadia, 1883. Metropolitan Museum of Art, Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967.

Figure 90. Arcadia, plaster relief, 1883. Philadelphia Museum of Art: Purchased: J. Stogdell Stokes Fund.

Figure 91. Portrait of a Lady with a Setter Dog (Susan Eakins), ca. 1885. Metropolitan Museum of Art, Fletcher Fund, 1933.

Figure 92. Edgar Degas, The Singer in Green, pastel, ca. 1885. Metropolitan Museum of Art, Bequest of Stephen C. Clark, 1960.

Figure 93. The Pathetic Song, 1881. In the Collection of the Corcoran Gallery of Art, Museum Purchase.

Figure 94. Henry Lerolle, A Rehearsal in the Choir Loft, 1887. Metropolitan Museum of Art, Gift of George I. Seney, 1887.

Figure 95. Cowboy Singing, c. 1890. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 96. Eakins, Home Ranch, ca. 1892. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 97. The Concert Singer, 1892, showing carving on frame. The Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 98. Photograph of Clara Louise Kellogg as Aida, from Oscar Thompson, The American Singer (New York: Dial Press, 1937; rpt. New York: Johnson Reprint Corp., 1969).

Figure 99. Paul Weber, Portrait of an Opera Singer, 1839. Photograph courtesy of Victor Spark.

Figure 100. Parepa Rosa Reynolds, engraved frontispiece to North’s Philadelphia Musical Journal, July, 1887. Courtesy of the Library of Congress.

Plate 13. Walt Whitman, 1887. Courtesy of the Pennsylvania Academy of the Fine Arts: General Fund Purchase.

Plate 14. Frank Hamilton Cushing, 1895. The Thomas Gilcrease Institute of American History and Art, Tulsa, Oklahoma.

Plate 15. Mrs. Edith Mahon, 1904. Smith College Museum of Art.

Plate 16. Mrs. Thomas Eakins, 1899. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Photograph by John Tennant.

Figure 101. The Writing Master, 1882. The Metropolitan Museum of Art, Kennedy Fund, 1917.

Figure 102. Henry O. Tanner, 1900. The Hyde Collection, Glens Falls, New York.

Figure 103. Professor Henry A. Rowland, 1891. Addison Gallery of American Art, Phillips Academy, Andover.

Figure 104. Portrait of Professor Leslie W. Miller, 1901. Philadelphia Museum of Art: Given by Martha P. L. Seeler.

Figure 105. Portrait of Rear Admiral George Wallace Melville, 1904. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 106. Salutat, 1898. Addison Gallery of American Art, Phillips Academy, Andover.

Figure 107. Mrs. William D. Frishmuth, or Antiquated Music, 1900. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 108. An Actress (Portrait of Suzanne Santje), 1903. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 109. Portrait of Archbishop Diomede Falconio, 1905. National Gallery of Art, Washington. Gift of Stephen C. Clark, 1946.

Figure 110. Portrait of Dr. Horatio C. Wood, ca. 1890. Detroit Institute of Arts: City of Detroit Purchase.

Figure 111. John Singer Sargent, Portrait of Mrs. J. William White, 1903. Philadelphia Museum of Art: Commissioners of Fairmount Park: Mrs. J. William White Collection.

Figure 112. William Merritt Chase, Portrait of Mrs. C. (Lady with the White Shawl), 1893. Courtesy of the Pennsylvania Academy of the Fine Arts. Temple Fund Purchase, 1895.

Figure 113. Cecilia Beaux, New England Woman, 1895. Courtesy of the Pennsylvania Academy of the Fine Arts. Temple Fund Purchase, 1896.

Figure 114. Photograph of Walt Whitman, c. 1887. Philadelphia Museum of Art: Bequest of Mark Lutz.

Figure 115. Portrait of Dr. Jacob M. Da Costa, 1893. Pennsylvania Hospital, Philadelphia.

Figure 116. Robert Vonnoh, Portrait of Dr. Jacob M. Da Costa, 1893. The College of Physicians of Philadelphia.

Figure 117. The Dean’s Roll Call (Portrait of James W. Holland), 1899. Courtesy Museum of Fine Arts, Boston, Abraham Shuman Fund.

Figure 118. Portrait of Professor William Smith Forbes, 1905. The Jefferson Medical College of Thomas Jefferson University, Philadelphia.

Figure 119. Robert Vonnoh, Portrait of Dr. Jacob M. Da Costa, 1893. The Jefferson Medical College of Thomas Jefferson University, Philadelphia.

Figure 120. William Merritt Chase, Portrait of Dr. William W. Keen, 1910. The Jefferson Medical College of Thomas Jefferson University, Philadelphia.

Figure 121. Portrait of Letitia Wilson Jordan, 1888. The Brooklyn Museum: Dick S. Ramsay Fund.

Figure 122. Portrait of Mary Adeline Williams (Addie), c. 1900. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 123. The Old-Fashioned Dress (Portrait of Helen Parker), c. 1908. Philadelphia Museum of Art: Given by Mrs. Thomas Eakins and Miss Mary A. Williams.

Figure 124. Self-Portrait, 1902. National Academy of Design, New York.

Previous chapter Next chapter

Base text size -

Chapter images ()