Thomas Eakins is regarded by most critics as the most outstanding American painter of the 19th century and by many as the greatest his country has yet produced. Born in Philadelphia, he passed the major part of his life there with the exception of a period of training in Europe, 1866-70. He studied in Paris with Gérôme, but learnt most from the Spanish painters Velázquez and Ribera, absorbing a precise and uncompromising sense for actuality which he applied to portraiture and genre pictures of the life of his native city (boating and bathing were favorite themes).

Thomas Eakins began teaching at the Pennsylvania Academy of Fine Arts in 1876 and was attacked for his radical ideas, particularly his insistence on working from nude models.

In 1886 he was forced to resign after allowing a mixed class to draw from a completely nude male model. Eakins's quest for realism led him to study anatomy and make full use of Muybridge's photographic researches, but the scientific bent in his work is of less importance than his honesty and depth of characterization.

Below: Wrestlers, 1899, Columbus Museum of Art, Columbus, Ohio, USA. I offer a fine reproduction of this piece for your purchase.

Wrestlers

Eakin's portraits are often compared to Rembrandt's because of their dramatic play of sombre lighting and sense of inner truth. The most famous of his paintings is The Gross Clinic (Jefferson Medical Coll., Philadelphia, 1875), which aroused controversy because of its unsparing depiction of surgery, an experience that was repeated with The Agnew Clinic (University of Pennsylvania, 1889).

Because of financial support from his father, Thomas Eakins could continue on his chosen course despite public abuse, but much of his later career was spent working in bitter isolation. It was only near the end of his life that he achieved recognition as a great master, and in the first two decades of the 20th century his desire to `peer deeper into the heart of American life' was reflected in the work of the Ash-can School and other Realist painters.

As well as being a painter and photographer, Eakins also made a few sculptures. His wife, Susan Hannah Macdowell Eakins (1851-1938), whom he married in 1884, was also a painter and photographer, as well as an accomplished pianist.

Below: Swimming Hole, 1885, Amon Carter Museum, Fort Worth. Two revealing sentences written by Thomas Eakins relate directly to one of his masterpieces, Swimming Hole, completed in 1885. Early in his career he wrote, "there is so much beauty in reflections that it is generally worthwhile to try to get them right," and in 1886 he confessed that he saw "no impropriety in looking at the most beautiful of Nature's works, the naked figure." I offer fine art prints of this masterwork in my online store.

Swimming Hole

Crucifixion