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Thomas Eakins

The Heroism of Modern Life

Elizabeth Johns

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Princeton University Press img Link Publisher

Geisteswissenschaften, Kunst, Musik / Kunst

Beschreibung

Why did Thomas Eakins, now considered the foremost American painter of the nineteenth century, make portraiture his main field in an era when other major artists disdained such a choice? With a rich discussion of the cultural and vocational context of the late nineteenth and early twentieth centuries, Elizabeth Johns answers this question.

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Schlagwörter

Alexander Stirling Calder, James Tissot, Culture and Society, Edwin Austin Abbey, John Neagle, Philadelphia Museum of Art, James Laver, Edmund Clarence Stedman, Pathology, Henri Fantin-Latour, John F. Peto, Documenta, Guillaume Dupuytren, Museo del Prado, Pompeo Batoni, William Merritt Chase, Beaumont Newhall, Brandywine River Museum, Cecilia Beaux, Thomas Sully, Physician, John Singer Sargent, Samuel Murray, Rembrandt Peale, Mrs., The Physician, Thomas Eakins, Self-Made Man (book), Charles Willson Peale, Wood engraving, Union League of Philadelphia, Anthony van Dyck, Oratorio, Charles Baudelaire, V., Giovanni Boldini, Currier and Ives, Metropolitan Museum of Art, The Three Ages of Man (Titian), William Rush and His Model, James Abbott McNeill Whistler, Pennsylvania Academy of the Fine Arts, Sadakichi Hartmann, New York Graphic, Gustave Courbet, The Concert Singer, Thomas Couture, Fairmount Water Works, Mathew Brady, National Gallery of Art, College of Physicians of Philadelphia, Nelson-Atkins Museum of Art, F. O. Matthiessen, S. Weir Mitchell, Napoleon Sarony, William-Adolphe Bouguereau, The Gross Clinic, Poetry, Anders Zorn, Thomas Carlyle, The Agnew Clinic, Leonardo da Vinci, The Realist, Century Association, Ralph Waldo Emerson, William Rush, Frederick Gutekunst, Smithsonian Institution, His Family, The Phillips Collection