Projecting an Image: The Contested Cultural Identity of Thomas Eakins - Exhibition Reviews

(12.) Darrel Sewell, Thomas Eakins: Artist of Philadelphia, exh. cat., Philadelphia Museum of Art, 1982; Sewell et al. (as in n. 1); Phyllis D. Rosenzweig, The Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden (Washington, D.C.: Smithsonian Institution Press, 1977); Theodor Siegl, The Thomas Eakins Collection (Philadelphia: Philadelphia Museum of Art, 1978); Arts 53, no. 9 (May 1979), a special issue on Thomas Eakins; and Lloyd Goodrich, Thomas Eakins, 2 vols. (Cambridge, Mass.: Harvard University Press for the National Gallery of Art, 1982).

(13.) Johns (as in n. 10); and Michael Fried, "Realism, Writing, and Disfiguration in Thomas Eakins's Gross Clinic," Representations 9 (winter 1985): 33-104, published in revised form in Fried (as in n. 9), 1-89.

(14.) Kathleen A. Foster 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); Susan Danly 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, with essays by Elizabeth Johns, Anne C. McCauley, and Mary Panzer (Washington, D.C.: Smithsonian Institution Press for the Pennsylvania Academy of the Fine Arts, 1994).

(15.) Wall label from Thomas Eakins: American Realist. On Eakins and nude photography, see Elizabeth Johns, "An Avowal of Artistic Community: Nudity and Fantasy in Thomas Eakins's Photographs," in Danly and Leibold (as in n. 14), 65-93; and Anne C. McCauley, "'The Most Beautiful of Nature's Works': Thomas Eakins's Photographic Nudes in Their French and American Contexts," in ibid., 22-63. Fig. 33 (73) illustrates a second Bregler Collection photograph of Eakins carrying a nude female, and fig. 35 (75) reproduces the outdoors photograph of Susan Macdowell Eakins standing nude beside her husband's horse.

(16.) For a detailed summary, see Foster and Leibold (as in n. 14), 69-122.

(17.) Lubin (as in n. 8), 27-82. See also Goodbody (as in n. 11).

(18.) David Hockney, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters (New York: Viking Studio, 2001); Dorothy M. Kosinski The Artist and the Camera: Degas to Picasso, exh. cat., Dallas Museum of Art, 1999; Walter Liedtke, Michiel C. Plomp, and Axel Ruger, Vermeer and the Delft School, exh. cat., Metropolitan Museum of Art, New York, 2001; and Philip Steadman, Vermeer's Camera: Uncovering the Truth behind the Masterpieces (New York: Oxford University Press, 2001).

(19.) Alan Trachtenberg, The incorporation of America: Culture and Society in the Gilded Age (New York: Hill and Wang, 1982).

(20.) Burton J. Bledstein, The Culture of Professionalism: The Middle Class and the Development of Higher Education in America (New York: W. W. Norton, 1976).

(21.) See Lubin, 1997 (as in n. 1), 133-66. See also Martin A. Berger, "Sentimental Realism in Thomas Eakins's Late Portraits," in Sentimental Men: Masculinity and the Politics of Affect in American Culture, ed. Mary Chapman and Glenn Hendler (Berkeley: University of California Press, 1999), 244-58. The William James quotation is from James, "The Gospel of Relaxation" (1899), in Talks to Teachers on Psychology and to Students on Some of Life's ideals (New York: Dover, 1962), 106. On Eakins and pragmatism, see Ray Carney, "When Mind Is a Verb: Thomas Eakins and the Work of Doing," in The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture, ad. Morris Dickstein (Durham, N.C.: Duke University Press, 1998), 377-403; and Michael Leja, "Eakins and Icons," Art Bulletin 83 (2001): 479-97.