Thomas Eakins: Quotes about studying

Thomas Eakins was American painter. Explore interesting quotes on study.

Thomas Eakins: 38 quotes0 likes

“I have never discovered that the nude could be studied in any way except the way I have adopted. All the muscles must be pointed out. To do this all the drapery must be removed.”

Said to art critic Riter Fitzgerald, who quoted Eakins in an article in the Philadelphia Item (1895); from Sylvan Schendler, Eakins (1967), ch. 10.

“In pursuance of my business and professional studies, I use the naked model.A number of my women pupils have for economy studied from each others' figures, and of these some have obtained from time to time my criticism on their work. I have frequently used as models for myself my male pupils: very rarely female pupils and then only with the knowledge and consent of their mothers.One of the women pupils some years ago gave to her lover who communicated it to Mr. Frank Stephens a list of these pupils as far as she knew them, and since that time Mr. Frank Stephens has boasted to witnesses of the power which this knowledge gave him to turn me out of the Academy, the Philadelphia Sketch Club, & the Academy Art Club, and of his intention to drive me from the city.”

Letter to Emily Sartain (1886-03-25). Frank Stephens was Eakins' brother-in-law.

“When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is — except a naked man, but I never saw a study of one exhibited.”

Letter to his father, Benjamin Eakins (1867), quoted in Lloyd Goodrich, Thomas Eakins: His Life and Work (1933).

“On the lines of the mighty and simple strains dominating the movement, and felt intuitively and studied out by him, the master artist groups with full intention, his muscular forms. No detail contradicts. His men and animals live. Such is the work of three or four modern artists. Such was the work of many an old Greek sculptor.”

"The Differential Action of Certain Muscles Passing More than One Joint," lecture, Academy of Natural Sciences, Philadelphia (1894-05-01).

“If America is to produce great painters and if young artists wish to assume a place in the history of the art of their country, their first desire should be to remain in America to peer deeper into the heart of American life, rather than spend their time abroad obtaining a superficial view of the art of the Old World. In the days when I studied abroad conditions were entirely different. The facilities for study in this country were meagre. There were even no life classes in our art schools and schools of painting. Naturally one had to seek instruction elsewhere, abroad. Today we need not do that.”

Interview, Philadelphia Press; quoted in Lloyd Goodrich, Thomas Eakins (1933).

“My figures at least are not a bunch of clothes with a head and hands sticking out but more nearly resemble the strong living bodies that most pictures show. And in the latter end of a life so spent in study, you at least can imagine that painting is with me a very serious study. That I have but little patience with the false modesty which is the greatest enemy to all figure painting. I see no impropriety in looking at the most beautiful of Nature's works, the naked figure. If there is impropriety, then just where does such impropriety begin? Is it wrong to look at a picture of a naked figure or at a statue? English ladies of the last generation thought so and avoided the statue galleries, but do so no longer. Or is it a question of sex? Should men make only the statues of men to be looked at by men, while the statues of women should be made by women to be looked at by women only? Should the he-painters draw the horses and bulls, and the she-painters like Rosa Bonheur the mares and cows? Must the poor old male body in the dissecting room be mutilated before Miss Prudery can dabble in his guts?Such indignities anger me. Can not anyone see into what contemptible inconsistencies such follies all lead? And how dangerous they are? My conscience is clear, and my suffering is past.”

Letter of resignation to Edward Hornor Coates, Chairman of the Committee on Instruction, Pennsylvania Academy of the Fine Arts (1886-02-15).

“Thomas Eakins was a man of great character. He was a man of iron will and his will to paint and to carry out his life as he thought it should go. This he did. It cost him heavily but in his works we have the precious result of his independence, his generous heart and his big mind. Eakins was a deep student of life, and with a great love he studied humanity frankly. He was not afraid of what his study revealed to him.”

Robert Henri, open letter to the Art Students League, (1917-10-29).