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same time the artist's self-depiction suggests emotional vulnerability. While presenting an expression that has been interpreted as one of "accusation and bitterness", art historian Darrel Sewell has noted that the painting's power resides in its emotional ambiguity, and that it bears closer relationship to the sympathetic intimacy of Eakins' portraits of women than to his more psychologically distant images of men.
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rediscovery by a younger generation of artists and writers. Unanimously approved as an
Associate-elect of the National Academy on 12 March 1902, Eakins quickly painted this self-portrait and submitted it to the Academy on 5 May, and was accepted as a full Academician at the annual meeting on 14 May; he remains the only artist in the Academy's history to be made an Associate and full Academician in the same year.
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It is possible that the smaller oil was intended as an anatomical study or an experiment in emotional tone that Eakins decided not to submit to the
Academy. The small size, 20 by 16 inches (510 mm × 410 mm), was used by Eakins for only two other portraits. Of frontal format, it is more
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The painting is a fine example of Eakins' mature technique— "an unmatched demonstration of his absolute control of the medium"— and a powerful psychological study. Flesh and bone structure are painted with small strokes of fluid paint that offer a successful illusion of light-struck form, and at the
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At 30 by 25 inches (760 mm × 640 mm), the
Academy canvas is larger than Eakins' customary format of 24 by 20 inches (610 mm × 510 mm) for a bust portrait. He is seen in formal attire, wearing a dark suit with buttoned waistcoat, white shirt and a dark tie. His hair is
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Largely due to controversies surrounding his work, Eakins was not invited to become a member of the
National Academy of Design until 1902, well after many of his contemporaries. It was only in the late 1890s that his reputation benefited from a positive reassessment by his colleagues, as well as a
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directly confrontational than the
Academy's painting, and appears to have been left unfinished. The artist may have been wearing a gray sweater seen previously in an 1895 photograph. Eakins' student Charles Bregler recalled that the painting was made in one sitting.
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in 1902. Although Eakins included himself as an observer or participant in group portraits and genre scenes, this and a smaller unsigned and undated oil, thought to have been made at about the same time, are the only unadorned self-portraits he ever painted.
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unkempt and his mustache unevenly trimmed; the contrast between clothing and grooming alludes to a rebellious nature restrained by cultural mores. Compared to the smaller portrait, there is a greater sense of space and less intense physical immediacy— for
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wrote that it "is not only one of his finest head and bust likenesses, but a revealing human document; in the direct look of his remarkable eyes one can see strength, penetrating intelligence, and a touch of ironic humor."
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162:, c. 1902. Oil on canvas mounted on fibre board, 50.8 cm × 40.9 cm (20.0 in × 16.1 in)
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Previously Eakins had included himself in several early sporting pictures, as well as
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76 cm × 63 cm (30 in × 25 in)
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William Rush
Carving His Allegorical Figure of the Schuylkill River
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375:. Washington, DC: Smithsonian Institution Press, 1993.
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596:The Thinker: Portrait of Louis N. Kenton
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445:Portrait of Professor Benjamin H. Rand
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359:Still Looking: Essays on American Art
331:Thomas Eakins: Artist of Philadelphia
164:Hirshhorn Museum and Sculpture Garden
508:The Artist's Wife and His Setter Dog
333:. Philadelphia Museum of Art, 1982.
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588:Portrait of Mary Adeline Williams
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222:Goodrich, Vol. II, 1982. p. 201.
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476:The Fairman Rogers Four-in-Hand
347:. Yale University Press, 2001.
253:Wilmerding, et al. pp. 155-156.
620:Archbishop William Henry Elder
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204:List of works by Thomas Eakins
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437:Max Schmitt in a Single Scull
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657:Conservation-restoration of
604:Portrait of Leslie W. Miller
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691:Portraits by Thomas Eakins
628:William Rush and His Model
144:William Rush and His Model
103:National Academy of Design
81:National Academy of Design
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371:Wilmerding, John, et al.
361:. Alfred A. Knopf, 2005.
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16:Painting by Thomas Eakins
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343:Sewell, Darrel; et al.
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540:Portrait of Maud Cook
524:Miss Amelia Van Buren
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302:Sewell 1982, p. 105.
652:Thomas Eakins House
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532:The Concert Singer
484:The Writing Master
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500:The Swimming Hole
461:The Chess Players
315:Goodrich, Lloyd:
126:The Swimming Hole
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659:The Gross Clinic
556:Taking the Count
516:The Agnew Clinic
453:The Gross Clinic
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431:List of works
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665:Eakins Oval
548:The Pianist
479:(1879–1880)
182:John Updike
680:Categories
310:References
115:Background
69:Dimensions
580:Wrestlers
424:Paintings
198:See also
175:Painting
85:New York
77:Location
639:Related
564:Salutat
492:Arcadia
51: (
648:(wife)
631:(1908)
623:(1903)
615:(1902)
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599:(1900)
583:(1899)
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61:Medium
36:Artist
210:Notes
377:ISBN
363:ISBN
349:ISBN
335:ISBN
321:ISBN
135:and
53:1902
49:1902
46:Year
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258:^
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409:e
402:t
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