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offered "possibilities of form and color not available to in the dark suits of
Philadelphia businessmen." Adams speculated that Eakins decided to paint clerical portraits because he was intrigued by "the sexually ambiguous quality of priestly clothes", and "the way that the clergy appeared to cross normal gender boundaries", though later biographers such as Kirkpatrick have dismissed this interpretation.
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175:." Furthermore, most of these portraits were gifts, not commissions – initiated at Eakins's request and completed at his own expense. These gifts were not always well received by their recipients, either: Dr. Patrick J. Garvey hid his under his bed, and the portraits of Mother Mary Patricia Waldron and Bishop Edmond Prendergast were lost, presumed destroyed.
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It is unsurprising then that these themes come to the forefront in his portrait of Elder, the oldest of Eakins's clerical subjects. While Eakins did not exaggerate his sitter's age in this case, he uses that heavy emphasis on an Elder's aged features as a way of exploring his psychology, rather than
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Kirkpatrick suggests that Eakins respected the clerics as intellectuals despite not seeing eye-to-eye with them on spiritual matters – several were accomplished scholars. Eakins may also have appreciated their lack of worldly pretense, a trait which he shared. Schendler wrote that priestly vestments
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In what would become a famous incident, Eakins appeared at the formal award ceremony in his bicycling outfit – a raggedy sweater and short trousers. He was heard to tell Coates, who had since risen to the rank of academy president, "I think you've got a heap of impudence to give me a medal." After
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Despite the academy's acclaim, Eakins was still bitter over having been forced to resign from the
Academy 18 years prior. A controversial teacher, Eakins had incited the ire of the school administration by breaking various Academy policies, such as having students pose in the nude for himself and
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This was the farthest that Eakins travelled to paint a portrait; most of his subjects were local to
Philadelphia. It was also unusual among his clerical portraits in that it was a commission from a stranger, rather than a gift for someone he had come to know personally. Eakins worked quickly – on
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he rose to prominence by refusing to follow an order given by occupying Union forces to include prayers for the
President in local Catholic services – a stand for which he was briefly jailed. He further distinguished himself during a yellow fever epidemic in 1878, when he caught the disease while
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Here, as elsewhere in his work, Eakins "did not hesitate to show a sitter as frankly old." Themes of aging and mortality were "as characteristic of portraiture as costumes and setting were of the portraiture of his contemporaries." Indeed, these themes were so central to Eakins's conception of
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In early 1904, the portrait was presented to Elder after being shown at the academy. It received a more mixed reception there, as Bishop
Moeller reported in a letter to Eakins: "...some who have seen the picture do not like the Archbishop's expression, but that was not your fault. You gave the
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the objective reality of his appearance. "Archbishop Elder's seeming awareness of his own mortality is one of the painting's strongest notes," Schendler writes, "The meditative quality of the portrait is associated with the impression of physical frailty."
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The oldest of the clerics who sat for Eakins, the 84-year-old Elder was near the end of a long and distinguished career in the church. Born in
Baltimore in 1819, he was ordained a priest in 1846. In 1857 he was appointed Bishop of Natchez, Mississippi.
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each other. This came to a head when he was formally reprimanded for removing a loincloth from a male model in front of female students. Further accusations of sexual impropriety – such as a private demonstration of "pelvic motions" to
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While the genesis of the series is clear enough, Eakins's motivations are less readily apparent. A lifelong agnostic who was outspokenly critical of
Christianity in general – and Catholicism in particular – Eakins debated
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In the final decade of his active career (c. 1900–1910), Thomas Eakins painted a series of portraits of
Catholic clergy. In all over a dozen clergy sat for Eakins, more than any other single profession.
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portraiture as an art form that he once asked a sitter if he could portray him as older than he truly was, writing that he wished "to do a fine piece of work as a work of art and not a likeness."
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clergy Eakins undertook late in his career. In this psychologically probing portrait, Eakins depicts the stoic Elder, frail but still imposing at 84, confronting his own mortality.
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The resulting portrait, executed in oil on a 168.1 cm × 114.7 cm canvas, is "a stunning painting, but not because it flatters the
Archbishop."
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Both in its composition and in its psychologically penetrating depiction of an aging but still imposing cleric, the portrait of Elder is comparable to
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was only about two miles from Eakins's home, the two chose it as a destination for their Sunday bicycle excursions, often staying for late afternoon
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as the
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Elder died in October 1904, and after his death the portrait remained the property of the Archdiocese, passing down from one
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with Monsignor James P. Turner, who later sat for him, and would "smile superciliously whenever someone spoke of
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Harrison Morris solicited it for their annual exhibition. There it won top honors and was awarded the
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that he'd finished Elder's portrait in one week. "I think it one of my best," he added.
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This article is about the painting by Eakins. For the archbishop depicted, see
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in the online catalog of the Cincinnati Art Museum. Retrieved 11 August 2022.
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The painting, which Eakins considered "one of my best", was awarded the
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William Rush Carving His Allegorical Figure of the Schuylkill River
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Man Made: Thomas Eakins and the construction of Gilded Age manhood
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Archbishop the expression he had while you were doing the work."
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Amnéus, Cynthia; Forth, Ron; Hisey, Scott; et al. (2008).
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Within two weeks of the portrait's completion, director of the
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Elder is depicted seated in a frontal pose, wearing a black
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Elder earlier in life, as the Bishop of Natchez, Mississippi
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receiving his award he immediately left by bicycle for the
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The series came about through Eakins's relationship with
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Eakins Revealed: the secret life of an American artist
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December 15 he wrote to his friend and former student
845:. Vol. 2. Cambridge: Harvard University Press.
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944:. Philadelphia: Philadelphia Museum of Art.
823:. Berkeley: University of California Press.
802:Cincinnati Art Museum: Collection Highlights
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864:. Princeton: Princeton University Press.
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401:asked for and received his resignation.
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1052:Portrait of Professor Benjamin H. Rand
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942:Thomas Eakins: Artist of Philadelphia
927:. Boston: Little, Brown and Company.
785:. New York: Oxford University Press.
183:Selected clerical portraits by Eakins
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1115:The Artist's Wife and His Setter Dog
886:. New Haven: Yale University Press.
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978:in the National Portrait Gallery's
906:Portrait: The life of Thomas Eakins
117:, one of a series of portraits of
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1195:Portrait of Mary Adeline Williams
383:Pennsylvania Academy of Fine Arts
130:Pennsylvania Academy of Fine Arts
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438:List of works by Thomas Eakins
195:Sebastiano Cardinal Martinelli
139:, which purchased it in 1978.
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1044:Max Schmitt in a Single Scull
980:Catalog of American Portraits
157:St. Charles Borromeo Seminary
1446:Undergrowth with Two Figures
1264:Conservation-restoration of
1211:Portrait of Leslie W. Miller
884:The Revenge of Thomas Eakins
428:, where it remains in 2024.
334:, oil on canvas, c. 1650.
331:Portrait of Pope Innocent X
256:Nelson-Atkins Museum of Art
233:Archbishop Diomede Falconio
214:Monsignor James F. Loughlin
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1545:Portraits by Thomas Eakins
1460:Portrait of a Dutch Family
1235:William Rush and His Model
989:on Google Arts and Culture
923:Schendler, Sylvan (1967).
908:. New York: W. W. Norton.
819:Berger, Martin A. (2000).
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860:Johns, Elizabeth (1991).
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16:Painting by Thomas Eakins
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377:Reception and provenance
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1453:Daughters of Revolution
940:Sewell, Darrel (1982).
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237:National Gallery of Art
1364:Gustave Von Groschwitz
1253:Susan Macdowell Eakins
370:Portrait of Innocent X
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781:Adams, Henry (2005).
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163:service and dinner.
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1259:Thomas Eakins House
902:McFeely, William S.
880:Kirkpatrick, Sidney
278:William Henry Elder
115:William Henry Elder
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804:. London: Giles.
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407:Philadelphia Mint
387:Temple Gold Medal
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169:Christ's divinity
126:Temple Gold Medal
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443:
439:
436:
435:
431:
429:
427:
423:
418:
414:
412:
408:
402:
400:
399:Edward Coates
396:
390:
388:
384:
376:
374:
372:
371:
367:
362:
358:
354:
352:
348:
343:
337:
333:
332:
327:
323:
316:
314:
312:
306:
304:
299:
297:
292:
289:
284:
279:
270:
263:
258:, Kansas City
257:
253:
247:
242:
238:
234:
228:
223:
219:
215:
209:
204:
201:, Los Angeles
200:
199:Hammer Museum
196:
190:
185:
182:
180:
176:
174:
170:
164:
162:
158:
154:
153:Samuel Murray
149:
142:
140:
138:
133:
131:
127:
122:
120:
116:
113:
109:
108:Thomas Eakins
105:
102:
98:
97:
88:
84:
81:
77:
73:
69:
66:
65:Oil on canvas
63:
59:
55:
51:
48:
47:Thomas Eakins
45:
41:
37:
32:
27:
22:
1472:
1465:
1458:
1451:
1444:
1438:
1437:
1430:
1359:Grace Morley
1343:Aaron Betsky
1265:
1233:
1226:
1225:
1217:
1209:
1201:
1198:(1899, 1900)
1193:
1185:
1177:
1169:
1161:
1153:
1145:
1137:
1129:
1121:
1113:
1105:
1097:
1089:
1081:
1073:
1066:
1058:
1050:
1042:
985:
974:
966:
941:
924:
905:
883:
861:
842:
820:
801:
782:
763:
758:Goodrich 201
754:
745:
736:
715:
706:
697:
650:
617:
600:
579:Goodrich 191
553:
544:
521:
512:
479:
470:
461:
452:
419:
415:
411:Susan Eakins
403:
391:
380:
368:
363:
359:
355:
344:
341:
329:
307:
300:
293:
285:
281:
251:
232:
213:
194:
177:
165:
150:
146:
134:
123:
95:
94:
93:
1378:Benefactors
1338:Timothy Rub
1272:Eakins Oval
1155:The Pianist
1086:(1879–1880)
456:McFeely 179
366:Velázquez's
286:During the
254:, c. 1906,
220:, Princeton
197:, 1901–02,
173:future life
1539:Categories
1424:Collection
1390:Mary Emery
951:0876330472
893:0300108559
871:0691002886
852:0674884906
830:0520222091
792:0195156684
775:References
666:Sewell 105
143:Background
99:is a 1903
87:Cincinnati
71:Dimensions
1496:Eden Park
1321:Directors
1187:Wrestlers
1031:Paintings
933:247937283
767:Adams 409
654:Johns 165
645:Johns 163
633:Johns 148
495:Adams 376
474:Adams 375
465:Adams 374
444:Citations
288:Civil War
1526:Category
1352:Curators
904:(2007).
882:(2006).
841:(1982).
749:Adams 60
432:See also
317:Analysis
235:, 1905,
216:, 1902,
119:Catholic
104:portrait
79:Location
1517:Commons
1484:Related
1246:Related
1171:Salutat
1099:Arcadia
351:biretta
347:cassock
264:Subject
161:vespers
128:by the
1255:(wife)
1238:(1908)
1230:(1903)
1222:(1902)
1214:(1901)
1206:(1900)
1190:(1899)
1182:(1899)
1174:(1898)
1166:(1898)
1158:(1896)
1150:(1895)
1142:(1892)
1134:(1891)
1126:(1889)
1110:(1885)
1102:(1883)
1094:(1882)
1078:(1876)
1063:(1875)
1055:(1874)
1047:(1871)
948:
931:
925:Eakins
912:
890:
868:
849:
827:
808:
789:
338:, Rome
61:Medium
43:Artist
946:ISBN
929:OCLC
910:ISBN
888:ISBN
866:ISBN
847:ISBN
825:ISBN
806:ISBN
787:ISBN
56:1903
53:Year
101:oil
1541::
1519:*
724:^
683:^
671:^
659:^
638:^
626:^
609:^
584:^
562:^
530:^
500:^
488:^
328:,
85:,
1306:e
1299:t
1292:v
1016:e
1009:t
1002:v
954:.
935:.
918:.
896:.
874:.
855:.
833:.
814:.
795:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
