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170:, of which Rush had been a founder. Eakins was a strong believer in teaching human anatomy, and insisted that his students study from nude models. Since it is unlikely that Rush had employed a nude model for his sculpture of a draped water nymph, the painting may be viewed as Eakins's demonstration of the importance of studying anatomy from nudes.
488:) shows a frontal view of the nude model descending the platform. She is neither idealized nor sentimentalized. Rush is now out of the shadows and holding the model's hand as if helping a grand lady descend from a carriage. The chaperone and background sculptures are omitted from this version. The figure of Rush may be a self-portrait by Eakins.
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481:) is similar to the PMA version, however, Rush and his statue have been moved to the far right, the chaperone is to the model's left, facing the viewer, and the pile of the model's clothes has been eliminated. This is the least successful composition, with little visual connection between Rush and the model.
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in New York. It immediately sparked controversy with one New York reviewer writing, "What ruins the picture is much less the want of beauty in the model ... than the presence in the foreground of the clothes of that young woman, cast carelessly over a chair. This gives the shock which makes one think
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is what appears to be an abandoned version of the painting (G-111), presumed to pre-date the finished version at PMA. This is sometimes called a study, but it is almost the same size as the finished version, contains the same figures (although the chaperone faces a different direction), and was never
143:, a copy of which was owned by a Philadelphia painter. Local legend tells that the daughter of a Watering Committee member posed as Rush's model. When the Centre Square waterworks was demolished in 1829, the statue was relocated to a fountain at the nearby
226:, is an oil study for another composition (G-110). The model stands on a higher pedestal, and the chaperone has been placed between the model and Rush. Judging from a photograph in a 1938 auction catalogue, G-110 seems to be cut down from a larger study.
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As part of his process of creating the painting, Eakins carved wax studies of the nymph, her head, Rush's head, the nude model, and the other Rush sculptures depicted. Five of the six wax studies survive, in the collection of the
242:) has the model slightly rotated, and the chaperone to the model's right, facing Rush. In the foreground, between Rush and the model, stands a chair conspicuously displaying the model's clothes. Rush's life-sized figure of
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statue was painted white to imitate marble, and its water jet gushed from the mouth of the bittern held atop the nymph's shoulder. Art historian
Elizabeth Milroy notes that the nymph's pose recalls the
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was stripped of its white paint in 1872, and a bronze copy was cast. The copy became the centerpiece of a new fountain at
Fairmount, and the rotting original was placed in storage.
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Eakins was able to study both versions of the statue, and his notes document the deteriorated condition of the wooden original. Only its head survives, in the collection of the
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124:. Steam engines drew drinking water from the Schuylkill River and pumped it up to tanks in the engine house tower, from which it was distributed by gravity through underground
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For unspecified reasons—possibly related to the statue's approaching centennial—Eakins returned to this subject in 1908. His first 1908 version (G-445, now in the
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250:(1825)—a reclining female figure manipulating a waterwheel—are visible in the background. Although the painting is historically inaccurate—Rush carved
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in 1808, and the other statues years later—Eakins's intent seems to have been to present a survey of the sculptor's whole career.
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originated from a desire to restore Rush's name to prominence in the history of
American art. Eakins taught at the
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46:, one set from 1876–77 and the other from 1908. These works depict the American wood sculptor
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American
Sculpture in the Museum of American Art of the Pennsylvania Academy of the Fine Arts
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748:, exhibition catalogue, Pennsylvania Academy of the Fine Arts, 1982, pp. 114–17.
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177:. The 1872 bronze copy is in the collection of the Philadelphia Museum of Art.
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Philadelphia's first waterworks was located at Centre Square, now the site of
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is the collective name given to several paintings by the
American artist
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70:, which provided the city's drinking water, and on her shoulder is a
29:(1876–77), Oil on canvas, 51.1 cm x 66.3 cm (20-1/8 in x 26-1/8 in),
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The Grid and the River: Philadelphia's Green Places, 1682–1876
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G-452. Study for G-451 (1908), private collection. Promised gift to
150:
Following more than 60 years of exposure to water and the elements,
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William Rush
Carving His Allegorical Figure of the Schuylkill River
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William Rush
Carving His Allegorical Figure of the Schuylkill River
27:
William Rush
Carving His Allegorical Figure of the Schuylkill River
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20:
689:. University Park. The Pennsylvania State University Press, 2016.
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A Hawaii
Treasury, Masterpieces from the Honolulu Academy of Arts
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415:
G-112. Sketch of the interior of
William Rush's shop (1876–77),
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Key to G-109. Drawn by Eakins for an 1881 exhibition catalogue.
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431:
G-111. Unfinished alternate version or study for G-109 (1876),
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about the nudity—and at once the picture becomes improper."
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G-449. Study of Rush for G-445 (1908), private collection.
257:
The painting was first exhibited in January 1878 at the
816:
814:
696:, Philadelphia, Philadelphia Museum of Art, 1995, 287.
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885:
787:, University of Washington Press, 1997, pp. 90–93.
783:Susan James-Gadzinzki and Mary Mullen Cunningham,
678:Johnson, Lincoln F., The Beginning of Modernism,
665:, Honolulu, Honolulu Academy of Arts, 1990, 227.
451:. This seems to be cut down from a larger study.
675:, Tokyo, Asahi Shimbun, 2000, 110 & 211–2.
599:G-454. Study for G-451 (1908), Ex collection:
863:
774:, from Pennsylvania Academy of the Fine Arts.
347:Wax study of Water Nymph and Bittern (1876),
8:
841:from Crystal Bridges Museum of American Art.
399:. Based on Rush's self-portrait bust at the
1163:Paintings in the Philadelphia Museum of Art
870:
856:
848:
756:
754:
283:Sketch of Water Nymph and Bittern (1876),
447:G-110. Compositional study (circa 1877),
1058:The Thinker: Portrait of Louis N. Kenton
663:Honolulu Academy of Arts, Selected Works
583:G-439 (verso). Sketch for G-451 (1908),
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494:
463:G-113. Study for G-110 or G-109 (1876),
184:
720:
529:
484:The second 1908 version (G-451, in the
379:Wax study of George Washington (1876),
273:
54:for a fountain at Philadelphia's first
907:Portrait of Professor Benjamin H. Rand
633:Crystal Bridges Museum of American Art
331:Wax study of the Nymph's head (1876),
760:Philadelphia Museum of Art, 1995, 287
401:Pennsylvania Academy of the Fine Arts
175:Pennsylvania Academy of the Fine Arts
168:Pennsylvania Academy of the Fine Arts
7:
970:The Artist's Wife and His Setter Dog
703:. Yale University Press, 2001, 332.
363:Wax study of The Waterworks (1876),
315:Sketch of George Washington (1876),
248:Allegorical Figure of The Waterworks
215:displayed during Eakins's lifetime.
128:to the city. Rush, a carver of ship
14:
1050:Portrait of Mary Adeline Williams
395:Wax study of Rush's head (1876),
299:Sketch of The Waterworks (1876),
680:Honolulu Academy of Arts Journal
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539:G-447. Sketch for G-445 (1908),
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270:Sketches and preparatory studies
16:Painting series by Thomas Eakins
938:The Fairman Rogers Four-in-Hand
746:William Rush, American Sculptor
617:Smithsonian American Art Museum
615:G-453. Study for G-451 (1908),
567:G-450. Study for G-445 (1908),
95:Fourth of July in Centre Square
1082:Archbishop William Henry Elder
647:List of works by Thomas Eakins
1:
899:Max Schmitt in a Single Scull
261:, and later that year at the
98:
1119:Conservation-restoration of
1066:Portrait of Leslie W. Miller
797:1938 auction catalogue photo
692:Philadelphia Museum of Art,
50:in 1808, carving his statue
694:Handbook of the Collections
433:Yale University Art Gallery
263:Society of American Artists
212:Yale University Art Gallery
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1158:Portraits by Thomas Eakins
1090:William Rush and His Model
585:Philadelphia Museum of Art
417:Philadelphia Museum of Art
397:Philadelphia Museum of Art
381:Philadelphia Museum of Art
365:Philadelphia Museum of Art
349:Philadelphia Museum of Art
333:Philadelphia Museum of Art
240:Philadelphia Museum of Art
236:William Rush and His Model
200:Philadelphia Museum of Art
39:William Rush and His Model
31:Philadelphia Museum of Art
1168:Paintings about sculpture
116:(cast 1872), in the 1930s
465:Art Institute of Chicago
234:The finished version of
66:figure representing the
569:National Gallery of Art
252:Water Nymph and Bittern
52:Water Nymph and Bittern
1108:Susan Macdowell Eakins
699:Sewell, Darrel (Ed.),
682:, Vol. 3, 1978, 17–23.
518:
515:Honolulu Museum of Art
504:
486:Honolulu Museum of Art
194:
122:Philadelphia City Hall
117:
105:
34:
1002:Portrait of Maud Cook
986:Miss Amelia Van Buren
820:Johnson, 1978, p. 21.
736:Milroy, 2016, p. 189.
727:Milroy, 2016, p. 159.
512:
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449:Farnsworth Art Museum
220:Farnsworth Art Museum
188:
162:Eakins's interest in
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829:Ellis, 2000, p. 212.
808:Sewell, 2001, p. 45.
145:Fairmount Waterworks
1114:Thomas Eakins House
685:Milroy, Elizabeth,
526:Preparatory studies
112:The bronze copy of
994:The Concert Singer
946:The Writing Master
671:and Marcia Morse,
519:
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195:
118:
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103:John Lewis Krimmel
35:
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962:The Swimming Hole
923:The Chess Players
771:Head of the Nymph
523:
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244:George Washington
152:Nymph and Bittern
114:Nymph and Bittern
85:Nymph and Bittern
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1121:The Gross Clinic
1018:Taking the Count
978:The Agnew Clinic
915:The Gross Clinic
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246:(1815), and his
230:Finished version
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181:1876–77 versions
140:Venus de' Medici
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68:Schuylkill River
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893:List of works
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879:Thomas Eakins
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709:0-300-09111-7
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701:Thomas Eakins
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513:G-451. 1908,
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499:G-445. 1908,
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473:1908 versions
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1053:(1899, 1900)
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1127:Eakins Oval
1010:The Pianist
941:(1879–1880)
799:from SIRIS.
130:figureheads
64:allegorical
60:water nymph
1142:Categories
653:References
101:1812), by
56:waterworks
1042:Wrestlers
886:Paintings
839:The Model
715:Footnotes
641:See also
238:(G-109,
1101:Related
1026:Salutat
954:Arcadia
218:At the
206:Studies
202:(PMA).
72:bittern
25:G-109.
1110:(wife)
1093:(1908)
1085:(1903)
1077:(1902)
1069:(1901)
1061:(1900)
1045:(1899)
1037:(1899)
1029:(1898)
1021:(1898)
1013:(1896)
1005:(1895)
997:(1892)
989:(1891)
981:(1889)
965:(1885)
957:(1883)
949:(1882)
933:(1876)
918:(1875)
910:(1874)
902:(1871)
707:
62:is an
58:. The
126:mains
705:ISBN
134:pine
222:in
210:At
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