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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.
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559:. The swimmers are seen in the same spot and from the same vantage point, although their positions are entirely different from those in the painting. None of the photographs closely matches the poses depicted in the painting; this was unusual for Eakins, who typically adhered closely to his photographic studies. "The divergence between these sets of images may hint at lost or destroyed pictures, or it may tell us that the photographs came first, before Eakins' mental image had crystallized, and before the execution of his first oil sketch. The poses in the photographs are more spontaneous, while those of the painting are deliberately composed with a classical "severity". Although no photographic studies have survived that would suggest a more direct connection between the photographs and the painting, recent scholarship has proposed that marks incised onto the canvas and later covered by paint indicate that Eakins made use of light-projected photographs.
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422:(the mastery of the figure as an end in itself), and its uniqueness in transposing the male nude to an outdoor setting. The depiction of someone diving into water was very rare in the history of Western art. The other figures are artfully arranged to imply a continuous narrative of movement, the poses progressing "from reclining to sitting to standing to diving"; at the same time, each figure is carefully positioned so that no genitalia are visible. As in his previous works, Eakins chose to include a
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436:, here the artist's presence is more ambiguous—he may be seen as companion, teacher, or voyeur. The ripple in the water next to Eakins, and the bubbles around the diver, are the only indications of movement in a painting where motion is otherwise arrested; the water next to the red-headed figure in the lake is still enough to offer a clear reflection. This contrast underscores the tension in the picture between classical prototypes and scientific naturalism.
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1077:(1929-2012), was more reserved and described the poses of the figures as rigidly academic. Homer found inconsistencies in paint quality and atmospheric effect, and wrote that the painting was unsuccessful in reconciling antique and naturalistic ideals. For him, "it is as though these nudes had been abruptly transplanted from the studio into nature".
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that the nudity in the painting would have surprised or shocked him. Rather, it seems certain that Coates would have recognized the majority of men in the painting, as all but one were students of Eakins at the academy. He was undoubtedly familiar with the site depicted in the painting too, as it was only a half a mile (800 m) from
488:, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was
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has been cited as one of the few 19th-century
American paintings that "engages directly with a newly emerging European tradition"—that of the male bather. Eakins' picture, although not as stylistically progressive as the works of his French contemporaries, parallels the novel thematic direction taken
937:, where Coates studied as an undergraduate. The depiction of a professor and his students together in the nude would have been a sensitive subject for the academy's directors, who had forbidden Eakins from using Academy students as models, as modeling was considered indecent. Coates chose to exchange
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Before the mid-19th century, the subject of the nude male figure in
Western art had long been reserved for classical subject matter. In the 19th century, it was not unusual for boys and men to swim without clothing in public, but there was no precedent for this subject in American painting. Although
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some day become part of the
Academy collection. The present canvas is to me admirable in many ways but I am inclined to believe that some of the pictures you have are even more representative, and it has been suggested would be perhaps more acceptable for the purpose which I have always had in view.
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It is not known precisely why Coates failed to purchase the painting; however, it seems likely that Coates felt the work was too controversial to acquire. Coates, as Head of
Instruction at Eakins' academy, would have been familiar with the subject matter of Eakins' works, and thus it seems unlikely
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Eakins combined his studies into a final oil sketch in 1884, which became the basis for the finished painting. The basic composition remained unchanged, as all six men and the dog appeared in the sketch; however, Eakins, who usually adhered closely to his sketches when developing a final work, made
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began a major restoration of the painting. According to Barry, "The restoration revealed relatively little significant damage or deterioration not previously visible. Several layers of discolored varnish and overpaint were removed, exposing a rich and varied surface with brushwork ranging from the
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On
February 9, 1886, Eakins was forced to resign from the academy because of his removal of a loincloth from a male model in a class where female students were present. In a letter to Coates on February 15 in which Eakins explained his reasons for resigning, he addressed the issue of nudity in his
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Much effort went into distinguishing the original glazes from those added during subsequent restorations. Previous retouches were removed and a natural resin varnish was applied. The painting's original frame, long missing, was located in 1992. It too was cleaned, restored, and reinstalled to the
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marked the beginning of homoerotic imagery in
American art. Eakins left a record simultaneously provocative and ambiguous on matters of sex. On the basis of the same visual evidence, that of the photographs, oil sketches, and the finished painting of swimmers, art historians have drawn markedly
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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
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a classic of
American painting. It shows a scene of healthy, manly, outdoor activity: a group of young fellows having stripped off for a dip. It is based on the swimming excursions that were enjoyed by the artist and his students. Eakins himself appears in the water at bottom right—in signature
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The composition is pyramidal. The figure reclining at left leads the viewer's eye to the seated figure, whose gesture in turn points to Godley at the apex of the compositional pyramid. The diving figure at right leads to the swimming form of Eakins, who painted himself into the scene and whose
992:, and was displayed in the city's public library. In 1990, the museum announced it intended to sell the painting to build an endowment for the purchase of contemporary art. A public outcry ensued, prompting the museum to search for a local buyer. Eventually, after tumultuous negotiations, the
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of the painting: the center area containing the swimmers is extremely precise, while the outer areas are diffuse, with "virtually no moderating zones in between". The lighting within the picture is unnatural—too bright in some places, and too dark in others—although the effect, which tends to
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Coates intended the painting for an exhibition at the
Pennsylvania Academy of the Fine Arts, and it was shown at the academy's exhibition in the fall of 1885. However, Coates rejected it as unrepresentative of Eakins' oeuvre. In a November 27, 1885 letter to Eakins, Coates reasoned:
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outside
Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right):
896:, a Philadelphia businessman who chaired the Committee on Instruction at the Pennsylvania Academy of the Fine Arts, where Eakins taught. Coates intended to pay Eakins $ 800 ($ 27,000 in 2023 dollars), which at the time was the largest commission Eakins had been offered.
869:, a small sketch was made 8 x 10 inches , then separate studies of the landscape and figures, to get the true tone and color, etc. The diving figure being the most difficult to paint, was first modelled in wax. This gave him a thorough knowledge of every form.
1073:(1897–1987) believed the work was "Eakins' most masterful use of the nude", with the solidly conceived figures perfectly integrated into the landscape, an image of subtle tonal construction and one of the artist's "richest pieces of painting". Another biographer,
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in a lake, and is considered a masterpiece of American painting. According to art historian Doreen Bolger it is "perhaps Eakins' most accomplished rendition of the nude figure", and has been called "the most finely designed of all his outdoor pictures". Since the
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there was an informal convention for multiple-figure compositions featuring female nudes, in America such paintings were exhibited in saloons rather than galleries; Eakins altered the gender and presented the subject as fine art. Viewed in a broader context,
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By the early 1880s, Eakins was using photography to explore sequential movement and as a reference for painting. Some time in 1883 or 1884, he photographed his students engaged in outdoor activities. Four photographs of his students swimming naked in
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and a drip mark, possibly caused by the splash of a caustic liquid. After the painting was acquired by the Fort Worth Art Association, it was often lent out for exhibitions and was damaged as a result. In 1937 it was
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represented the full range of Eakins' techniques and academic principles. He used life study, photography, wax studies, and landscape sketches to produce a work that manifested his interest in the human form.
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Eakins' widow's retitling of the picture after his death reinforced the popular association with the nostalgic sentiment of Riley's poem. More recently, the painting's subject has been compared to the poem
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During the restoration, it was discovered that a long-standing ascription of the painting's date to 1883 was the result of a misinterpretation: the artist's original inscription of 1885 was painted in a
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182:: swimming naked was widely accepted, and for males was seen as normal, even in public spaces. Eakins was the first American artist to portray one of the few occasions in 19th-century life when
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Following its rejection by Coates, the painting remained in Eakins' possession until his death. It was exhibited just twice more during Eakins' lifetime: at the 1886 Southern Exposition in
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An Eakins photograph from 1883, discovered in 1973. "The scene with the three men on a platform may show the setting up of a pose—possibly for the reclining figure in The Swimming Hole."
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by a private gallery in New York City and the drip was painted out. In 1944 it was relined and restored and in 1947 it was restored again, both times by a private New York dealer. The
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and his ambiguous treatment of the human form; in some cases it is uncertain as to whether the forms portrayed are male or female. Such themes had earlier been examined in his
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1903:, pp. 116, 210–13: Several years after the painting was completed, Eakins and Whitman became friends, and in 1887 Eakins traveled to the poet's home in
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vision of the male nude seen unselfconsciously in a natural setting, by the 1970s some American writers were beginning to see Eakins' work, and specifically
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several uncharacteristic alterations to the specific movements and positions of the figures. A friend and student, Charles Bregler, described the process:
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Brown Price, Aimee (December 1997). "How the 'Bathers' emerged—the painting 'Bathers at Asnieres' – Georges Seurat, National Gallery, London, England".
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of New York City rather than in a rural setting. In a sentiment that reflected Eakins' philosophy, Bellows later explained his motivation for painting
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for $ 750 ($ 13,000 in 2023 dollars). Thereafter it was in the collection of the Fort Worth Art Association, the institutional predecessor of the
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has been "widely cited as a prime example of homoeroticism in American art". In 2008, the art critic Tom Lubbock described Eakins' work as:
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The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of
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Turner, Jeffrey (2003). Levander, Caroline Field; Singley, Carol J. (eds.). "On Boyhood and Public Swimming: Sidney Kingsley's
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work of the late third century BC is believed to have been a source for the reclining figure on the far left of the painting.
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leftward movement directs attention back into the painting. Eakins enforces this pyramidal structure by manipulating the
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and the most challenging subject to depict in art, and the nude was the centerpiece of Eakins' teaching program at the
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2301:"Naked and Exposed: A Historical, Psychosexual and Comparative Analysis of Thomas Eakins' Masterpiece, The Swimming"
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controlled, almost miniaturistic strokes forming the figures to the freer treatment of the landscape elements."
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Following its purchase by the Amon Carter, in June 1993, Claire M. Barry and staff from the Amon Carter and the
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while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.
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red-lake pigment that had faded, and was mistakenly repainted by a conservator to the earlier date.
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dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow,
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performed two minor restorations in 1954 and 1957. Although it continued to travel frequently,
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2646:. Philadelphia, Pa.: Philadelphia Museum of Art; Musée d'Orsay; Metropolitan Museum of Art.
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2078:(3). University of Chicago Press on behalf of the Smithsonian American Art Museum: 33–47.
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2378:. Cambridge, Mass.: Published for the National Gallery of Art Harvard University Press.
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1016:. It may have been restored prior to its inclusion in Eakins' memorial exhibition at the
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171:. For Eakins, this picture was an opportunity to display his mastery of the human form.
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Davis, Whitney (1994). "Erotic Revision in Thomas Eakins's Narratives of Male Nudity".
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You must not suppose from this that I depreciate the present work—such is not the case.
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Berger, Martin A. (Autumn 1997). "Modernity and Gender in Thomas Eakins' 'Swimming'".
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and Representations of Underclass Street Kids in American Cultural Production".
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The Sexual Perspective: Homosexuality and Art in the Last 100 Years in the West
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as you will recall one of my chief ideas was to have from you a picture which
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McCoy, Garnett (1972). "Some Recently Discovered Thomas Eakins Photographs".
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2501:"Eakins, Thomas The Swimming Hole (1885): The Independent's Great Art series"
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In this work, Eakins took advantage of an exception to the generally prudish
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The Homoerotic Photograph: Male Images from Durieu/Delacroix to Mapplethorpe
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develops themes raised in his earlier work, in particular his treatment of
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206:(1877), and would continue to be explored in his paintings of boxers (
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William Rush Carving His Allegorical Figure of the Schuylkill River
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Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane
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Man Made: Thomas Eakins and the Construction of Gilded Age Manhood
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498:(1841–70). It is not unlikely that Eakins saw the painting at the
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The painting shows Eakins and five friends or students bathing at
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accentuate the body lines of the swimmers, is generally subtle.
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Thomas Eakins: Scenes From a Modern Life Film Companion Website
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Before its purchase by the Amon Carter Museum of American Art,
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345:(1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins'
341:(1849–1928), Benjamin Fox (c. 1865 – c. 1900),
1592:, p. 113b: Eakins later gave the unfinished painting to
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Eakins' students swimming naked in Dove Lake, c. 1883–84
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Eakins' students swimming naked in Dove Lake, c. 1883–84
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Eakins' students swimming naked in Dove Lake, c. 1883–84
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Eakins' students swimming naked in Dove Lake, c. 1883–84
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was immediately preceded by a number of similar works on the
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in 1917. A photograph from that time reveals cracks in the
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for $ 10 million ($ 23 million in 2023 dollars).
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was purchased from the artist's widow by the community of
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and were inspired by the Pennsylvania Academy's casts of
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Picturing the City: Urban Vision and the Ashcan School
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Eakins revealed: the secret life of an American artist
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Eakins' work influenced the subsequent generation of
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The composition is notable for both its adherence to
2589:"Fort Worth Strives to Keep Eakins' 'Swimming Hole'"
2330:"Biography: 1886: Eakins Resigns: Indicted By Rumor"
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for the "less controversial genre scene" of Eakins'
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2476:. New Brunswick, N.J.: Rutgers University Press.
1855:completely nude, before deciding to clothe them.
1037:received no comprehensive treatment until 1993.
555:have survived, and bear a clear relationship to
134:) is an 1884–85 painting by the American artist
2140:Bolger, Doreen; Barry, Claire M. (March 1994).
1201:varying conclusions as to the artist's intent.
1142:, painted in 1907, bears obvious similarity to
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513:theme. These correspond to lectures he gave on
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2305:Concordia Undergraduate Journal of Art History
482:. The reclining figure is a paraphrase of the
321:has since returned to Eakins' original title,
163:, the human body has been considered both the
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2694:. Berkeley: University of California Press.
2111:. Berkeley: University of California Press.
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2672:Male desire: the homoerotic in American art
2638:Sewell, Darrel; Foster, Kathleen A (2001).
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2558:(4). The Smithsonian Institution: 15–22.
2403:"European Influences on Americans' Views"
2351:"Eakins' Students at 'The Swimming Hole'"
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892:The painting was commissioned in 1884 by
543:and photographic studies before painting
2943:The Thinker: Portrait of Louis N. Kenton
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305:. Four years later, she titled the work
1958:, pp. 7–8: Refers specifically to
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2167:Thomas Eakins and the swimming picture
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850:Hirshhorn Museum and Sculpture Garden
169:Pennsylvania Academy of the Fine Arts
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2855:The Artist's Wife and His Setter Dog
2527:. New Haven: Yale University Press.
2448:Kimmelman, Michael (June 16, 1990).
2165:Bolger, Doreen; Cash, Sarah (1996).
2022:. Oxford : Oxford University Press.
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865:... For a picture ... like the
2401:Glueck, Grace (September 3, 2004).
2000:, pp. 308–09: Referenced from
714:× 4 in (15 × 10 cm), 1884
521:' Pan-Athenaic procession from the
289:Eakins referred to the painting as
2450:"An Eakins Classic Stays in Texas"
2353:. The Getty Museum. Archived from
2227:10.1111/j.1467-8365.1994.tb00582.x
2169:. Fort Worth: Amon Carter Museum.
1174:), with the exception of Eakins."
1130:, particularly the artists of the
994:Amon Carter Museum of American Art
144:Amon Carter Museum of American Art
106:Amon Carter Museum of American Art
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2935:Portrait of Mary Adeline Williams
2499:Lubbock, Tom (February 1, 2008).
2349:Getty Museum (February 1, 2008).
245:, Eakins' treatment was novel in
2615:. : Philadelphia Museum of Art.
2552:Archives of American Art Journal
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309:, in reference to the 1882 poem
29:
2823:The Fairman Rogers Four-in-Hand
2725:Amon Carter Center webpage for
2423:Thomas Eakins: His Life and Art
2284:. University of Chicago Press.
2142:"Thomas Eakins's Swimming Hole"
990:Modern Art Museum of Fort Worth
2967:Archbishop William Henry Elder
1225:, Henry Scott Tuke (1893-1894)
1211:List of works by Thomas Eakins
468:The Metropolitan Museum of Art
397: in (158 × 159 cm),
1:
2784:Max Schmitt in a Single Scull
2587:Reif, Rita (April 21, 1990).
2425:. New York: Abbeville Press.
2421:Homer, William Innes (1992).
2248:. Columbia University Press.
883:
433:Max Schmitt in a Single Scull
3004:Conservation-restoration of
2951:Portrait of Leslie W. Miller
2523:The Revenge of Thomas Eakins
2519:Kirkpatrick, Sidney (2006).
2328:Foster, Kathleen A. (2002).
2122:(Not cited in article text.)
2047:"Thomas Eakins (1844–1916),
848: in (22 × 27 cm),
765:, from two sided sketch for
729:, from two-sided sketch for
696:, from two-sided sketch for
622:, from two-sided sketch for
539:Eakins made several on-site
2669:Weinberg, Jonathan (2004).
2045:Amon Carter Museum (2007).
142:, in the collection of the
3071:
3050:Paintings by Thomas Eakins
2975:William Rush and His Model
2265:"Eakins in the Wilderness"
2242:Ellenzweig, Allen (2012).
1018:Metropolitan Museum of Art
165:basis of artists' training
2299:Figliano, Laurie (2005).
2192:Cooper, Emmanuel (2005).
2107:Berger, Martin A (2000).
922:, 10th President P.A.F.A.
28:
16:Painting by Thomas Eakins
2690:Zurier, Rebecca (2006).
2564:10.1086/aaa.12.4.1557158
2370:Goodrich, Lloyd (1982).
1789:Sewell & Foster 2001
1630:Sewell & Foster 2001
1590:Sewell & Foster 2001
1551:Sewell & Foster 2001
874:Commission and reception
812:Eakins' final study for
667:, oil on cardboard, 4 ×
403:Cambridge, Massachusetts
332:, an artificial lake in
2607:Sewell, Darrel (1982).
2374:Thomas Eakins, Volume 1
2276:Fried, Michael (1987).
1608:, pp. 116, 141–45.
1431:Amon Carter Museum 2007
1279:Bolger & Barry 1994
1120:Corcoran Gallery of Art
1118:, 1907, oil on canvas,
1014:conservatory treatments
949:Corcoran Gallery of Art
820:mounted on fiberboard,
515:Ancient Greek sculpture
258:position, so to speak."
2993:Susan Macdowell Eakins
1956:Bolger & Cash 1996
1920:Bolger & Cash 1996
1907:to paint his portrait.
1889:Bolger & Cash 1996
1849:Bolger & Cash 1996
1837:Bolger & Cash 1996
1753:Bolger & Cash 1996
1729:Bolger & Cash 1996
1714:Bolger & Cash 1996
1702:Bolger & Cash 1996
1690:Bolger & Cash 1996
1678:Bolger & Cash 1996
1654:Bolger & Cash 1996
1618:Bolger & Cash 1996
1519:Bolger & Cash 1996
1507:Bolger & Cash 1996
1492:Bolger & Cash 1996
1419:Bolger & Cash 1996
1315:Bolger & Cash 1996
1242:Bolger & Cash 1996
1185:
1123:
962:
929:
911:
889:
871:
763:Sketch of Harry's head
475:
406:
303:Susan Macdowell Eakins
286:
260:
2887:Portrait of Maud Cook
2871:Miss Amelia Van Buren
2263:Gopnik, Adam (1994).
2198:. London: Routledge.
2018:Adams, Henry (2005).
1594:William Merritt Chase
1180:
1110:
947:—today housed in the
928:, private collection.
916:
881:
810:Swimming Hole sketch,
494:, painted in 1869 by
442:
355:
311:The Old Swimmin'-Hole
307:The Old Swimming Hole
270:
263:Title and composition
184:nudity was on display
154:, it depicts six men
140:Goodrich catalog #190
131:The Old Swimming Hole
2336:. WHYY, Incorporated
1815:, pp. 305, 311.
971:Louisville, Kentucky
926:John McLure Hamilton
920:Edward Hornor Coates
894:Edward Hornor Coates
769:, oil on cardboard,
315:James Whitcomb Riley
83: in ×
2999:Thomas Eakins House
2057:on December 7, 2008
1097:Bathers at Asnières
1075:William Innes Homer
1042:Kimbell Art Museums
996:agreed to purchase
700:oil on paperboard,
505:In Eakins' oeuvre,
297:in 1886. The title
2879:The Concert Singer
2831:The Writing Master
2593:The New York Times
2474:The American Child
2454:The New York Times
2407:The New York Times
1985:, pp. 306–08.
1905:Camden, New Jersey
1867:, pp. 211–12.
1803:, pp. 239–40.
1632:, pp. 235–36.
1406:, pp. 306–07.
1186:
1124:
930:
890:
476:
420:academic tradition
407:
319:Amon Carter Museum
287:
279:Capitoline Museums
3020:
3019:
2847:The Swimming Hole
2808:The Chess Players
2727:The Swimming Hole
2682:978-0-8109-5894-4
2291:978-0-226-26211-6
2255:978-0-231-07537-4
2205:978-1-134-83458-7
2146:Magazine Antiques
2123:
1644:, pp. 15–22.
1620:, pp. 21–22.
1580:, pp. 89–90.
1566:Getty Museum 2008
1421:, pp. 28–29.
1353:, pp. 56–63.
1198:The Swimming Hole
1194:The Swimming Hole
1172:The Swimming Hole
1144:The Swimming Hole
1128:American realists
1083:The Swimming Hole
1066:The Swimming Hole
1035:The Swimming Hole
1010:The Swimming Hole
998:The Swimming Hole
986:Fort Worth, Texas
982:The Swimming Hole
975:historical record
944:The Pathetic Song
939:The Swimming Hole
935:Haverford College
814:The Swimming Hole
759:The Swimming Hole
557:The Swimming Hole
545:The Swimming Hole
523:Parthenon marbles
507:The Swimming Hole
472:The Swimming Hole
343:J. Laurie Wallace
299:The Swimming Hole
251:The Swimming Hole
224:) and wrestlers (
188:The Swimming Hole
148:Fort Worth, Texas
119:The Swimming Hole
115:
114:
110:Fort Worth, Texas
24:The Swimming Hole
3062:
3055:Paintings of men
3006:The Gross Clinic
2903:Taking the Count
2863:The Agnew Clinic
2800:The Gross Clinic
2757:
2750:
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2362:
2357:on July 28, 2009
2345:
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2315:on June 21, 2016
2311:. Archived from
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2053:. Archived from
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2005:
2004:, pp. 15–19
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620:Landscape sketch
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357:Frédéric Bazille
339:Talcott Williams
293:in 1885, and as
209:Taking the Count
197:The Gross Clinic
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2675:. H.N. Abrams.
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3040:Bathing in art
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2919:Between Rounds
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2858:(c. 1884–1889)
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2719:External links
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2701:978-0520220188
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2653:978-0876331439
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2269:The New Yorker
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2221:(3): 301–341.
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2129:Art in America
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2084:10.1086/424303
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2029:978-0195156683
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1777:Kimmelman 1990
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1160:Song of Myself
1152:Forty-two Kids
1140:Forty-two Kids
1138:' (1882–1925)
1136:George Bellows
1116:Forty-two Kids
1112:George Bellows
1092:Georges Seurat
1086:by Bazille in
1071:Lloyd Goodrich
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1061:Interpretation
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150:. Executed in
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2778:List of works
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2764:Thomas Eakins
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2642:Thomas Eakins
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2002:Weinberg 2004
1999:
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1801:Goodrich 1982
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1686:
1683:
1680:, p. 13.
1679:
1674:
1671:
1668:, p. 89.
1667:
1662:
1659:
1655:
1650:
1647:
1643:
1638:
1635:
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1512:
1509:, p. 66.
1508:
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1397:
1394:, p. 90.
1393:
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1371:
1368:
1364:
1363:Figliano 2005
1359:
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1296:Goodrich 1982
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1216:Heroic nudity
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867:Swimming Hole
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441:
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138:(1844–1916),
137:
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40:
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2641:
2610:
2596:. Retrieved
2592:
2555:
2551:
2522:
2508:. Retrieved
2504:
2473:
2469:
2457:. Retrieved
2453:
2422:
2410:. Retrieved
2406:
2373:
2359:. Retrieved
2355:the original
2338:. Retrieved
2333:
2319:December 21,
2317:. Retrieved
2313:the original
2308:
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2072:American Art
2071:
2059:. Retrieved
2055:the original
2048:
2019:
1978:
1951:
1939:
1927:
1896:
1891:, p. 7.
1884:
1872:
1860:
1853:Summer Scene
1852:
1844:
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1399:
1375:Lubbock 2008
1370:
1358:
1346:
1334:
1322:
1317:, p. 1.
1237:
1220:
1197:
1193:
1187:
1181:Present-day
1171:
1164:Walt Whitman
1156:
1151:
1148:Hudson River
1143:
1139:
1125:
1115:
1102:Paul Cézanne
1100:, 1884) and
1095:
1088:Summer Scene
1087:
1082:
1079:
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1064:
1051:
1047:
1039:
1034:
1009:
1007:
1004:Restorations
997:
981:
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918:Portrait of
917:
905:
903:
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864:
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809:
766:
762:
758:
730:
726:
697:
693:
664:
660:
623:
619:
556:
549:
544:
541:oil sketches
538:
526:
506:
504:
489:
483:
477:
471:
448:
431:
427:
417:
408:
360:
347:Irish Setter
327:
322:
310:
306:
298:
295:The Swimmers
294:
290:
288:
272:
256:
250:
247:American art
239:Michelangelo
232:
225:
219:
213:
207:
203:William Rush
201:
195:
187:
178:attitude to
173:
130:
129:
124:
123:
118:
117:
116:
18:
3012:Eakins Oval
2895:The Pianist
2826:(1879–1880)
2598:January 14,
2459:January 14,
2215:Art History
1972:Gopnik 1994
1960:Cooper 2005
1944:Sewell 1982
1877:Zurier 2006
1865:Turner 2003
1741:Foster 2002
1666:Sewell 1982
1578:Sewell 1982
1465:Glueck 2004
1450:Berger 1997
1392:Sewell 1982
1222:August Blue
1094:(1859–91) (
887: 1882
491:Scène d'été
362:Scène d'été
283:Hellenistic
235:Western art
200:(1875) and
161:Renaissance
3029:Categories
2510:January 6,
2412:January 6,
2361:January 4,
2340:January 6,
2152:(3): 408.
2061:January 7,
2011:References
1998:Adams 2005
1983:Adams 2005
1968:Fried 1987
1932:Davis 1994
1901:Homer 1992
1825:Adams 2005
1813:Adams 2005
1642:McCoy 1972
1606:Homer 1992
1536:Homer 1992
1404:Adams 2005
1339:Adams 2005
1327:Adams 2005
1049:painting.
965:Provenance
924:(1912) by
818:fiberboard
632:paperboard
485:Dying Gaul
334:Mill Creek
274:Dying Gaul
66:Dimensions
2927:Wrestlers
2771:Paintings
2580:192783111
2543:162135712
2235:0141-6790
2158:0161-9284
2100:192058347
2049:Swimming,
1765:Reif 1990
1183:Dove Lake
980:In 1925,
955:artwork:
816:. Oil on
698:Swimming,
553:Dove Lake
480:Greek art
330:Dove Lake
227:Wrestlers
176:Victorian
97: in)
3045:Nude art
2710:65978585
2662:47785680
2492:51266247
2470:Dead End
2441:25711805
2185:33668082
2117:43397150
2038:70216284
1205:See also
1190:platonic
1055:fugitive
767:Swimming
731:Swimming
665:Swimming
624:Swimming
511:Arcadian
452:, 1883,
365:, 1869,
323:Swimming
291:Swimming
192:buttocks
125:Swimming
102:Location
2986:Related
2911:Salutat
2839:Arcadia
2631:8387221
2572:1557158
2394:8689426
2092:3109280
1027:relined
843:⁄
829:⁄
792:⁄
778:⁄
709:⁄
676:⁄
643:⁄
528:Arcadia
519:Phidias
470:. Like
461:⁄
449:Arcadia
392:⁄
378:⁄
243:Daumier
215:Salutat
92:⁄
78:⁄
51:1884–85
2995:(wife)
2978:(1908)
2970:(1903)
2962:(1902)
2954:(1901)
2946:(1900)
2930:(1899)
2922:(1899)
2914:(1898)
2906:(1898)
2898:(1896)
2890:(1895)
2882:(1892)
2874:(1891)
2866:(1889)
2850:(1885)
2842:(1883)
2834:(1882)
2818:(1876)
2803:(1875)
2795:(1874)
2787:(1871)
2708:
2698:
2679:
2660:
2650:
2629:
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2578:
2570:
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2531:
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2202:
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2173:
2156:
2115:
2098:
2090:
2036:
2026:
1970:, and
1022:glazes
663:, for
634:, 4 ×
535:Studie
317:. The
218:, and
180:nudity
56:Medium
38:Artist
2576:S2CID
2568:JSTOR
2135:(12).
2096:S2CID
2088:JSTOR
2051:1885"
1230:Notes
1162:" by
906:might
500:Salon
412:focus
313:; by
2706:OCLC
2696:ISBN
2677:ISBN
2658:OCLC
2648:ISBN
2627:OCLC
2617:ISBN
2600:2008
2539:OCLC
2529:ISBN
2512:2009
2488:OCLC
2478:ISBN
2461:2008
2437:OCLC
2427:ISBN
2414:2008
2390:OCLC
2380:ISBN
2363:2009
2342:2008
2321:2008
2286:ISBN
2250:ISBN
2231:ISSN
2200:ISBN
2181:OCLC
2171:ISBN
2154:ISSN
2113:OCLC
2063:2009
2034:OCLC
2024:ISBN
271:The
128:and
48:Year
2560:doi
2223:doi
2150:145
2080:doi
630:on
628:oil
430:or
241:to
230:).
146:in
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2074:.
2032:.
1990:^
1912:^
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1249:^
1134:.
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1090:,
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852:,
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