Analysis of Thomas Eakins’ “The Gross Clinic”

Student Name Course Instructor Date Analysis of Thomas Eakins’ “The Gross Clinic” Art mainly reflects the activities happening in society (Patrick and Sirayi 283). Throughout history, artists have used their skill and knowledge to change the way society views issues. One of the artists who made a significant impact on his society is Thomas Eakins. One of his remarkable paintings is “The Gross Clinic.” The painting allowed the public to appreciate the work of surgeons and the medical field in general. About the Thomas Eakins Thomas Eakins was an American artist. He was known for his realist depictions of the human figure. During his entire professional career, Eakins chose his subjects from his hometown in Philadelphia. He painted portraits mainly of his friends, family and noticeable individuals especially in arts and medicine. Eakins was born in Philadelphia in 1844. In 1962, he enrolled at the Pennsylvania Academy of the Fine Arts (PAFA) after graduating from the City’s Central High School (Jones 1). Eakins was fascinated with the anatomy of the body. As a result, Eakins attended anatomy classes at Jefferson Medical College. He observed surgeries to become more familiar with the manner the body works. This knowledge would later become critical to his artistic development. In 1866, Eakins went to Paris to further his artistic training. Under the guidance of painter Jean-Leon Gerome, Eakins began to appreciate the human figure. The knowledge he gained from the training latter became crucial to his work as a sculptor, painter and photographer. In 1870, Eakins returned to Philadelphia where he devoted his energy painting about the city and the people. He took a teaching job at PAFA in 1876 and later became a professor in the same field. Eakins was both respected and criticized for his radicle beliefs regarding the manner in which schools should train artists. He emphasized on the anatomical dissection as well studying nudes. Description of the Piece Thomas Eakins completed “The Gross Clinic” in 1875 (Jones 1). The work features the celebrated American trauma surgeon, Dr. Samuel Gross. He is carrying out surgery in the Jefferson Medical College in the presence of his students. Dr. Gross is illuminated by the skylight overhead. Five doctors are attending to the young patient. The viewer can see the left thigh and the body buttocks of the patient. A woman on the left, who by tradition appears as the mother of the patient covers her eyes and is not able to observe what is happening. Dr. Gross appears confident about the outcome of the procedure, He calmly turns and addresses the students, including Thomas Eakins, who is at the right edge of the canvas. Eakins chose Dr. Gross as the subject in the piece thoughtfully. Dr. Gross had enormous contributions to the field of medicine. He was also a prominent leader in Philadelphia and at one point be became an advisor to the US Surgeon General. Dr. Gross wrote a handbook that instructed the Union battlefield surgeons. The Reception of the Work Eakins did not have a definite buyer for the work. Nonetheless, he poured himself for the work and spent a year on the painting. Eakins spend more time prepping with six small portraits of Dr. Gross and an oil sketch of the final scene. In April 1875, Eakins wrote a letter to his friend Earl Shinn regarding the painting. Eakins informed his friend about the new picture and the way it was far much better than anything else he had made. He further noted that he had the greatest hopes for “The Gross Clinic” painting (Pewtrusts.org 1). Specifically, Eakins hoped to unveil the work at the 1876 Centennial Exhibition. However, the selection committee for the Centennial Exhibition’s art rejected the painting. The critics termed the painting as “too bloody” for the galleries. The subject of the piece shocked viewers who were not used to viewing such frightening events in such a realist manner. The painting displayed red blood colors, the fingers of the surgeon and the scalpel fascinated viewers who had not seen a painting with such realistic details. A critic for the New York Tribute observed that the piece was one of the most powerful, yet horrible painting of the century (Pewtrusts.org 1). The critic further observed that on one the hand the painting is worthy of praise due to its artistic composition. On the other hand, the critic noted that the piece must be condemned from being admitted to the gallery where individuals of weak nerves are forced to look, given that it was impossible to avoid looking at it. Eakins was forced to premiere it on the exhibits grounds, at the reconstruction of a U.S. Army Post Hospital. This was a blow to Eakins because this area was less prestigious compared to the place he had intended. Surprisingly, the painting did not even appear in the gallery....