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How did Thomas Eakins’s teaching methods differ from studying plaster casts of ancient sculpture?
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Thomas Eakins
Portrait of Dr. Samuel D. Gross (The Gross Clinic), oil on canvas by Thomas Eakins, 1875; part of the collections of the Pennsylvania Academy of the Fine Arts and the Philadelphia Art Museum. 2 × 2.5 m.
Thomas Eakins’s teaching methods represented a significant departure from the traditional academic reliance on plaster casts of antique sculpture. While traditional instruction often prioritized the study of these static, idealized forms, Eakins emphasized the following approaches:
- Focus on Anatomy: Eakins placed a primary importance on the study of anatomy, believing that a deep understanding of the body's internal structure was essential for realistic depiction.1
- Live, Nude Models: He insisted on drawing from live, nude human models rather than inanimate casts. He maintained that the relationship between the artist and the model was professional, objective, and innocent, comparable to that between a doctor and a patient.1
- Realism and Motion: His teaching reflected his broader interest in locomotion and the human figure in action. By moving away from the rigid, idealized forms of antiquity, he encouraged students to observe the physical realities and movement of living people.1
These methods made Eakins an influential teacher at the Pennsylvania Academy of the Fine Arts, though his insistence on using nude models in mixed classes eventually led to significant controversy and his resignation in 1886.1