Taking the Count: Difference between revisions
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'''''Taking the Count''''' is |
'''''Taking the Count''''' is an 1898 painting by American artist [[Thomas Eakins]]. It is part of the collection of the Yale University Art Gallery.<ref>http://artgallery.yale.edu/collections/objects/5463</ref> |
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This depiction of a [[prizefight]] marks Eakins' return to anatomical studies of the male figure, this time in a more urban setting. ''Taking the Count'' was his second largest canvas, but not his most successful composition.<ref>Goodrich, Lloyd, ''Thomas Eakins'', Vol. II (Cambridge, Mass.: Harvard University Press, 1982), p. 147. {{ISBN|0-674-88490-6}}</ref> The same may be said of his ''[[Wrestlers (Eakins)|Wrestlers]]'' (1899). More successful was ''[[Between Rounds]]'' (1899), for which boxer Billy Smith posed seated in his corner at [[Philadelphia]]'s Arena; in fact, all of principal figures in this composition were posed by models re-enacting what had been an actual [[boxing]] match.<ref>Goodrich, Vol. II, ''op. cit.,'' p. 149.</ref> |
This depiction of a [[prizefight]] marks Eakins' return to anatomical studies of the male figure, this time in a more urban setting. ''Taking the Count'' was his second largest canvas, but not his most successful composition.<ref>Goodrich, Lloyd, ''Thomas Eakins'', Vol. II (Cambridge, Mass.: Harvard University Press, 1982), p. 147. {{ISBN|0-674-88490-6}}</ref> The same may be said of his ''[[Wrestlers (Eakins)|Wrestlers]]'' (1899). More successful was ''[[Between Rounds]]'' (1899), for which boxer Billy Smith posed seated in his corner at [[Philadelphia]]'s Arena; in fact, all of principal figures in this composition were posed by models re-enacting what had been an actual [[boxing]] match.<ref>Goodrich, Vol. II, ''op. cit.,'' p. 149.</ref> |
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Revision as of 13:56, 1 January 2018
| Taking the Count | |
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| Artist | Thomas Eakins |
| Year | 1898 |
Taking the Count is an 1898 painting by American artist Thomas Eakins. It is part of the collection of the Yale University Art Gallery.[1]
This depiction of a prizefight marks Eakins' return to anatomical studies of the male figure, this time in a more urban setting. Taking the Count was his second largest canvas, but not his most successful composition.[2] The same may be said of his Wrestlers (1899). More successful was Between Rounds (1899), for which boxer Billy Smith posed seated in his corner at Philadelphia's Arena; in fact, all of principal figures in this composition were posed by models re-enacting what had been an actual boxing match.[3]
See also
References
- ^ http://artgallery.yale.edu/collections/objects/5463
- ^ Goodrich, Lloyd, Thomas Eakins, Vol. II (Cambridge, Mass.: Harvard University Press, 1982), p. 147. ISBN 0-674-88490-6
- ^ Goodrich, Vol. II, op. cit., p. 149.