[3] The painting was completed quickly, in three months, rather than the year that Eakins took for The Gross Clinic. 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Artists have before now been known to sicken at the sight of pictures by younger men which they in their souls were compelled to acknowledge were beyond their emulation.” (Marc Simpson, in The 1870s, essay in Thomas Eakins (Philadelphia Museum of Art 2001) ed. Eakins' pride in his professor and his colleagues at Jefferson inspired a painting that is about the glory of modern Philadelphia and its heroes of science and education. The sale would represent a record price for an artwork made in the United States prior to World War II.[8]. 3. Students of the medical class of 1889 who commissioned The Agnew Clinic are portrayed as the audience for the surgery—as historian Amanda Mahoney[6] points out, all individuals depicted in the work can be identified by name, except for the patient—and this audience of male medical students creates a composition that highlights power dynamics between the masculine and the feminine in the academic medical hierarchy. Thomas Eakins’s “Gross Clinic,” as great as any American painting of the 19th century, was about to leave Philadelphia but will now stay in the city that has always been home to it. This bloody and very blunt depiction of surgery was shocking at the time it was first exhibited. [11] As they progressed through their nursing education, trainee nurses learned nursing skills on the floor of the hospital and participated in lectures given by physicians at the university hospital. Clymer's diaries reveal daily nursing tasks, practical knowledge learned, and the occasional student's gripe—"Learned nothing new, and everything seemed to go wrong. Ten reasons to Keep the Gross Clinic in Philadelphia. Drawing of Two Heads (1876), Philadelphia Museum of Art. Pew applies a rigorous, analytical approach to improve public policy, inform the public, and invigorate civic life. It is oil on canvas and measures 8 feet (240 cm) by 6.5 feet (200 cm). Gross inspired his students—including Thomas Eakins, who attended his lectures (and who appears at the right-hand edge of the canvas, attentively taking notes)—with his vision of the dramatic progress in American medicine in the nineteenth century, pioneered by the research and innovation of Philadelphia's scientific community.
It was rejected for exhibition at the Pennsylvania Academy of the Fine Arts in 1891, and at New York's Society of American Artists in 1892. Taking his inspiration from eminent painters of the European baroque, such as Rembrandt and Velasquez, and the unsparing naturalists of his own day, including his teachers in Paris, Jean-Léon Gérôme and Léon-Joseph-Florentin Bonnat, Eakins developed a personal style that blended careful observation, broad paint handling, and dramatic contrasts of light and dark. This illustration was probably made to be photographed.
7. 2. As a modern realist and something of a provocateur, he confronts us with a confusing, even shocking scene—as if we are seated in a surgical amphitheatre, facing an oddly foreshortened body ringed by a tangle of intent doctors, some touched with bright blood. It depicts the Philadelphia physician Samuel D. Gross and the members of his “clinic” performing bone surgery on a young man, while a figure often thought to be the patient's mother cringes nearby.

Gross.”, Back home in Philadelphia, Eakins made portraits of his family and a series of scullers—competitive boaters who row with two oars. The medical establishment had previously amputated limbs in these types of situations. Eakins Masterwork Is to Be Sold to Museums. His friend and protege, Samual Murray, modeled a statuette of Eakins at work on the painting.

G-236. "[3] In 2006, in response to the impending sale of this painting, The New York Times published a "close reading" which sketches some of the different critical perspectives on this work of art.


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