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Portrait of Mary Adeline Williams
''Portrait of Mary Adeline Williams'' is the title given to two separate oil on canvas paintings by Thomas Eakins, each depicting Mary Adeline Williams (1853–1941), known familiarly to the Eakins family as "Addie". The first painting, now in the Art Institute of Chicago, was completed in 1899, and portrays the subject with a serious demeanor. The second portrait, in the Philadelphia Museum of Art, was painted in 1900, and is more emotionally expressive. The contrast between the paintings has been called "Perhaps the most famous example of Eakins's transforming a sitter dramatically while maintaining the effect of severe realism."〔Sewell 1982, p. 122〕
==Background==
Mary Adeline Williams was a longtime friend of the Eakins family, a best friend to Eakins' younger sister Margaret, and a distant relation through marriage; she would later say that Thomas Eakins "was like a big brother to me."〔Sewell et al. 2001, p. 268〕〔Goodrich, Vol. II, 1982. p. 171〕 As early as 1867 Eakins took a protective interest in her, writing to his sister Fanny: "She is a pretty little girl & I guess just as good as she is pretty, or she belies her blood. We owe a great deal to her father & mother for their unvarying disinterested kindness to us....Try to make her welcome whenever she comes to town."〔Sewell et al. 2001, p. 419, note 130〕
Williams never married, and for some years worked as a seamstress and made corsets.〔 In 1882 Thomas Eakins' father Benjamin invited her to live in the Eakins' home in Philadelphia; Williams demurred, and moved to Chicago, where she lived for six years with one of her brothers. During this time she and Eakins maintained a written correspondence, and the friendship with Eakins' family was further renewed when she returned to Philadelphia in the late 1890s.〔(Banham 2001, pp. 571-572 )〕
Eakins's relationship with Mary Adeline Williams has been the subject of a decades-long debate among art historians. Eakins biographer Lloyd Goodrich conducted interviews with many of Eakins's surviving friends and family members about a decade after Eakins's death. Goodrich himself thought a sexual relationship was unlikely, believing that Eakins would not be inclined to participate in an extramarital affair in his own home.〔Goodrich, Vol. II, 1982. p. 174〕 However, he found that many of Eakins's friends believed that his relationship with Williams was sexual in nature.〔Adams, p. 98〕 Eakins' student and confidante Samuel Murray stated publicly that he believed the relationship between artist and sitter was sexual,〔Homer, p. 179〕 and one of Eakins' nephews believed that Eakins, his wife, and Addie were engaged in a ménage à trois.〔Banham 2001, p. 572〕 Other Eakins acquaintances, such as Lucy W. Langdon Wilson, disagreed, noting that Eakins was not interested in seduction, and if a sexual situation developed, she believed "he would leave before the critical moment." It is possible that the portraits reflect Eakins's responsiveness to Williams' varied emotional conditions, rather than recording the effects of a physical relationship.〔Sewell et al. 2001, p. 269〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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