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Self-portrait (Thomas Eakins) ：ウィキペディア英語版

Self-portrait (Thomas Eakins)

''Self-portrait'' is an oil on canvas painting by Thomas Eakins, presented as a diploma piece upon his election as an Associate member of the National Academy of Design in 1902. Although Eakins included himself as an observer or participant in group portraits and genre scenes, this and a smaller unsigned and undated oil, thought to have been made at about the same time, are the only unadorned self-portraits he ever painted. Lloyd Goodrich wrote that it "is not only one of his finest head and bust likenesses, but a revealing human document; in the direct look of his remarkable eyes one can see strength, penetrating intelligence, and a touch of ironic humor."〔Goodrich, Vol. II, 1982. p. 201〕
==Background==
Largely due to controversies surrounding his work, Eakins was not invited to become a member of the National Academy of Design until 1902, well after many of his contemporaries. It was only in the late 1890s that his reputation benefited from a positive reassessment by his colleagues, as well as a rediscovery by a younger generation of artists and writers.〔Wilmerding, et al. 1993. p.155〕 Unanimously approved as an Associate-elect of the National Academy on 12 March 1902, Eakins quickly painted this self-portrait and submitted it to the Academy on 5 May, and was accepted as a full Academician at the annual meeting on 14 May; he remains the only artist in the Academy's history to be made an Associate and full Academician in the same year.〔Wilmerding, et al. 1993. p.155〕
Previously Eakins had included himself in several early sporting pictures, as well as ''The Swimming Hole'', and in his large group portraits ''The Agnew Clinic'' and ''The Gross Clinic'', and later he would paint himself in side view for ''William Rush and His Model''. However, the two paintings of 1902 were his only independent self-portraits.〔Wilmerding, et al. 1993. p.155〕
It is possible that the smaller oil was intended as an anatomical study or an experiment in emotional tone that Eakins decided not to submit to the Academy.〔Wilmerding, et al. pp. 155-156〕 The small size, , was used by Eakins for only two other portraits.〔Wilmerding, et al. 1993. p.155〕 Of frontal format, it is more directly confrontational than the Academy's painting, and appears to have been left unfinished.〔Wilmerding, et al. 1993. p.155〕 The artist may have been wearing a gray sweater seen previously in an 1895 photograph.〔Wilmerding, et al. 1993. p.155〕 Eakins' student Charles Bregler recalled that the painting was made in one sitting.〔Wilmerding, et al. 1993. p.155〕

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