- Gallery Text
Thomas Eakins painted during a period in American history when the roles of men and women were at once rigidly prescribed and actively questioned; he explored questions of gender throughout his career. In this portrait, Eakins disavowed period notions of the ideal female body to emphasize the sitter’s inner life. With her muscular neck and shoulders, dreamy, unfocused gaze, and melancholic air, Alice Kurtz is not merely an object for the male gaze, but a psychologically complex, self-possessed personality.
The portrait was commissioned by the sitter’s father, William B. Kurtz, a prominent Philadelphia banker. He was displeased with the picture, complaining that Eakins had reduced his healthy and athletic daughter to “a bag of bones, an anatomical sketch.” He dispatched the portrait to the attic of the family’s Philadelphia home, where it remained until 1925.
- Identification and Creation
- Object Number
Thomas Cowperthwait Eakins, American (Philadelphia, PA 1844 - 1916 Philadelphia, PA)
- Miss Alice Kurtz
- Work Type
- Creation Place: North America, United States
Level 2, Room 2710, North Arcade
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- Physical Descriptions
- Oil on canvas
- 59.4 x 49.2 cm (23 3/8 x 19 3/8 in.)
framed: 85 x 74.3 x 4.5 cm (33 7/16 x 29 1/4 x 1 3/4 in.)
- Inscriptions and Marks
- Signed: l.r.: EAKINS
- Given by Thomas Eakins to Mr. and Mrs. Willaim Kurtz, Philadelphia (parents of the sitter), 1903.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Gift in part of Mrs. John Whiteman (Alice Kurtz); purchase in part with funds contributed by friends of John Coolidge, Director, 1948-1968
- Accession Year
- Object Number
- European and American Art
- Publication History
Lloyd Goodrich, Thomas Eakins: His Life and Work (New York, NY, 1933), p. 139, no. 379
Sylvan Schendler, Eakins, Little, Brown & Company (Boston, MA, 1967), figs. 143, 265, pp. 294 f.
Acquisitions, 1969-1970, Fogg Art Museum (Cambridge, MA, 1970), ill. p. 79
Kenyon Castle Bolton, III, Peter G. Huenink, Earl A. Powell III, Harry Z. Rand, and Nanette C. Sexton, American Art at Harvard, exh. cat., Fogg Art Museum (Cambridge, MA, 1972), cat. 113, ill.
Gordon Hendricks, The Life and Work of Thomas Eakins, Grossman Publishers (New York, NY, 1974), pp. 263, 265, no. 138, ill. p. 329
Lloyd Goodrich, Thomas Eakins, National Gallery of Art/Harvard University Press (Washington, D.C. and Cambridge, MA, 1982), pp. 91, 93, cat. 188, ill.
Kristin A. Mortimer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge, MA; New York, NY, 1985), p. 186, cat. 212, ill.
Stephan Wolohojian, ed., Harvard Art Museum/ Handbook, Harvard Art Museum (Cambridge, MA, 2008), ill. p. 169
Theodore E. Stebbins, Jr., Virginia Anderson, and Kimberly Orcutt, ed., American Paintings at Harvard, Volume Two, Paintings, Drawings, Pastels and Stained Glass by Artists Born 1826-1856, Harvard University Art Museums/Yale University Press (Cambridge, MA and New Haven, CT, 2008), p. 97-98, cat. 65, ill. p. 97
Molly Hutton, Beyond Realism: The Works of Kent Bellows 1970-2005, Kent Bellows Studio and Center for Visual Arts (Omaha, Nebraska, 2010), ill. p. 16
John Coolidge, "Portrait of a Young Woman", Fogg Art Museum Newsletter, Fogg Art Museum (Cambridge, MA, January 1969), vol. VI, no. 3, pp. 1-2
John Wilmerding, "Harvard and American Art", Apollo (June 1978), vol. CVII, no. 196, pp. 490-495, p. 494, fig. 3
- Exhibition History
American Art at Harvard, Fogg Art Museum, Cambridge, 04/19/1972 - 06/18/1972
Master Paintings from the Fogg Collection, Fogg Art Museum, Cambridge, 04/13/1977 - 08/31/1977
Portraits of Thomas Eakins, National Portrait Gallery, London, 10/08/1993 - 01/23/1994
The Persistence of Memory: Continuity and Change in American Cultures, Harvard University Art Museums, Cambridge, 07/29/1995 - 05/13/2001
32Q: 2710 North Arcade, Harvard Art Museums, Cambridge, 11/01/2014 - 01/01/9999
- Subjects and Contexts
Google Art Project
- Verification Level
4 - Best. Object is extensively researched, well described and information is vetted