The Swimming Hole
The Swimming Hole is an 1884–85 painting by the American artist Thomas Eakins, Goodrich catalog #190, in the collection of the Amon Carter Museum of American Art in Fort Worth, Texas. Executed in oil on canvas, it depicts six men swimming naked in a lake, and is considered a masterpiece of American painting. According to art historian Doreen Bolger it is "perhaps Eakins' most accomplished rendition of the nude figure", and has been called "the most finely designed of all his outdoor pictures". Since the Renaissance, the human body has been considered both the basis of artists' training and the most challenging subject to depict in art, and the nude was the centerpiece of Eakins' teaching program at the Pennsylvania Academy of the Fine Arts. For Eakins, this picture was an opportunity to display his mastery of the human form.
In this work, Eakins took advantage of an exception to the generally prudish Victorian attitude to nudity: swimming naked was widely accepted, and for males was seen as normal, even in public spaces. Eakins was the first American artist to portray one of the few occasions in 19th-century life when nudity was on display. The Swimming Hole develops themes raised in his earlier work, in particular his treatment of buttocks and his ambiguous treatment of the human form; in some cases it is uncertain as to whether the forms portrayed are male or female. Such themes had earlier been examined in his The Gross Clinic and William Rush, and would continue to be explored in his paintings of boxers and wrestlers.
Although the theme of male bathers was familiar in Western art, having been explored by artists from Michelangelo to Daumier, Eakins' treatment was novel in American art at the time. The Swimming Hole has been "widely cited as a prime example of homoeroticism in American art". In 2008, the art critic Tom Lubbock described Eakins' work as:
Title and composition
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917, when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are : Talcott Williams, Benjamin Fox, J. Laurie Wallace, Jesse Godley, Harry the dog, George Reynolds, and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
File:Bazille, Frédéric ~ Summer Scene, 1869, Oil on canvas Fogg Art Museum, Cambridge, Massachusetts.jpg|thumb|left|Frédéric Bazille. Scène d'été, 1869, oil on canvas, × in, Fogg Art Museum, Cambridge, Massachusetts. Eakins may have seen this painting while studying in Paris. The composition is pyramidal. The figure reclining at left leads the viewer's eye to the seated figure, whose gesture in turn points to Godley at the apex of the compositional pyramid. The diving figure at right leads to the swimming form of Eakins, who painted himself into the scene and whose leftward movement directs attention back into the painting. Eakins enforces this pyramidal structure by manipulating the focus of the painting: the center area containing the swimmers is extremely precise, while the outer areas are diffuse, with "virtually no moderating zones in between". The lighting within the picture is unnatural—too bright in some places, and too dark in others—although the effect, which tends to accentuate the body lines of the swimmers, is generally subtle.
The composition is notable for both its adherence to academic tradition, and its uniqueness in transposing the male nude to an outdoor setting. The depiction of someone diving into water was very rare in the history of Western art. The other figures are artfully arranged to imply a continuous narrative of movement, the poses progressing "from reclining to sitting to standing to diving"; at the same time, each figure is carefully positioned so that no genitalia are visible. As in his previous works, Eakins chose to include a self-portrait, here as the swimmer at bottom-right. Unlike his appearances in The Gross Clinic or Max Schmitt in a Single Scull, here the artist's presence is more ambiguous—he may be seen as companion, teacher, or voyeur. The ripple in the water next to Eakins, and the bubbles around the diver, are the only indications of movement in a painting where motion is otherwise arrested; the water next to the red-headed figure in the lake is still enough to offer a clear reflection. This contrast underscores the tension in the picture between classical prototypes and scientific naturalism.
File:Thomas Eakins - Arcadia.jpg|thumb|Thomas Eakins. Arcadia, 1883, × 45 in, oil on canvas, The Metropolitan Museum of Art. Like The Swimming Hole, this painting shows the influence of a classical conceit.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille. It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.
In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Studies
Eakins made several on-site oil sketches and photographic studies before painting The Swimming Hole. It is unknown whether the photographs were taken before the oil sketches were produced or vice versa.By the early 1880s, Eakins was using photography to explore sequential movement and as a reference for painting. Some time in 1883 or 1884, he photographed his students engaged in outdoor activities. Four photographs of his students swimming naked in Dove Lake have survived, and bear a clear relationship to The Swimming Hole. The swimmers are seen in the same spot and from the same vantage point, although their positions are entirely different from those in the painting. None of the photographs closely matches the poses depicted in the painting; this was unusual for Eakins, who typically adhered closely to his photographic studies. "The divergence between these sets of images may hint at lost or destroyed pictures, or it may tell us that the photographs came first, before Eakins' mental image had crystallized, and before the execution of his first oil sketch. The poses in the photographs are more spontaneous, while those of the painting are deliberately composed with a classical "severity". Although no photographic studies have survived that would suggest a more direct connection between the photographs and the painting, recent scholarship has proposed that marks incised onto the canvas and later covered by paint indicate that Eakins made use of light-projected photographs.
Eakins combined his studies into a final oil sketch in 1884, which became the basis for the finished painting. The basic composition remained unchanged, as all six men and the dog appeared in the sketch; however, Eakins, who usually adhered closely to his sketches when developing a final work, made several uncharacteristic alterations to the specific movements and positions of the figures. A friend and student, Charles Bregler, described the process:
Commission and reception
The painting was commissioned in 1884 by Edward Hornor Coates, a Philadelphia businessman who chaired the Committee on Instruction at the Pennsylvania Academy of the Fine Arts, where Eakins taught. Coates intended to pay Eakins $800, which at the time was the largest commission Eakins had been offered.Coates intended the painting for an exhibition at the Pennsylvania Academy of the Fine Arts, and it was shown at the academy's exhibition in the fall of 1885. However, Coates rejected it as unrepresentative of Eakins' oeuvre. In a November 27, 1885 letter to Eakins, Coates reasoned:
File:Hamilton Men I Have Painted 176f Edward H Coates.jpg|thumb|Portrait of Edward Hornor Coates, 10th President P.A.F.A. by John McLure Hamilton, private collection.
It is not known precisely why Coates failed to purchase the painting; however, it seems likely that Coates felt the work was too controversial to acquire. Coates, as Head of Instruction at Eakins' academy, would have been familiar with the subject matter of Eakins' works, and thus it seems unlikely that the nudity in the painting would have surprised or shocked him. Rather, it seems certain that Coates would have recognized the majority of men in the painting, as all but one were students of Eakins at the academy. He was undoubtedly familiar with the site depicted in the painting too, as it was only a half a mile from Haverford College, where Coates studied as an undergraduate. The depiction of a professor and his students together in the nude would have been a sensitive subject for the academy's directors, who had forbidden Eakins from using Academy students as models, as modeling was considered indecent. Coates chose to exchange The Swimming Hole for the "less controversial genre scene" of Eakins' The Pathetic Song—today housed in the Corcoran Gallery of Art—and paid Eakins the $800 he had offered for the original commission.
On February 9, 1886, Eakins was forced to resign from the academy because of his removal of a loincloth from a male model in a class where female students were present. In a letter to Coates on February 15 in which Eakins explained his reasons for resigning, he addressed the issue of nudity in his artwork: