The Gross Clinic, 1875 by Thomas Eakins
Actual Painted Size: $870.00 ...:
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The effects of ageing and antiqueness impart to a painting the charm of authenticity and nobility. Thus, a reproduction of a painting would impart unique style and appearance to any interior.
The process of making our painting reproductions look old and cracked is in absolute conformity with the technology of oil painting, and in no way does it damage the painting.
Please see some examples of art reproductions that have been made to look old in our studio.
Love Couple at Sewing Box, c.1812/14
Ghost of Kohada Koheiji, 1931
Examples of Loving Couples (Tsuhi no Hinagata), c.1814
Bullfinch and Weeping Cherry Blossoms from Serie 'Flowers and Birds', 1834
Two Small Fishing Boats at Sea, undated
Gathering Almond Blossoms, 1916
John William Waterhouse
John William Waterhouse
The Gross Clinic, 1875
Philadelphia Museum of Art Pennsylvania USA
Original Size:243.8 x 198.1 cm
This painting reproduction will be completely painted by hand with oil paints on a blank linen canvas.
The Time it Takes to be Created:To paint your Thomas Eakins Hand-Painted Art Reproduction time is needed. The painting should not be made too hastily, nor should any deadlines be pursued. For the painting to acquire high quality and precision of detail, time is necessary. It also needs time to dry in order to be completely ready for shipping. Depending on the complexity, the level of detail, and the size of the painting, we'll need 4-5 weeks to make the painting.
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Shipping:We do not frame our oil painting reproductions. Hand-Painted Art Reproduction is an expensive product, and the risks of damaging a painting stretched on a frame during transportation are too high. The Gross Clinic by Thomas Eakins is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
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The Gross Clinic is an 1875 painting by Thomas Eakins. It is oil on canvas and measures 8 feet x 6 feet 6 inches. Dr. Samuel D. Gross, a seventy-year-old professor dressed in a black frock coat, lectures a group of Jefferson Medical College students. Included among the group is a self-portrait of Eakins, who is seated to the right of the tunnel railing, sketching or writing. Seen over Dr. Gross' right shoulder is the clinic clerk, Dr. Franklin West, taking notes on the operation. Eakins's signature is painted into the painting, on the front of the surgical table.
Admired for its uncompromising realism, "The Gross Clinic" has an important place documenting the history of medicine both because it honors the emergence of surgery as a healing profession (previously, surgery was associated primarily with amputation), and because it shows us what the surgical theater looked like in the nineteenth century. The painting is based on a surgery witnessed by Eakins, in which Gross treated a young man for osteomyelitis of the femur. Gross is pictured here performing a conservative operation as opposed to an amputation (which is how the patient would normally have been treated in previous decades). Here, surgeons crowd around the anesthetized patient in their frock coats. This is just prior to the adoption of a hygienic surgical environment. "The Gross Clinic" is thus often contrasted with Eakins's later painting "The Agnew Clinic", which depicts a cleaner, brighter, surgical theater. In comparing the two, we see the advancement in our understanding of the prevention of infection.
Interestingly, the sex of the patient is not established by anything concrete in the painting itself. This fact makes "The Gross Clinic" somewhat unique, as it presents the spectator with a body that is naked and exposed, and yet is not entirely legible as male or female. Another intriguing element of this painting is the lone woman in the painting, seen in the middle ground of the painting, cringing in distress. She can be read as a female relative of the patient, acting as a chaperone. Her dramatic figure functions as a strong contrast to the calm, professional demeanor of the men who surround the patient. This bloody and very blunt depiction of surgery was shocking at the time it was first exhibited, and remains so for many viewers of the painting today.
The painting was submitted for the 1876 Centennial Exhibition in Philadelphia, but was rejected. When it was eventually displayed, a critic for the New York Tribune wrote that it was "one of the most powerful, horrible, yet fascinating pictures that has been painted anywhere in this century... but the more one praises it, the more one must condemn its admission to a gallery where men and women of weak nerves must be compelled to look at it, for not to look at it is impossible." Controversy about the painting has centered on its violence, and on the melodramatic presence of the woman. Contemporary scholars have suggested that the painting may be read in terms of castration anxiety and fantasies of mastery over the body (e.g. Michael Fried), and that it documents Eakins's ambivalence about representing sex difference (e.g. Jennifer Doyle). The painting has also been understood to be drawing an analogy between painting and surgery and as identifying the work of the artist with the emergence of surgery as a respected profession.
In 2002 an art critic for The New York Times called it "hands down, the finest 19th-century American painting." 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.
After its purchase for $200 at the time of the Centennial Exhibition, the painting was housed in the College Building of Jefferson Medical College, Thomas Jefferson University in Philadelphia until it was moved in the mid-1980s to Jefferson Alumni Hall. On November 11, 2006, the Thomas Jefferson University Board voted to sell the painting for $68 million to the National Gallery of Art in Washington and the new Crystal Bridges Museum of American Art, now under construction in Bentonville, Arkansas. The sale would represent a record price for an artwork made in the United States prior to World War II.
The proposed sale was seen as a secretive act that many from Philadelphia believed betrayed the city's cultural legacy. In late November 2006, efforts began to keep the painting in Philadelphia, including a fund with a December 26 deadline to raise money to purchase it and a plan to invoke a clause regarding "historic objects" in the city's historic preservation code. In a matter of weeks the fund raised $30 million, and on December 21, 2006, Wachovia Bank agreed to loan the difference until the rest of the money has been raised, keeping the painting in town at the Philadelphia Museum of Art and the Pennsylvania Academy of Fine Arts.