Not currently on view
In the collection of Cleveland Museum of Art, Cleveland · as of August 2026
FROM THE CLEVELAND MUSEUM OF ART’S CATALOG
Before beginning a large-scale painting such as The Biglin Brothers Turning the Stake, Eakins began a series of specialized studies. He outlined the space of the composition with perspective drawings, such as this sketch in graphite. Eakins also used figure studies when rendering a work, as well as landscape and architectural drawings and his own photographs (examples of which are elsewhere in the exhibition). The practice of using perspective drawings to work out the space of a painting dates back to the Renaissance, revealing Eakins’s academic training.
Be the first to share your thoughts.
Sign in to join the discussion.
Adalbert John Volck — Marylanders Crossing the Potomac to Jo
Homer Dodge Martin (American, 1836–1897) — Adirondacks
William Sidney Mount (American, 1807–1868) — Eel Spearing at
James McNeill Whistler (American, 1834–1903) — Lagoon: Noon
James McNeill Whistler (American, 1834–1903) — Amsterdam fro
James McNeill Whistler (American, 1834–1903) — Old Battersea
James McNeill Whistler (American, 1834–1903) — The Lagoon, N
James McNeill Whistler (American, 1834–1903) — Little Lagoon
Arthur John Trevor Briscoe (British, 1873–1943) — Oyster Dre
James McNeill Whistler (American, 1834–1903) — Thames Wareho
Frank Short (British, 1857–1945) — Screel Hill and Urr Water
David Johnson (American, 1827–1908) — Landscape with Man Fis
