1954.173 Thomas Eakins (possibly), Portrait of a woman reading

GENERAL DESCRIPTION

When this painting entered the collection of the Dallas Museum of Fine Arts in 1954, it was attributed to Thomas Eakins. Like Eakins' Miss Gertrude Murray (1975.1.FA) this representation of a solitary figure abides by the realism and somber feeling evoked by the artist's late portraits. The attribution was adjusted at the recommendation of Lloyd Goodrich, then the Associate Director of the Whitney Museum of American Art and an expert on Eakins' career. In a letter dated November 1955, Goodrich shares his research on this painting with a DMFA curator and included the note that Eakins' wife questioned its authenticity. Susan Macdowell Eakins (1851-1938) spent the final decades of her life promoting her husband's legacy and encouraging the distribution and study of his work. According to Goodrich, when shown a photo of this painting by a New York dealer, she strongly rejected Portrait of a Woman Reading as part of her husband's oeuvre. Thus, the anonymous portrait is now cataloged with the qualifying statement that it is "attributed to" the great American realist.

Emily Schiller, Digital Content Coordinator, 2016.

NOTES

Sue's curatorial remark from November 2012 mentions William Rudolph's suggestion that the work is actually a portrait by Susan Macdowell Eakins. Lloyd Goodrich's comment that Mrs. Eakins denied the work was made by her husband implies that she would have mentioned if she recognized it as one of her own. There is a SME painting with this title, reproductions of which are located in the object file for 1960.156.

This credit line looks confusing, but that does not mean it is incorrect. It reads, "Gift of Mrs. Leslie Waggener in memory of Leslie Waggener." The constituent record is for Mrs. Nelson Waggener (variant, Annie Waggener; formerly Annie Venable Nelson) with note that she is married to Leslie Waggener, Jr. Should the credit line read, "Gift of Mrs. Nelson Waggener in memory of Leslie Waggener?"

Sue's comment- This is confusing! Is there a clearer alternative, such as: Gift of Annie Waggener in memory of her husband, Mr. Leslie Waggener, Jr.

EAS- will send this comment/suggestion to Carol for her to consider in the future. Based on a search of Brain for "Leslie Waggener" there are 16 objects with this name in the credit line.

Routed and revised by Sue. Removing routed and adding the completed tag because the GDoc has been moved to Queta's folder for review. (2/13/2017)

Removed TMS object tag because rule exists.

Catalogue essays

Artist/designers

Attributed to Eakins, Thomas (1844-1916)

Cultures

Geography

Process/materials

oil paint

canvas

Historical periods

United States at the Turn of the Century (United States, 1890 to 1913)

Gilded Age (United States, 1878-1889)

Individuals

Subject terms

portrait

painting

woman

reading

book

sitting

black

white

elderly

attribution

three-quarter views

RELATED OBJECTS

PROVENANCE

Until 1954: Leslie Waggener, Dallas, TX

From 1954: Dallas Museum of Fine Arts, gift from the above [1]

[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.

AUDIO ASSETS

VIDEO ASSETS

IMAGE ASSETS

WEB RESOURCES

ARCHIVAL RESOURCES

FUN FACTS

TEACHING IDEAS

RULES

Apply to objects where number equals 1954.173

General Description

When this painting entered the collection of the Dallas Museum of Fine Arts in 1954, it was attributed to Thomas Eakins. Like Eakins' Miss Gertrude Murray (1975.1.FA) this representation of a solitary figure abides by the realism and somber feeling evoked by the artist's late portraits. The attribution was adjusted at the recommendation of Lloyd Goodrich, then the Associate Director of the Whitney Museum of American Art and an expert on Eakins' career. In a letter dated November 1955, Goodrich shares his research on this painting with a DMFA curator and included the note that Eakins' wife questioned its authenticity. Susan Macdowell Eakins (1851-1938) spent the final decades of her life promoting her husband's legacy and encouraging the distribution and study of his work. According to Goodrich, when shown a photo of this painting by a New York dealer, she strongly rejected Portrait of a Woman Reading as part of her husband's oeuvre. Thus, the anonymous portrait is now cataloged with the qualifying statement that it is "attributed to" the great American realist.