Abstract
Abstract When Thomas Eakins (1844–1916) visited the Universal Exposition in Paris in 1867, he was more interested in the locomotives and machinery than in the art. This curiosity about mechanism, with its concomitant respect for fact, led him into serious anatomical studies—like the Renaissance masters who dissected to use knowledge as an instrument of truth. With Eakins, this desire for knowledge—an almost obsessive one in his case—extended to the use of the machine as tool (photography) and into mathematics. His art thus belongs, in many of its aspects, to the mensurational, machine- connected aesthetic that characterizes much American art before and after him. In his grave attempts to reconcile knowledge with art, he was perhaps the most philosophical and conscientious of American artists.
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