[227923] in SIPB-AFS-requests
Take the edge off, the citrus way
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Date: Tue, 8 Jul 2025 12:22:10 +0200
From: "BREZ Social Tonic" <SocialTonic@abhishek.ru.com>
Reply-To: "Experience Brez" <ExperienceBrez@abhishek.ru.com>
Subject: Take the edge off, the citrus way
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Take the edge off, the citrus way
http://abhishek.ru.com/Zv3Rt-8MET8jV7lAmq__b99JXofxLa5dVrsOgIA8JFnKZHesEw
http://abhishek.ru.com/G-hjKESerShz4hsrReXuQ1mcFtnKmv7ZsTAFNpxsYbblSvaKjg
vivid a result is obtained without sacrificing the light and color in the other parts of the picture; and the effect, while no less intense, is, therefore, less startling and loud.
These assessments were not universal. The critic for Philadelphia's The Evening Telegraph, who may have been aware of the personal politics involved in the advisory group of artists who rejected it, wrote:
There is nothing so fine in the American section of the Art Department of the Exhibition, and it is a great pity that the squeamishness of the Selecting Committee compelled the artist to find a place for it in the United States Hospital building. It is rumored that the blood on Dr. Gross' fingers made some of the members of the committee sick, but, judging from the quality of the work exhibited by them we fear that it was not the blood alone that made them sick. Artists have before now been known to sicken at the sight of pictures by younger men which they in their souls were compelled to acknowledge were beyond their emulation.
Controversy about the painting has centered on its violence, and on the melodramatic presence of the woman. Modern 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, Michael Kimmelman of 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 wo
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<div style="color:#FFFFFF;font-size:8px;">vivid a result is obtained without sacrificing the light and color in the other parts of the picture; and the effect, while no less intense, is, therefore, less startling and loud. These assessments were not universal. The critic for Philadelphia's The Evening Telegraph, who may have been aware of the personal politics involved in the advisory group of artists who rejected it, wrote: There is nothing so fine in the American section of the Art Department of the Exhibition, and it is a great pity that the squeamishness of the Selecting Committee compelled the artist to find a place for it in the United States Hospital building. It is rumored that the blood on Dr. Gross' fingers made some of the members of the committee sick, but, judging from the quality of the work exhibited by them we fear that it was not the blood alone that made them sick. Artists have before now been known to sicken at the sight of pictures by younger men which they in their souls were compelled to acknowledge were beyond their emulation. Controversy about the painting has centered on its violence, and on the melodramatic presence of the woman. Modern 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, Michael Kimmelman of 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 wo</div>
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