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I think he turned to the Pennsylvania Academy and tried to... create an experience for a student that was akin to the one he had in Paris and better, with improvements because he certainly found that there were things he might have done differently. So we found the French model transplanted to Philadelphia with sort of modern improvements.
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KATHLEEN A. FOSTER, Ph.D.
Curator, Indiana University Art Museum
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This really was something new for the Academy, which was founded on the Royal Academy in London, and had an Anglo-American focus on early drawing from the plaster cast... and not moving the students along at the pace Eakins would have liked. Certainly he was frustrated by this when he was a student in the 60s. So he felt that this early encouragement to work from the live model, to paint from the live model... was very important because it was a matter of moving on from just perfecting the line, which is really the point of what antique drawing is, to working more with form, color, texture, gesture, tone. He thought that this was a more useful way for students to learn .
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SYLVIA YOUNT, Ph.D.
Curator, Pennsylvania Academy of the Fine Arts
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Eakins' mind had been broadened by his experiences in Paris, but it had also been narrowed in a certain sense, because he was unwilling to suffer fools gladly and a fool he would have defined as a person who saw a problem with study from the fully nude model.
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AMY B. WERBEL, Ph.D.
Art Historian, St. Michael's College
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