Thomas Pollock Anshutz

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Thomas Pollock Anshutz (1851–1912) was an American painter and teacher.

Paintings

On the Delaware at Tacony

Portrait of Emil Fairchild Pollock

Portrait of Katherine Rice

Portrait of Maragaret Perot

Portrait of Mrs. Anschutz

Portrait of Rebecca H. Whelan

Self Portrait

St. Cloud near Paris

Steamboat on the Ohio

The Chore

The Fairy Tale

The Farmer and His Son at Harvesting

The Ironworker's Noontime

Two Boys by a Boat Near Cape May

Woman in a Rocking Chair

Woman Writing at a Table

Biography

He studied art at the National Academy of Design in New York City, and moved to Philadelphia in 1875 to study under Thomas Eakins at the Philadelphia Sketch Club. He entered the Pennsylvania Academy of the Fine Arts in 1876, becoming Eakins's assistant there in 1878, and his successor in 1886. He later studied in Paris at the Académie Julian, 1892-93.[1]

His most famous painting, The Ironworkers' Noontime (1880), depicts several workers on their break in the yard of a foundry. Painted near Wheeling, West Virginia, it is conceived in a naturalistic style similar to that of Eakins, although Eakins never painted industrial subjects.[2] Art historian Randall C. Griffin has written of it: "One of the first American paintings to depict the bleakness of factory life, The Ironworkers' Noontime appears to be a clear indictment of industrialization. Its brutal candor startled critics, who saw it as unexpectedly confrontational—a chilling industrial snapshot not the least picturesque or sublime."[3] It is now in the collection of the Fine Arts Museums of San Francisco.

Anshutz's students at PAFA included several painters who would become known as the Ashcan School: Robert Henri, George Luks, William Glackens, John Sloan, and Everett Shinn. Among his other notable PAFA students were Charles Demuth, John Marin, Arthur B. Carles, Paul-Jean Martel, Charles Sheeler[4] and Albert Laessle[5].

As a teacher, Anshutz, according to art historian Sanford Schwartz, "was known as much for his approachability as his sarcasm, which apparently wasn't of the withering variety."[6] Towards the end of his life he proclaimed himself a socialist.[7] He died in 1912.
Notes

1. ^ Thomas Anshutz from SIRIS.
2. ^ Griffin, 2004, p. 59
3. ^ Griffin, 2004, p. 61
4. ^ Schwartz, 1982, p. 17; Martel, Maclovia: online biography of Paul-Jean Martel. Accessed August 5, 2008
5. ^ National Museum of Wildlife Art, Albert Laessle Biography, http://www.wildlifeart.org/artists/artistDetails/index.php?aID=411
6. ^ Schwartz, 1982, p. 16
7. ^ Griffin, 2004, p. 150

References

* Griffin, Randall C. (2004). Homer, Eakins, & Anshutz: The Search for American Identity in the Gilded Age. University Park: Pennsylvania State University Press. ISBN 0-271-02329-5
* Schwartz, Sanford (1982). The Art Presence. New York: Horizon Press. ISBN 0818001356

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