Max Schmitt in A Single Scull - The Reception

The Reception

The painting was exhibited only once during Eakins's lifetime; at the Union League of Philadelphia for four days in April 1871. The reviews were mixed. From the Philadelphia Bulletin:

"The latter artist , who has lately returned from Europe and the influence of Gérôme, has also a picture entitled 'The Champion Single Sculls' (No. 137), which, though peculiar, has more than ordinary interest. The Artist, in dealing so boldly and broadly with the commonplace in nature, is working upon well-supported theories, and despite a somewhat scattered effect, gives promise of a conspicuous future."

From the Philadelphia Inquirer:

"Thomas Eakins shows two, a portrait and a river scene, entitled 'The Champion Sculls.' While manifesting a marked ability, especially in the painting of the rower in the foreground, the whole effect is scarely satisfactory. The light on the water, on the rower and on the trees lining the bank indicates that the sun is blazing fiercely, but on looking upward one perceives a curiously dull leaden sky."

An assessment from 2007:

"This painting, the first of 24 rowing paintings that Eakins completed over the course of four years, was the first time rowing was the focus of serious art. However, the stuffy Philadelphia critics didn’t take well to Eakins’ subject matter, even though rowing was, at the time, one of the most popular sports. A critic remarked that his subject matter was 'a shock to the artistic conventionalities of the city'."

• Detail: Pennsylvania Railroad Connecting Bridge, with Girard Avenue Bridge beyond.

• G-44A Eakins's drawing of the Girard Avenue Bridge, Hirshhorn Museum and Sculpture Garden.

• G-64 Sketch of Max Schmitt (circa 1870-71), Philadelphia Museum of Art.

• G-63 Oarsmen on the Schuylkill (The Pennsylvania Barge Four) (circa 1874), Brooklyn Museum. From right to left: John Lavens, Jr. (stroke), Max Schmitt, Frank Henderson, Oscar F. West (bow).