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More than 2 million of the images in Artstor are now discoverable alongside JSTOR’s vast scholarly content, providing you with primary sources and vital critical and historical background on one platform. This blog post is one of a series demonstrating how the two resources complement each other, providing a richer, deeper research experience in all disciplines.

During the nineteenth century the painting genre of the operating theater emerged — an arresting hybrid of fine art and the art of medicine. Highly specialized and hotly debated, its celebrated champion was the American artist Thomas Eakins, both appreciated and condemned for the realism which he brought most notably to his medical paintings. The Gross Clinic, 1875, and The Agnew Clinic, 1889, are his most monumental canvases among about 25 that feature medical practitioners. With images from the Carnegie Arts of the United States collection, the University of Pennsylvania University Archives, Mauritshuis, Panos Pictures, and an infusion of related imagery from two open collections—Open Artstor: Wellcome Collection and Open Artstor: Science Museum Group—we may now probe these powerful and disquieting works with clinical precision.

Thomas Eakins. The Gross Clinic. 1875. Image and data provided by University of Georgia Libraries.

The Gross Clinic depicts Dr. Samuel D. Gross, characterized as the “emperor of American surgery,” in his element at center stage directing his assistants who perform an operation on a patient’s thigh while he also addresses his students. A woman recoils at left, the only discordant note to his authority. The setting is Philadelphia’s Jefferson Medical College, where the artist himself began to study medicine before choosing a future in art. On a canvas measuring about 8 x 6 feet, the figures approach life size.

Seize the season! Once again we have crossed the Thanksgiving threshold into full-blown festivities and the crescendo to the new year. In celebration of the prompt to eat, drink, and be merry, we would like to present some inspiring visions.

Antonio Rasio. Autumn. 1685-1695. Pinacoteca Tosio Martinengo. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y.

Let’s begin with the harvest itself, the basis of all feasts and the bountiful personification of Autumn by the Brescian Antonio Rasio, 1685-1695. In one of four allegorical paintings of the season, the whimsical poster boy for produce is nearly life size and he is composed of more than 20 edibles from mushrooms to pomegranates.

A unique offering from a second-generation Abstract Expressionist

Joseph F. Stapleton. Look look. 1978. China marker, vellum. RISD Museum. Image and data provided by Robert Solomon Art.

Art historian Robert Solomon has just contributed the Joseph Stapleton: Self-Portraits collection to Artstor. Below, he provides a perspective on the artist and his significant output of self-portrait drawings.

Joseph Stapleton (1921-1994) was one of an estimated 400 artists who poured into New York City’s Tenth Street area following the close of World War II. According to historian Irving Sandler, they were attracted to this specific location by the presence of, among others, Willem de Kooning’s studio. Sandler referred to this group of artists born between 1920 and 1930 as Abstract Expressionism’s second generation. Over the next twenty years this second generation would be impacted by a variety of economic and social influences. These conditions would produce only a handful of names we recognize today.

Science Museum Group. London Midland & Scottish Railway Collection. The “Coronation Scot” train at Penrith. 1938. 1997-7409. From a set of glass and film negatives. Science Museum Group Collection Online. Accessed October 17, 2019. https://collection.sciencemuseumgroup.org.uk/objects/co423016. CC BY 4.0.

The Open: Science Museum Group collection is now available, featuring a selection of nearly 50,000 images from the Science Museum Group (UK) under Creative Commons licenses that span science, technology, engineering, mathematics and medicine.

Open: Folger Shakespeare Library is now available with a selection of more than 8,000 images from the Digital Image Collection of the Folger Shakespeare Library. Provided under Creative Commons licenses, these images illuminate the history and output of Shakespeare and theater in general, from illustrated manuscripts and rare books, costume and stagecraft, to actors’ portraits and miscellanea.

Beginning in 1889, Henry Clay Folger and his wife, Emily Jordan Folger, began to amass rare books and associated media, founding the Folger Shakespeare Library, the world’s leader in Shakespeareana, in 1932. Their success may be gleaned from a handful of outstanding examples across the Open Artstor collection. 

John Austen. Hamlet, from a set of 121 original drawings. By 1922. Pen and ink. Image and data provided by the Folger Shakespeare Library. CC BY-NC-ND 4.0.

A woman dropping her porcelain tea-cup in horror upon discovering the monstrous contents of a magnified drop of Thames water; revealing the impurity of London drinking water. Colored etching by W. Heath, 1828. Credit: Wellcome Collection. CC BY 4.0.

The Open: Wellcome Collection is now available, featuring a selection of more than 100,000 images from the Wellcome Collection that connect science, medicine, technology, life, and art under Creative Commons licenses.

James M. Sommerville, Christian Schussele. Ocean Life. c. 1859. Image and data provided by The Metropolitan Museum of Art. Public domain.

More than 2 million of the images in Artstor are now discoverable alongside JSTOR’s vast scholarly content, providing you with primary sources and vital critical and historical background on one platform. This blog post is one of a series demonstrating how the two resources complement each other, providing a richer, deeper research experience in all disciplines.

During the mid-nineteenth century, the Atlantic presented a new, rich, and formidable frontier to American innovators who were laying the cables for the first transcontinental telegraph, to scientists capturing their first glimpses of aquatic life forms, and to artists exploring the hitherto unseen landscapes of the deep.

More than 2 million of the images in Artstor are now discoverable alongside JSTOR’s vast scholarly content, providing you with primary sources and vital critical and historical background on one platform. This blog post is one of a series demonstrating how the two resources complement each other, providing a richer, deeper research experience in all disciplines.

Decorative arts, which bridge the realms of fine art and function, often seem to highlight aristocratic tastes. These selections from The Clark’s collection, while valued for their craftsmanship and design, offer insights into the everyday lives of early Americans. These recent additions to the Artstor Digital Library also highlight a new interface in which multiple images of an object are grouped together, allowing users to access alternate views more easily.

Paul Revere, Jr. Sugar bowl and cover. c. 1795. Image and original data provided by Sterling and Francine Clark Art Institute

Paul Revere, Jr. Teapot. c. 1785. Image and original data provided by Sterling and Francine Clark Art Institute

Paul Revere, Jr. teapot (detail showing embossed mark). c. 1785. Image and original data provided by Sterling and Francine Clark Art Institute

The first selections were crafted by a familiar name from the Colonial period, Paul Revere. Although he is best known for his historic ride, he prided himself as a master artisan. Views of this Neoclassical sugar bowl illustrate his advanced skills and sense of design. The tea kettle, perhaps an early example of Revere Ware (see the embossed mark in detail), was a more common piece in colonial kitchens. It reminds us of tea’s importance to the colonists – which was also borne out by the infamous protest of the British tea tax, the Boston Tea Party. Revere was in sympathy with this cause; he captured some of the passions that led up to the rebellion in a famous engraving of the Boston Massacre. (1)

The history of ornithology (the scientific study of birds) has involved observations captured in imagery going as far back as prehistoric stone-age drawings.[1] As ornithology developed as a natural science it faced the aesthetic challenge of convincingly capturing depictions of different bird species,[2] leading to beautifully documented and historically fascinating works of illustration.

Several shared collections on JSTOR — available freely to anyone — showcase ornithological illustration starting as early as the 16th century and on through to the 19th century. Here are three of our favorites:

Cornell University’s Laboratory of Ornithology Gallery of Bird and Wildlife Art has more than 1,000 works of art from the last two centuries by bird artists such as Alexander Wilson, John James Audubon, and Louis Agassiz Fuertes.

Alexander Pope, Jr. The Pinnated Grouse. 1878. Cornell University Lab of Ornithology Art Collection.

Louis Agassiz Fuertes. Imperial Eagle. Ca. 1895. Cornell University Lab of Ornithology Art Collection

Vasily Perov. Portrait of Fyodor Dostoevsky. 1872. Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y., artres.com, scalarchives.com

More than 3 million of the images in Artstor are now discoverable alongside JSTOR’s vast scholarly content, providing you with primary sources and vital critical and historical background on one platform. This blog post is one of a series demonstrating how the two resources complement each other, providing a richer, deeper research experience in all disciplines.

In August 1867, shortly after Fyodor Dostoevsky married his stenographer Anna Snitkina, the couple headed to Geneva. As much as a honeymoon, they were also fleeing family tensions and hounding by Fyodor’s many creditors. On the way, the newlyweds stopped in Basel for a day and visited its museum. It was there that the famed writer of Crime and Punishment had an unsettling encounter with an artwork that would soon appear in one of his most esteemed novels.