The painting that made Thomas Eakins famous is Čeznovo mesto (1875); it hangs in the Philadelphia Museum of Art, Filadelfija. Swimming (1885) and Max Schmitt v enoti skovi (1871) follow it in the hearts of collectors and museum visitors. Of the 346 works by Thomas Eakins in our catalogue, these 100 are the most admired, each presented with its date, its museum and what sets it apart.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated oktober 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
Thomas Eakins’ “The Gross Clinic,” completed in 1875, stands as an enduring testament to the power of realism within American art history. More than just a depiction of surgical practice, it's a profound meditation on human vulnerability and scientific advancement—a juxtaposition that continues to resonate with audiences today.
Thomas Eakins' "Swimming," painted in 1884, isn’t merely a depiction of men enjoying a summer afternoon by the water; it’s a meticulously constructed study of human form, motion, and the subtle tensions simmering beneath the surface of American society. This oil on canvas, currently residing within the Amon Carter Museum of American Art in Fort Worth, Texas, is a pivotal work that encapsulates Eakins' revolutionary approach to art – one…
Thomas Cowperthwait Eakins' 'Max Schmitt in a Single Scull' is more than just a depiction of a rowing race; it’s a masterful study of human movement, light, and the quiet drama of everyday life. Painted in 1871, this iconic work exemplifies Eakins’s commitment to realism, a style that sought to capture reality without idealization – a radical departure from prevailing artistic trends.
To stand before Thomas Eakins’s Portrait of Samuel Murray is not merely to observe a likeness; it is to engage in an intimate confrontation with the spirit of late nineteenth-century America. This oil on canvas, dating from 1889, stands as a monumental testament to the power and conviction of Realism. Eakins, whose career was marked by an almost scientific dedication to truth, eschewed the romantic veneer that often cloaked portraiture.…
The oil sketch for The Gross Clinic is a work by the American artist Thomas Eakins. Created in 1875, this piece serves as a preparatory study for a larger composition. The subject of the work is Dr. Samuel Gross of Jefferson Medical College. The scene depicts a medical team performing bone surgery on a young man.
To gaze upon Thomas Eakins' "The Dancing Lesson" is to step through a veil into a moment suspended in time—a breath held between notes of music and laughter. This captivating watercolor, executed in 1878, transcends the mere depiction of an event; it captures the very essence of human connection. The scene unfolds with an almost palpable warmth, inviting the viewer into a private gathering where generations interact through the universal…
Thomas Eakins’ “John Biglin in a Single Scull,” painted in 1873, is more than just a depiction of an oarsman at work; it’s a meticulously crafted meditation on observation, human physicality, and the burgeoning spirit of realism within American art. This watercolor masterpiece, born from Eakins' deep engagement with the everyday lives of Philadelphia’s elite – doctors, sportsmen, and laborers – offers a rare glimpse into a moment of intense…
To stand before this depiction of Jefferson Medical College is to step directly into the earnest, rigorous atmosphere of late nineteenth-century American intellectual life. The scene unfolds with an almost documentary precision, capturing not just a moment in time, but the very process of learning itself. We see a gathering—a cohort of men, perhaps students or young practitioners—assembled within what appears to be a lecture hall or clinic space. At…
To gaze upon Thomas Eakins's The Pair Oared Shell is to be invited into a moment suspended between exertion and profound tranquility. Painted in 1872, this work transcends a mere depiction of sport; it captures the very essence of shared human endeavor set against the backdrop of natural permanence. The scene unfolds on calm water, where two figures propel a long canoe, their synchronized effort forming a visual rhythm that…
To stand before Elizabeth Crowell with a Dog is to step directly into the nuanced, richly observed world of late nineteenth-century Philadelphia. Thomas Eakins, the master chronicler of American realism, has gifted us more than just a portrait; he offers an intimate tableau vivant. The scene unfolds with remarkable quietude: Elizabeth Crowell, clad in striking red, kneels gracefully beside her canine companion. Her posture speaks of deep connection, her hand…
To stand before Thomas Eakins's Portrait of Mrs. Helen Mac Knight (Portrait of a Mother) is to encounter not merely a likeness, but a profound meditation on the…
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In the quiet, profound depths of Thomas Eakins’ Portrait of Walt Whitman, we encounter more than just a likeness; we witness a monumental collision of two American icons.…
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Thomas Eakins’ “Swimming,” painted in 1884, isn't merely a depiction of men enjoying a summer day; it’s a profound exploration of the human form, movement, and the burgeoning…
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The Unflinching Gaze of American Realism To stand before Thomas Eakins' Portrait of Frank Hamilton Cushing is to encounter not merely a likeness, but a profound study in…
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In the quiet, damp expanses of the New Jersey marshes near the Delaware River, a profound drama of human endurance unfolds within Thomas Eakins’s 1874 masterpiece, Pushing for…
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In the hushed atmosphere of a Philadelphia parlor, time seems to decelerate within the frame of Thomas Eakins’s 1876 masterpiece, The Chess Players. This intimate oil on wood…
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To stand before Thomas Eakins’s Portrait of Mary Adeline Williams is not merely to observe a likeness; it is to engage in an intimate dialogue with the past.…
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Thomas Eakins's "William Rush Carving His Allegorical Figure of the Schuylkill River" isn’t merely a depiction of an artist at work; it’s a meticulously crafted window into 19th-century…
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Thomas Eakins: A Pioneer of Anatomical Realism Thomas Cowperthwait Eakins (1844–1916) stands as a monumental figure in American art—a painter of unflinching realism who dedicated his life to…
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Thomas Eakins’s “Home Ranch,” painted in 1892 and now residing within the Philadelphia Museum of Art, isn't a grand historical tableau or a dramatic portrait; instead, it offers…
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The Weight of Shadow A single light source strikes from the upper left, carving the face of J. Harry Lewis out of a heavy, dark void. The man…
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In this 1904 oil portrait, we are invited into a quiet, shadowed space to meet Joseph R. Woodwell. He is presented in a three-quarter profile, his body angled…
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The room falls silent as she turns her gaze toward the left, her eyes a clear, steady blue that seems to hold a lifetime of unspoken thoughts. She…
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The light catches the soft, white texture of a well-groomed goatee, pulling the viewer's gaze toward the face of Joshua Ballinger Lippincott. He sits in a moment of…
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In this 1895 oil on canvas, an older gentleman is seated in a large, plush armchair. The chair is a deep red, featuring a soft, velvet-like texture and…
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Thomas Eakins' "The Courtship," painted in 1878, is more than just a portrait; it’s a meticulously observed study of human connection—a quiet tableau brimming with unspoken emotions and…
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A Study in Shadow and Form Sketch for Portrait of Mother Patricia Waldron emerges as a raw, preparatory exploration of character. The composition centers on an elderly woman…
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The painting The Oarsmen by Thomas Eakins is a beautiful representation of two men rowing a boat on the water. Created in 1874, this oil on canvas piece…
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Arthur B. Frost emerges from the shadows in this 1886 oil on canvas, a work executed after Thomas Eakins. The subject sits in a bust-length view, his body…
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The portrait presents a three-quarter length view of Archbishop James Frederick Wood, seated in a posture of quiet authority. The composition relies on a dramatic chiaroscuro, where light…
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A formal, full-length portrait of Sophia Wells Royce Williams, captured in 1891. She is positioned centrally against a dark, atmospheric background, her presence defined by a sense of…
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The oil on canvas portrait, dated 1895, depicts Emily Tennison Magill, known as Mrs. Frank Hamilton Cushing. She is positioned in a three-quarter view, seated and facing toward…
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A solitary man sits anchored in a dimly lit room, his profile cutting a sharp silhouette against the heavy gloom. He leans toward a table, his body caught…
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The air in the room feels heavy, thick with the weight of a long career reaching its twilight. Dr. Agnew sits before us, a man of profound intellectual…
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The room falls away into a deep, indistinct darkness, leaving only the presence of a woman caught in a soft, directional light. She sits before us, her gaze…
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Retrospection is an oil painting created by the artist Thomas Eakins. The work was executed in 1880. This piece is rendered in oil on a surface of canvas…
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In this oil study, Thomas Eakins presents a quiet, introspective moment through the figure of a man. Titled Study of a Groom, the work emerged in the United…
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The oil on canvas portrait, dated 1897, presents a close-up view of a young girl, centered within the frame from the head to the shoulders. The subject is…
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The portrait presents a bust-length study of Professor William Woolsey Johnson, rendered with a focus on the psychological weight of the subject. Positioned slightly off-center, the man gazes…
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The portrait presents Archbishop James Frederick Wood in a moment of quiet, seated introspection. Positioned slightly off-center, the figure occupies a space defined by deep shadows and a…
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Step closer and observe the way the light settles upon the subject. In this 1890 oil on canvas, we find ourselves in the presence of a young person…
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In this intimate oil on canvas, we encounter The Bohemian (Portrait of Franklin Louis Schenck), a work executed by the American artist Thomas Eakins. Created in the United…
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In this 1886 oil on cardboard study, two figures sit within a dark, indeterminate space. The composition is vertically oriented, focusing on the interaction of light and shadow…
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In the Portrait of Blanche Hurlburt, Thomas Eakins presents a somber and intimate encounter with his subject. The woman is captured in a bust-length view, her profile turned…
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This oil sketch, created in 1892, presents a solitary female figure positioned slightly off-center against a dark, indistinct background. The composition is vertically oriented. The subject wears a…
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The room falls away into a deep, indistinct darkness, leaving only the presence of an elderly man emerging from the gloom. He sits in a quiet, contemplative stillness,…
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The portrait presents James MacAlister through a lens of somber realism. Captured in a three-quarter length view, the subject sits centrally against an indistinct, textured background that offers…
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The Portrait of Elizabeth L. Burton is a significant oil on canvas work by the American artist Thomas Eakins. Created between 1905 and 1906, this portrait captures a…
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A powerful, somber presence fills the space, defined by the heavy interplay of light and dark. The subject, a muscular male figure, is captured in profile, his upper…
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In 1879, Thomas Eakins turned his attention to a quiet, singular moment of domestic life. Old Lady Sewing presents us with an elderly woman absorbed in the rhythmic,…
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In this 1895 oil on canvas, a young woman is positioned in a bust-length view, oriented slightly off-center. She looks toward the right of the frame, her gaze…
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A single male figure emerges from a heavy, dark void, caught in a moment of quiet, somber presence. The air around him feels thick, as if the very…
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The Portrait of Dr. Edward J. Nolan is an oil on canvas work by the American artist Thomas Eakins. Created in the United States, this painting captures the…
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The scene unfolds through Sketch for Music (The Violinist), a work that captures a fleeting moment of musical intensity. Created in the United States, this piece emerges from…
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In the quiet corridors of the Philadelphia Museum of Art, there exists a window into the profound psychological landscape of the late nineteenth century. Thomas Eakins’s “Portrait of…
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The room feels quiet, held in a heavy, respectful stillness as Rear Admiral George Wallace Melville sits before us. He is an elderly man, his face etched with…
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The artwork is titled Portrait of Mrs. Fairman Rogers (Study for The Fairman Rogers Four-in-Hand). It was painted by the American artist Thomas Eakins in 1879. The subject…
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The painting titled Study of a Nude Man (The Strong Man) is an oil on canvas work by the artist Thomas Eakins. Created in the United States, this…
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This oil sketch presents a profile view of an elderly man, identified as Bertrand Gardel, an elderly French teacher. The subject is positioned toward the right side of…
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In this 1898 portrait, we encounter a man whose presence seems to emerge from the shadows of his own history. The subject, General E. Burd Grubb, is rendered…
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In this half-length portrait, we encounter Kern Dodge, a young man captured in a moment of profound stillness. He is positioned in profile, his gaze directed slightly toward…
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In this 1907 oil on canvas, the gaze of Miss Eleanor S. F. Pue meets the observer through the steady hand of Thomas Eakins. The portrait captures a…
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To stand before Thomas Eakins’s Portrait of Mary Adeline Williams is to enter into a silent, profound dialogue with the late nineteenth century. Completed in 1899, this masterpiece…
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Thomas Eakins’s “Elizabeth at the Piano” is more than a simple depiction of a woman playing an instrument; it's a meticulously crafted meditation on solitude, observation, and the…
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This oil study, dated 1885, presents a dense arrangement of animal forms, likely cattle or oxen, within a low-light environment. The composition lacks a singular focal point, instead…
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Sketch for Portrait of Monsignor James P. Turner is a painting by the American artist Thomas Eakins. Created about 1906, this work focuses on the figure of Monsignor…
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The oil sketch titled Billy Smith (Sketch for Between Rounds) is a work by the American artist Thomas Eakins. This study captures a moment of heavy stillness, focusing…
Order a reproduction →The four subjects that return most often among these masterpieces, with the finest example of each.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Thomas Eakins | Paintings from this list |
|---|---|---|---|
 Philadelphia Museum of Art |
Filadelfija | 82 | Čeznovo mesto, Sketch for The Gross Clinic, The Pair Oared Shell |
 Metropolitanski muzej umetnosti |
New York | 18 | Max Schmitt v enoti skovi, The gross clinic jefferson medical college of th, Pushing for Rail |
 Yale University Art Gallery |
New Haven | 11 | John Biglin in a Single Scull, Archbishop James Frederick Wood (1813-1883), Dr. Agnew (Dr. D. Hayes Agnew) (1818-1892) |
 Pennsylvania Academy of Fine Arts |
Philadelphia | 16 | Fifty Years Ago (Young Girl Meditating): Study, Spinning: Sketch, Charles Edmund Dana |
 National Gallery of Art |
Washington | 11 | Annie C. Lochrey Husson (Mrs. Louis Husson), The Biglin Brothers Racing |
 Fine Arts Museums of San Francisco |
San Francisco | 4 | The Courtship, Professor William Woolsey Johnson |
 Crystal Bridges Museum of American Art |
Bentonville | 4 | Archbishop James Frederick Wood, The Model |
 Art Institute of Chicago |
Chicago | 3 | Riter Fitzgerald, Portrait of Mary Adeline Williams |
A powerful, somber presence fills the space, defined by the heavy interplay of light and dark. The subject, a muscular male figure, is captured in profile, his upper…
Thomas Eakins’ “The Gross Clinic,” completed in 1875, stands as an enduring testament to the power of realism within American art history. More than just a depiction of…
Thomas Eakins' "Swimming," painted in 1884, isn’t merely a depiction of men enjoying a summer afternoon by the water; it’s a meticulously constructed study of human form, motion,…
The Unflinching Gaze of American Realism To stand before Thomas Eakins' Portrait of Frank Hamilton Cushing is to encounter not merely a likeness, but a profound study in…
To stand before Thomas Eakins's Portrait of Mrs. Helen Mac Knight (Portrait of a Mother) is to encounter not merely a likeness, but a profound meditation on the…
Čeznovo mesto (1875), Philadelphia Museum of Art, Filadelfija. Next come Swimming (1885) and Max Schmitt v enoti skovi (1871).
31 years old: Čeznovo mesto dates from 1875 and Thomas Eakins was born in 1844.
Čeznovo mesto, Swimming, Max Schmitt v enoti skovi, Portrait of Samuel Murray, Sketch for The Gross Clinic, The Dancing Lesson, John Biglin in a Single Scull, The gross clinic jefferson medical college of th, The Pair Oared Shell and Elizabeth Crowell with a Dog. The ranking above gives the year and the museum of each.
Our catalogue lists 346 works by Thomas Eakins, dated from 1869 to 1908.
Most of them are in Philadelphia Museum of Art (Filadelfija), Metropolitanski muzej umetnosti (New York) and Yale University Art Gallery (New Haven). The table above lists the museums one by one.
In 1890s: 29 of the 100 works on this page date from then, among them Portrait of Frank Hamilton Cushing.
The earliest on this page is Study of a Nude Man (The Strong Man) (1869), the latest The Model (1908).
Portrait (27), Man (26) and Woman (16), among the 100 works on this page.
Oil On Canvas: 49 of the 100 works on this page.
Realism and Contemporary realism, as the paintings on this page show.
Čeznovo mesto, Sketch for The Gross Clinic and The Pair Oared Shell are among the 38 works on this page held by the Philadelphia Museum of Art, Filadelfija.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
Rodjen v Philadelphiji, v Pennsylvaniji, 25. julija 1844, je Thomas Eakins preživeli življenje, ki je bilo globoko zakoreninjeno v mestu njegove rojstne dežele. Bil je človek štetnih disciplin, ki je delal kot slikar, fotograf, kipar in pedagog likovnih umetnosti. Čeprav so ga njegovi zanimaje pogosto vodili v tujino na študij, je geografsko središče njegovega obstoja ostalo v Philadelphiji. Premikali se je skozi intelektualne in družbene krogove mesta, pri tem pa neustavno opazoval ljudi in fizične realnosti, ki so oblikovale lokalno okolje.
Njegovo profesionalno življenje je zaznamalo neomajna zaveza k opazovalnemu in oprijemljivemu. Ne glede na to, ali je zajemal podobnost z oljami ali dokumentiral trenutek skozi objektiv fotoaparata, je njegova izpostavljenost ostala usmerjena v strukturno resnico njegovih subjektov. Ta predanost dejanjam pred idealizacijo ga je pogosto postavljala v nasprotje z prevladujočimi občutki njegovega časa. Bil je človek intenzivnega prepričanja, lastnost, ki je oblikovala tako njegovo umetniško delo kot tudi njegov položaj v akademski skupnosti. Umrl je v Philadelphiji 25. junija 1916.
Thomas Eakins, rojen v Philadelphiji, je bil oblikovan v domačem okolju, ki ga je zaznamovala neomajna natančnost. Njegov oče, Benjamin Eakins, je delal kot mojster pisarstva in kaligraf, poklic, ki je zahteval disciplinirano roko in izrazito oko za podrobnosti. Ta zgodnja izpostavljenost mehaniki oblike in čline je postavila tiho, a trdno podlago za mladeniča, ki bo kasneje s znanstveno rigoroznostjo skušal razumeti človeško strukturo. Njegova izobrazba se je resno začela v Pennsylvania Academy of the Fine Arts, kjer je bil vpisan od leta 1862 do 1866. Prav tu se je njegov zanimanje za fizično realnost telesa začelo ukorenjevati, ko se je prestopil od preprostega skiciranja k globšemu raziskovanju anatomije.
Ta anatomsko radovednost ga je vodila v predavanja na Jefferson Medical College. Namesto da bi ostal zaprt v studio, je Thomas Eakins iskal klinično resnico človeškega skeleta in se udeleževal anatomskih predavanj, da bi spoznal temeljno mehaniko mišic in kosti. To stičišče umetnosti in znanosti bo postalo ključna značilnost njegovega umetniškega pristopa. Leta 1866 je zapustil Philadelphijo in odšel v Pariz, da bi nadaljeval svoje študije. Čas v Franciji je preživel z absorbiranjem tehničnega znanja svojega obdobja ter z izpopolnjevanjem metode opazovanja, ki je predlagala neposredno izkušnjo pred romantiziranimi ideali. Ta obdobje usposabljanja je utrdilo njegovo predanost slogu, ki je bil globoko zakorenjen v oprijemljivi, neizkrivljeni resnici njegovih subjektov.
Thomas Eakins je tradicijo ameriškega realizma 19. stoletja popeljal na vrh vrhunskih dosežkov. Njegov umetniški pristop je bil opredeljen z neomajno zavezanostjo anatomični natančnosti in globokim psihološkim vpogledom. Ni se zadovoljal z zgolj zajemanjem podobnosti; njegov cilj je bil razumevanje globokih struktur človeške oblike. Ta znanstvena radovedlnost ga je vodila v raziskovanje mehanike gibanja in kompleksnosti človeškega telesa, pri čemer je pogosto črpal iz svojega globokega zanimanja za anatomijo. Njegovi subjekti so bili pogosto prikazani v središču fizičnega napora, bodisi skozi disciplinirani ritam veslenja ali skozi osredotočeno intenzivnost medicinskega prakse.
Njegovi interesi so bili široki, njihove teme pa so se pogosto odrazile na platnu skozi prikaze glasbe, skulpture in športov na prostem. Bil je inovator pri uporabi fotografije, ki je kot praktičnega orodja je uporabljal za izboljšanje svojih umetniških namenov in doseganje večje natančnosti pri prikazovanju gibanja. Ta integracija nove tehnologije s tradicionalnim slikarstvom mu je omogočila opazovanje sveta z jasnostjo, ki ni bila običajna med njegovimi sodobniki. Osredotočil se je na oprijemljivo realnost svojih subjektov, pri čemer je predaljšeno trdo delo dejanske izkušnje vedno predlagal idealiziranim ali romantiziranim verzijam življenja.
Eakinsova čopiča je pogosto iskala stičišče med fizičnim naporom in tiho kontemplacijo. Leta 1871 je ustvaril Max Schmitt in a Single Scull, delo, ki zajema ritmično izolacijo veslača. Slikat odraža njegovo fascinacijo nad gibanjem in samotno koncentracijo, ki jo zahteva ta šport. Njegov zanimanje za človeško obliko se je razširilo tudi v področje zgodovinske alegorije, kar vidimo v delu William Rush and His Model (1877). To platno je uporabilo ženski akt za raziskovanje zgodovinskega subjekta, hkrati pa je izzvalo družbene konvencije njegovega časa.
Tenzija med znanstvenim opazovanjem in človeško ranljivostjo je morda najbolj opazna v sliki The Gross Clinic (1875). To delo predstavlja råst, neomilnosten pogled na kirurško operacijo, ki poudarja intenzivno koncentracijo vpletenih medicinskih strokovnjakov. Zaradi svoje neposrednosti ostaja eno njegovih najbolj omažanih in diskutiranih platn.
Pozneje, leta 1887, je svojo pozornost usmeril v literarnega giganta svojega obdobja z portretom Portrait of Walt Whitman. Ta študija pesnika se odmakne od kliničnega pristopa in se usmerja v bolj psihološko interpretacijo človeškega značaja, ki zajema izločenost in značilne črt življenja, vodenga z intelektualno rigoroznostjo.
Eakinsovo vplivno delo se ni omejevalo le na osamljenost njegovega studia, temveč je segalo daleč v učilnice, kjer je naslednja generacija ameriških umetnikov iskala svojo umetniško pot. Leta 1879 je prevzel položaj profesorja risanja in slikarstva na Pennsylvanski akademiji likovnih umetnosti. Njegova prisotnost na tej instituciji je bila transformativna, saj jo je spremenila v vodilno središče za umetniške študije. Thomas Eakins ni poučeval zgolj tehnike; zahteval je strogo, skoraj klinično razumevanje človeške oblike. Ta neomajna zaveza k anatomski resnici ga je pogosto postavljala v nasprotje s socialnimi in akademskimi normami tistega obdobja.
Njegov pedagoški vpliv se ni končal v Philadelphiji. Svoje metode je delil v Art Students League v Philadelphiji in na National Academy of Design v New Yorku. Vendar pa je njegovo vztrajstvo pri uporabi popolnoma naga moških modelov za lažše razumevanje muskulature in gibanja vzbudilo globoko kontroverzo. Te nekonvencionalne metode so na koncu privabile do nesporov s kolegi in njegove iztornitve iz Drexel Institute v Philadelphiji. Kljub teh profesionalnim nazadnjanjem in socialni izolaciji, ki je občasno sledila, je njegova predanost umetnosti, ki temelji na znanstvenem pristopu, ostala neomena.
Težo Eakinsovega prispevka k ameriškemu umetniškemu kanonu odmerja njegova neomilna in neomrečna zaveza človeški obliki. Široko je priznan kot eden najpomembnejših ameriških umetnikov, človek, katerega predanost mehaniki življenja je ga pogosto postavljala v nasprotje z občutki in normami njegove dobe. Njegov vpliv se je razširil dlje od platna in v širšo kulturno zavest; posebej je bilo opazno, da je njegovo del postal del slikarskih tekmovanj na letnjih olimpijskih igrah leta 1932.
Njegova prisotnost v Philadelphiji ostaja fizično zakorenjena v zgodovini mesta. Hiša, ki jo je zasojal v severni Philadelphiji – gradnja, ki je bila priča njegove celotni življenjski predanosti umetnosti – je bila leta 1965 označena za nacionalni zgodovinski spomenik. To priznanje je bilo dopolnjeno leta 1966, ko je bila stavba vpisana tudi v Nacionalni register zgodovinskih mest. Te oznake zagotavljajo, da prostor, kjer je študiral anatomijo in razvijal svojo edinstveno vizijo, ostaja trajni del ameriške dediščine.
Fizična prisotnost Eakinsove vizije je razpršena po več večjih institucijah, ki so prvenstveno koncentrirane na ameriškem severozahodu. V Philadelphiji Philadelphia Museum of Art ohranja pomembno zbirko njegovih slik, ki ohranja vizualni zapis mesta, ki je oblikovalo njegovo perspektivo. Njegovo del najdemo tudi v New Yorku, kjer Metropolitan Museum of Art hrani več njegovih platn, vključno s študijami giba in značaja. Tudi Brooklyn Museum v svoji stalni predstavitvi vključuje njegove naslikane slike.
Poleg urbanih središč na vzhodnem beležju je njegov vpliv ohranjen tudi v akademskih okoljih. Yale University Art Gallery v Hartfordu hrani dela, ki odražajo njegovo predanost anatomski natančnosti in raziskovanju človeške oblike. Te zbirke omogočajo neposreden stik s preciznostjo njegovih poteb in njegovim zanimanjem za mehaniko telesa. Obiskati njegova dela v živo pomeni srečati neposrednost njegovega opazovanja.
