Latest news with #Eakins
USA Today
a day ago
- Sport
- USA Today
Brooklyn Nets jersey history No. 22 - Jim Eakins (1976)
The Brooklyn Nets have 52 jersey numbers worn by over 600 different players over the course of their history since the franchise was founded in 1967 as a charter member of the American Basketball Association (ABA), when the team was known as the "New Jersey Americans". Since then, that league has been absorbed by the NBA with the team that would later become the New York Nets and New Jersey Nets before settling on the name by which they are known today, bringing their rich player and jersey history with them to the league of today. To commemorate the players who played for the Nets over the decades wearing those 52 different jersey numbers, Nets Wire is covering the entire history of the franchise's jersey numbers and the players who sported them since the founding of the team. The 23rd of those 52 different numbers is jersey No. 22, which has has had a total of 31 players wear the number in the history of the team. The 10th of those players wearing No. 22 played in the (then) New York (now, Brooklyn) Nets era, big man alum Jim Eakins. After ending his college career at BYU, Eakins was picked up with the 57th overall selection of the 1968 NBA Draft by the (then) San Francisco (now, Golden State) Warriors. The Sacramento, California native instead signed with the ABA's (defunct) Oakland Oaks. He also played for the (also defunct) Washington Caps/(yes, also defunct) Virginia Squires, (yep, defunct) Utah Stars, and squires again before he was dealt to New York in 1976. His stay with the team would span just 36 games before he would move to the NBA and then be dealt to the (then) Kansas City (now, Sacramento) Kings that same year. During his time suiting up for the Nets, Eakins wore only jersey No. 22 and put up 6.2 points and 3.5 rebounds per game. All stats and data courtesy of Basketball Reference.
Washington Post
22-05-2025
- Entertainment
- Washington Post
Hours before JFK's death, Jackie's quiet moment with a painting
Great Works, In Focus • #193 Hours before JFK's death, Jackie's quiet moment with a painting Thomas Eakins's 'Swimming,' an acclaimed and scandalous picture, was displayed in the first lady's hotel bedroom in November 1963. Expand the image Click to zoom in Column by Sebastian Smee May 22, 2025 at 11:10 a.m. EDT 5 minutes ago 4 min The night before her husband's assassination, Jackie Kennedy slept under this painting. 'Swimming,' by Thomas Eakins, had been lent to the hotel in Fort Worth where President John F. Kennedy and the first lady were staying. The painting was part of a private exhibition, intended only for the presidential couple. The display was hastily assembled by a group of Texans who, wanting to welcome them, borrowed art from local collections, both public and private. Story continues below advertisement Advertisement The Kennedys had separate bedrooms in a three-room suite on the eighth floor at the Hotel Texas. The shared area was decorated with paintings and sculptures by Claude Monet, Pablo Picasso and Franz Kline, among others. One bedroom, intended for the president, was decorated with pictures in what the organizers considered a more 'masculine' vein. It included Eakins's 'Swimming,' a painting of Native Americans on horseback in a snowstorm by Charles Marion Russell and one of a sombrero by Marsden Hartley. The other bedroom was adorned with supposedly more 'feminine' artworks by Raoul Dufy, Maurice Prendergast and Vincent van Gogh. But the tired couple came in at midnight and switched rooms, not knowing how they had been decorated — or with what intention. When, in the morning, she registered this touching act of Texan hospitality, Jackie Kennedy made a personal phone call to Ruth Carter Stevenson, who had overseen the suite's decoration. (Stevenson was the daughter of the Amon Carter Museum of American Art's namesake. She had recently realized her father's dream to create a museum for his collection.) The first lady didn't know, as she made the call, that her husband had just a few hours to live. She thanked Stevenson for giving her the great pleasure of sleeping under … well, a lot of buff naked men. Those may not have been her exact words, but she did thank Stevenson for the opportunity to sleep beneath one of Eakins's most acclaimed pictures. She didn't mention — if she knew at all — that it was also his most scandalous. You don't notice it at first, but there's a dog in the painting. You can see it in the liquid foreground, its snout in the air, its paddling body tinting the ripples reddish brown with its reflected fur. The dog's name was Harry — and its presence helps makes sense of the otherwise odd gesture of the man on the rock, whose twisting torso and overhead arm may be tossing something down to the hound or, with a click of the fingers, trying to get its attention. Following centuries of tradition, Eakins made the study of Greco-Roman sculpture central to his teaching at the Pennsylvania Academy of the Fine Arts, where he had studied himself and where, after several years in Paris, he returned to teach, eventually becoming its director. But Eakins hated affectation and artifice. So he banned the conventional practice of making studies from casts of ancient sculptures. He embraced photography and, in 1884, collaborated with Eadweard Muybridge, the great pioneer of stop-motion photography, on studies of humans and animals in motion. The experience clearly informed the sequential, almost comic-strip-like composition of 'Swimming.' Eakins associated nakedness with truth. Adamant that the ancient Greeks made their works directly from life, he engineered opportunities to paint naked bodies, encouraging his students to pose nude for one another. 'Swimming,' which is in the Amon Carter's collection, epitomized his approach. It has been described as Eakins's manifesto painting — an illustration of the kind of artist community he hoped to create, focused on life studies and nature. Story continues below advertisement Advertisement But the painting also got him in hot water. Its subjects were identifiable as his students. (Eakins himself appears as the figure swimming toward the dog at right.) Accounts emerged of Eakins pushing nude modeling on his students a little too aggressively and of exposing his bared pelvis to a female student when she sought his instruction. In 1886, he was forced to resign, ostensibly for removing the loincloth of a male model in a class where female students were present. Just under 80 years later, in a strange turn, a president's wife drifted into oblivion, after midnight, beneath six bare bodies, all catching the daylight.
