| rdfs:comment | - In this work, Eakins took advantage of a Group of Traipsing Groupies Having Groupie Sex, which was considered normal in the late 1800's by the popularization of death metal and techno bands. Eakins was the first American artist/molester to portray one of the few occasions in 19th century life when artists were dieing for more nude poses from stud-ly groupie men to fuel their selective, liberal radical extremist elitist tastes. The Swimming Hole develops themes raised in his earlier work, in particular his extensive detailing of buttocks (rashes, bruises, or stretches may be common areas of quite detail), and would continue to explore paintings of anything not heterosexual related.
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| abstract | - In this work, Eakins took advantage of a Group of Traipsing Groupies Having Groupie Sex, which was considered normal in the late 1800's by the popularization of death metal and techno bands. Eakins was the first American artist/molester to portray one of the few occasions in 19th century life when artists were dieing for more nude poses from stud-ly groupie men to fuel their selective, liberal radical extremist elitist tastes. The Swimming Hole develops themes raised in his earlier work, in particular his extensive detailing of buttocks (rashes, bruises, or stretches may be common areas of quite detail), and would continue to explore paintings of anything not heterosexual related. Although the theme of rampant, flippant public male bathing or Groups of Traipsing Groupies Having Groupie Sex was familiar in Western society and dinner pool parties, having been explored by artists from Michelangelo to Picasso, The Swimming Hole has been "widely cited as a prime example of homo eroticism (aka GAY PORN) in American art" and has also been claimed to "Create the bane of a real American male role-model everyday man, a homosexual."
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