Some context: Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Did Eakins ever attend the University of Pennsylvania in Philadelphia?
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Some context: Mohammed Hussein redirects here; for the Muslim cleric, see Muhammad Ahmad Hussein. Babrak Karmal (Dari/Pashto: bbrkh khrml, born Sultan Hussein; 6 January 1929 - 1 or 3 December 1996) was an Afghan politician who was installed as president of Afghanistan by the Soviet Union when they invaded in 1979. Karmal was born in Kamari and educated at Kabul University.
Imprisoned from 1953 to 1956, Karmal befriended fellow inmate Mir Akbar Khyber, who introduced Karmal to Marxism. Karmal changed his name from Sultan Hussein to Babrak Karmal, which means "Comrade of the Workers'" in Pashtun, to disassociate himself from his bourgeois background. When he was released from prison, he continued his activities in the student union, and began to promote Marxism. Karmal spent the rest of the 1950s and the early 1960s becoming involved with Marxist organizations, of which there were at least four in Afghanistan at the time; two of the four were established by Karmal. When the 1964 Afghan Provisional Constitution, which legalised the establishment of new political entities, was introduced several prominent Marxists agreed to establish a communist political party. The People's Democratic Party of Afghanistan (PDPA, the Communist Party) was established in January 1965 in Nur Muhammad Taraki's home. Factionalism within the PDPA quickly became a problem; the party split into the Khalq led by Taraki alongside Hafizullah Amin, and the Parcham led by Karmal. During the 1965 parliamentary election Karmal was one of four PDPA members elected to the lower house of parliament; the three others were Anahita Ratebzad, Nur Ahmed Nur and Fezanul Haq Fezan. No Khalqists were elected; however, Amin was 50 votes short of being elected. The Parchamite victory may be explained by the simple fact that Karmal could contribute financially to the PDPA electoral campaign. Karmal became a leading figure within the student movement in the 1960s, electing Mohammad Hashim Maiwandwal as Prime Minister after a student demonstration (called for by Karmal) concluded with three deaths under the former leadership. In 1967, the PDPA unofficially split into two formal parties, one Khalqist and one Parchamist. The dissolution of the PDPA was initiated by the closing down of the Khalqist newspaper, Khalq. Karmal criticised the Khalq for being too communist, and believed that its leadership should have hidden its Marxist orientation instead of promoting it. According to the official version of events, the majority of the PDPA Central Committee rejected Karmal's criticism. The vote was a close one, and it is reported that Taraki expanded the Central Committee to win the vote; this plan resulted in eight of the new members becoming politically unaligned with and one switching to the Parchamite side. Karmal and half the PDPA Central Committee left the PDPA to establish a Parchamite-led PDPA. Officially the split was caused by ideological differences, but the party may have divided between the different leadership styles and plans of Taraki versus Karmal. Taraki wanted to model the party after Leninist norms while Karmal wanted to establish a democratic front. Other differences were socioeconomic. The majority of Khalqists came from rural areas; hence they were poorer, and were of Pashtun origin. The Parchamites were urban, richer, and spoke Dari more often than not. The Khalqists accused the Parchamites of having a connection with the monarchy, and because of it, referred to the Parchamite PDPA as the "Royal Communist Party". Both Karmal and Amin retained their seats in the lower house of parliament in the 1969 parliamentary election.
Which new political entities did it legalize?
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several prominent Marxists agreed to establish a communist political party. The People's Democratic Party of Afghanistan (