The renowned English social realist and portrait painter, Luke Fildes (rhymes with “childs”), created The Doctor in 1891 after Henry Tate commissioned a painting from him for his new museum, the Tate Britain. The subject of the painting was Fildes’ choice. Despite a poor reception among art critics when it was first exhibited, the painting quickly became iconic as the physician ideal. Over its 133-year history, the painting has been used for a variety of purposes, including inspiration, education, propaganda, and politics. During that time, the ways in which the painting represents the physician ideal changed. We talk about these aspects of the painting with Hannah Darvin from Queen’s University in Kingston, Ontario, Canada. She has conducted extensive research into the painting and its creator.

Links
Image of The Doctor from the Tate Britain Museum.
About Hannah Darvin at Queen’s University.
Hannah Darvin’s description of her research for the Harvey Cushing/John Hay Whitney Medical Library at Yale University.
John Brewer Eberly’s diptych rendering a modern version of The Doctor in which computer technology is interjected between doctor and patient. 

Feature image from Wikicommon

Cold Eye, Warm Heart: Medicine and Anton Chekhov  

Jack Coulehan Aug 6, 2025

A moving portrait of Anton Chekhov, whose dual life as physician and writer reveals the deep interplay between healing and storytelling.

We explore two paintings, each rendering one of two different perspectives on tuberculosis (TB). We first take a close look at Alice Neel’s 1940 painting, T.B. Harlem, and focus on how it depicts the suffering and destruction TB caused, and reveals some of the social determinants of TB at the time. We then examine Thomas Lawrence’s 1794 painting, Portrait of Catherine Rebecca Grey, Lady Manners, and work through how it conveys the convergence of TB clinical manifestations with beauty ideals at the time.

Links:
Here are the links for the paintings we discuss:
T.B. Harlem, Alice Neel, 1940, oil on canvas
Portrait of Catherine Rebecca Grey, Lady Manners, Thomas Lawrence (1794), oil on canvas
The Sick Child, Edvard Munch, 1907, oil on canvas 

Background sources:
JAMA issue featuring cover with Alice Neel painting, T.B. Harlem, and William Barclay commentary.
Russell Teagarden’s According to the Arts blog piece on T.B. Harlem.
Hoban P. Alice Neel: The Art of Not Sitting Pretty. New York, St. Martin’s Press, 2010. Day, C. Consumptive Chic. London, Bloomsbury Visual Art; 2017, 189 pages.
Russell Teagarden’s According to the Arts blog piece on Carolyn Day’s book, Consumptive Chic.
Day C, Rauser A. Thomas Lawrence’s Consumptive Chic: Reinterpreting Lady Manners’s Hectic Flush in 1794, Eighteenth-Century Studies, vol. 49, no. 4 (2016) pp. 455–74. (Not open access)
Russell Teagarden’s According to the Arts blog pieces on The Sick Child, and on Munch’s approach to his painting, and podcast episode with Øystein Ustvedt, curator and Munch expert on Munch’s paintings rendering illness, suffering, and grief.
Here’s an image representative of the 1990s fashion trend known as “Heroin Chic” that we referred to during the podcast.

The Clinic & The Person is a podcast developed by our editor Russell Teagarden to summon or quicken the attention of health care professionals, their educators, researchers and others to the interests and plights of people with specific health problems aided through knowledge and perspectives the humanities provide.

Feature image by Bia W. A.