The Concise Oxford Dictionary of Art and Artists (154 page)

(French: ‘flayed’). A representation of a figure without the skin, displaying the muscles. Drawings, prints, and statues of such figures, both human and animal (horses were particularly popular), were much used in art teaching from the 16th cent.
Stubbs's
écorché
figures of animals are well known and
Houdon
made a celebrated human
écorché
statue (Schlossmuseum, Gotha, 1767).

 
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(1854–1905).
Finnish painter, who with
Gallen-Kallela
ranks as his country's leading artist in the 19th cent. He trained in Antwerp and then in Paris, where under the influence of his friend
Bastien-Lepage
he took up
plein-air
naturalism. His paintings gave a fresh interpretation of Finnish country life and he sometimes set biblical scenes in the Finnish landscape (
Christ and Mary Magadlene
, Atheneum, Helsinki, 1890). Much of his later work was on themes from Finnish history, a type of patriotic work that was relevant to Russia's growing oppression of his country. Edelfelt was also an outstanding book illustrator and portraitist.

 
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Eddy , Don
.

See
SUPERREALISM
.

 
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(1640–1707).
Flemish engraver, active mainly in Paris. He was the son-in-law of
Nanteuil
and like him was celebrated as a portrait engraver. His prints after the Old Masters are also highly distinguished, the best known being that of
Rubens's
copy of
Leonardo's
Battle of Anghiari
.

 
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(1621–74).
Dutch painter, born and active in Amsterdam. He was a pupil of
Rembrandt
and, according to
Houbraken
, his ‘great friend’. His religious paintings were deeply influenced by Rembrandt;
St Peter Healing the Lame
(M. H. De Young Memorial Mus., San Francisco, 1667), for example, shows how well he understood the broad touch and warm colours of the master's mature works. Eeckhout's
genre
scenes, on the other hand, are close to
Terborch
in style (
The Music Lesson
, Statens Museum for Kunst, Copenhagen, 1655). He was also a successful portraitist.

 
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(1816–63).
English painter. He painted historical, anecdotal, and literary themes (he was a friend of Dickens and a talented actor), and under the influence of the
Pre-Raphaelites
he also turned to overtly moralizing subjects. The most famous of these is the series of three pictures
Past and Present
(Tate, London, 1858), which melodramatically illustrates the dire consequences of adultery.

 
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