Fig. 1. The Whistling Boy by Frank Duveneck (1848–1919), 1872. Initialed and dated “FD [in monogram]. Munich. 1872” in monogram at lower left. Oil on canvas, 27 7/8 by 21 1/8 inches. Cincinnati Art Museum, Ohio, gift of the artist; all photographs courtesy of the Cincinnati Art Museum. Although it would be foolish to suggest that the influential and wildly productive Jean-Léon Gérôme is lost to history, it is safe to say that the great academician is perhaps less widely known today than his students Thomas Eakins and Mary Cassatt. And while it would be equally foolish to suggest that Frank Duveneck is but a footnote to his more recognizable students, such as John Henry Twachtman, the Kentucky-born artist is not the name he was in his day. Reviewing a 1972 show at Manhattan’s Chapellier Galleries, critic John Canaday described Duveneck as “a painter who promised to establish a major position in American art but stopped halfway through his career and settled for a minor one.” To be fair, Canaday also asserted, “His best paintings . . . can still bring you up short. . . . They have the air of quickly executed classroom demonstrations by a painter who in his studio might have rivaled Manet.”