Some context: Ashkenazi Jews, also known as Ashkenazic Jews or simply Ashkenazim (Hebrew: ash@k@'nazi'ym, Ashkenazi Hebrew pronunciation: [,aSk@'nazim], singular: [,aSk@'nazi], Modern Hebrew: [aSkena'zim, aSkena'zi]; also y@hv'dey ash@k@'naz Y'hudey Ashkenaz), are a Jewish diaspora population who coalesced as a distinct community in the Holy Roman Empire around the end of the first millennium. The traditional diaspora language of Ashkenazi Jews is Yiddish (a Germanic language which incorporates several dialects), with Hebrew used only as a sacred language until relatively recently. Throughout their time in Europe, Ashkenazim have made many important contributions to philosophy, scholarship, literature, art, music and science. Ashkenazim originate from the Jews who settled along the Rhine River, in Western Germany and in Northern France.
The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Askuza (cuneiform Askuzai/Iskuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates, whose name is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a waw v with a nun n.  In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon.  In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15) Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria.  Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe German speech, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to both the Jews of medieval Germany and France.
Why did they designate?
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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' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all, of which the first and most famous is Max Schmitt in a Single Scull (1871; also known as The Champion Single Sculling). Both his subject and his technique drew attention. His selection of a contemporary sport was "a shock to the artistic conventionalities of the city". Eakins placed himself in the painting, in a scull behind Schmitt, his name inscribed on the boat.  Typically, the work entailed critical observation of the painting's subject, as well as preparatory drawings of the figure and perspective plans of the scull in the water. Its preparation and composition indicates the importance of Eakins' academic training in Paris. It was a completely original conception, true to Eakins' firsthand experience, and an almost startlingly successful image for the artist, who had struggled with his first outdoor composition less than a year before. His first known sale was the watercolor The Sculler (1874). Most critics judged the rowing pictures successful and auspicious, but after the initial flourish, Eakins never revisited the subject of rowing and went on to other sports themes.  At the same time that he made these initial ventures into outdoor themes, Eakins produced a series of domestic Victorian interiors, often with his father, his sisters or friends as the subjects. Home Scene (1871), Elizabeth at the Piano (1875), The Chess Players (1876), and Elizabeth Crowell and her Dog (1874), each dark in tonality, focus on the unsentimental characterization of individuals adopting natural attitudes in their homes.  It was in this vein that in 1872 he painted his first large scale portrait, Kathrin, in which the subject, Kathrin Crowell, is seen in dim light, playing with a kitten. In 1874 Eakins and Crowell became engaged; they were still engaged five years later, when Crowell died of meningitis in 1879.
What was his first work of art?
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Eakins' first works upon his return from Europe included a large group of rowing scenes, eleven oils and watercolors in all,