A SCHOLARLY BOOK REPOSITORY
The American naturalist John James Audubon (1785–1851) is widely remembered for his iconic paintings of American birdlife. But as this anthology makes clear, Audubon was also a brilliant writer—and his keen gaze took in far more than creatures of the sky. Culled from his published and unpublished writings, Audubon at Sea explores Audubon’s diverse observations of the ocean, the coast, and their human and animal inhabitants. With Audubon expert Christoph Irmscher and scholar of the sea Richard J. King as our guides, we set sail from the humid expanses of the American South to the shores of England and the chilly landscapes of the Canadian North. We learn not only about the diversity of sea life Audubon documented—birds, sharks, fish, and whales—but also about life aboard ship, travel in early America, Audubon’s work habits, and the origins of beloved paintings. As we face an unfathomable loss of seabirds today, Audubon’s warnings about the fragility of birdlife in his time are prescient and newly relevant.
Charting the course of Audubon’s life and work, from his birth in Haiti to his death in New York City, Irmscher and King’s sweeping introduction and carefully drawn commentary confront the challenges Audubon’s legacy poses for us today, including his participation in American slavery and the thousands of birds he killed for his art. Rounded out by hundreds of historical and ornithological notes and beautiful illustrations, and with a foreword by distinguished photographer and conservationist Subhankar Banerjee, Audubon at Sea is the most comprehensively annotated collection of Audubon’s work ever published.
Issues of ecology--both as they appear in the works of nature writers and in the works of literary writers for whom place and the land are central issues--have long been of interest to literary critics, and have given rise over the last two decades to the now firmly established field of ecocriticism. The essays in this volume, written by art historians and literary critics, seek to bring the study of American art into the expanding discourse of ecocriticism.
A Keener Perception offers a series of case studies on topics ranging from John White's watercolors of the Carolina landscape executed during Sir Walter Raleigh's 1585 Roanoke expedition to photographs by environmental activist Eliot Porter. Rather than merely resurrect past instances of ecologically attuned art, this volume features essays that resituate many canonical figures, such as Thomas Eakins, Aaron Douglas, and Thomas Cole, in an ecocritical light by which they have yet to be viewed. Studying such artists and artworks through an ecocritical lens not only provides a better understanding of these works and the American landscape, but also brings a new interpretive paradigm to the field of art history--a field that many of these critics believe would do well to embrace environmental concerns as a vital area of research.
In highlighting the work of scholars who bring ecological agendas to their study of American art, as well as providing models for literary scholars who might like to better incorporate the visual arts into their own scholarship and teaching, A Keener Perception is truly a landmark collection--timely, consequential, and controversial.
Early American naturalists assembled dazzling collections of native flora and fauna, from John Bartram’s botanical garden in Philadelphia and the artful display of animals in Charles Willson Peale’s museum to P. T. Barnum’s American Museum, infamously characterized by Henry James as “halls of humbug.” Yet physical collections were only one of the myriad ways that these naturalists captured, catalogued, and commemorated America’s rich biodiversity. They also turned to writing and art, from John Edward Holbrook’s forays into the fascinating world of herpetology to John James Audubon’s masterful portraits of American birds.
In this groundbreaking, now classic book, Christoph Irmscher argues that early American natural historians developed a distinctly poetic sensibility that allowed them to imagine themselves as part of, and not apart from, their environment. He also demonstrates what happens to such inclusiveness in the hands of Harvard scientist-turned Amazonian explorer Louis Agassiz, whose racist pseudoscience appalled his student William James.
This expanded, full-color edition of The Poetics of Natural History features a preface and art from award-winning artist Rosamond Purcell and invites the reader to be fully immersed in an era when the boundaries between literature, art, and science became fluid.
The Poetics of Natural History is about the “daydreams” of early American naturalists (from 1730 to 1868) and the collections they created around these dreams. Christoph Irmscher explores how, through the acts of organizing physical artifacts and reflecting upon their collections through writings and images, naturalists from John Bartram to Louis Agassiz were making sense of themselves and their world. These collections allowed them, in a way, to collect themselves.
In the first part of his book, Irmscher offers us a guided tour of the actual collections, beginning in Bartram’s disorderly botanical garden in Philadelphia and taking us through the artful display of animals in Charles Wilson Peale’s collections and, finally, to the “halls of humbug” of P. T. Barnum’s American Museum. The second part of the book moves away from the collections, and explores natural history words and images. Irmscher unforgettably describes American collectors’ fascination and horror with the American rattlesnake, and invokes the violent and beautiful world of American birds as described in John James Audubon’s paintings and writings. His book ends with a description of Louis Agassiz’s 1865 expedition to Brazil as seen through the eyes of the young William James, who reluctantly gathered Brazilian fish while his mentor assembled “proof” that some human beings were less human than others.
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