Darwin's Audubon
Gerald Weissmann on the Art of Science
Reported by John Haberposted Jul 22, 2004
Darwin's Audubon: Science and the Liberal Imagination
Gerald Weissmann
Perseus, Cambridge, MA, 1998. 352 pages.
Read an excerpt of the book: Chapter 1
Editor's Note: "It seems appropriate that Audubon's tombstone in upper Manhattan was paid for and erected by the New York Academy of Sciences." It seems appropriate, too, for Gerald Weissmann to begin his "New and Selected Essays" with the meeting of Charles Darwin and John James Audubon.
In "Darwin's Audubon," the title essay in his latest collection, Weissmann traces more than just the personal and intellectual connections between a British biologist and an American artist (pictured above). He places Darwin's theoretical achievement fully within the rich intellectual currents of his time, including the arts, philosophy, and science.
As Weissman writes, many of his essays "advance the argument that scientific reasoning, like Enlightenment thought itself, has a strong aesthetic component, that science has as much to do with form as with function." He captures Darwin as a divinity student and Gertrude Stein's abandoned medical training, not to mention the more successful scientific careers of Oliver Wendell Holmes and William Carlos Williams. He follows the intricate narrative from W. H. Auden to the liposome and Henri Daumier to the deer tick.
Recent biographies have shown how Audubon arranged his compositions, even departing from life to bring out typical species behavior. In effect, they have seen Audubon as an artist and a student of phenotype. However, Weissmann"and Darwin"were there first.
Chapter 1. Darwin's Audubon
by Gerald Weissman
© 1998, Gerald Weissman
In assessing Audubon, whose firm grip on the popular imagination has scarcely lessened since 1826, we must as historians of science seriously ask who would remember him if he had not been an artist of great imagination and flair. . . . The chances seem to be very good that had he not been an artist, he would be an unlikely candidate for a dictionary of scientific biography, if remembered to science at all.
" Robert M. Mengel, Dictionary of
Scientific Biography (1970)
That pretty much describes how John James Audubon (1785-1851) is regarded as a scientist today. His name is missing from indexes of modem textbooks of ornithology, and our most eloquent natural scientist, Stephen Jay Gould, invokes Audubon only as a limner of "The Flamingo's Smile." Yet whatever honor is due Audubon as an artist of great flair and imagination"Winslow Homer regarded him the greatest of our water colorists"he was recognized by the most eminent of his contemporaries as their equal in natural science. But, alas, nowadays Audubon is honored more as a fan of the wild, a protoecologist, than as either the artist or the naturalist he considered himself. Leaving the art to others, I want to reassess whether Audubon should be "remembered to science at all" as his biographer suspects. By the standards of the day, he didn't do so badly. It was not for his art, but for his science that he was elected to all the learned societies; he became a Fellow of the Royal Society of London in 1830. Audubon shares that FRS with only one antebellum American, Benjamin Franklin"and with Newton and Boyle and the Darwins of the home team. His science as well as his art convinced the great Cuvier to introduce Audubon at the French Academy of Sciences in 1828, "The greatest monument yet erected by Art to Nature" said the Baron of the Birds of America. It seems appropriate that Audubon's tombstone in upper Manhattan was paid for and erected by the New York Academy of Sciences rather than its National Academy of Design.
Balance of chapter 1:
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