Print 3 (detail)

And spring things bring people who collect them –naturalists and artists such as Maria Sibylla Merian (1647-1717), the first to hitch entomology to fine art and to make a living doing so. Her interests were not limited to European species; she spent two years stalking the insects of Surinam, a colony the Dutch had acquired from the English in exchange for Manhattan about thirty years earlier. She devoted an equal amount of attention to giant flying roaches as to seemlier species, but there is no question that she had a special passion for caterpillars.

Print 7

Merian’s interest in metamorphosis led her to develop a new form of composition. She would depict a single species at each distinct phase simultaneously. She arranged these in a composition on and around the plant that formed its principal food source. In the image on the left several saw-fly specimens pose on a tulip. The caterpillar sits atop a gooseberry at the bottom center, while the adult fly prepares to land on a petal at the top right. In between on a stem and leaf are the pupa and larva. As Ella Reitsma, curator of a recent exhibit, observes about Merian’s work, “In the details the drawing is realistic; as a whole it is anything but. The beautifully balanced composition conjures up a seeming realism, for the successive stages in the development of an insect can never be found together!  Tricks have been played with time and place” (15)

Print 7 (detail)

Print 46

Despite such innovation, Merian’s work languished for a long time under the misnomer “minor art.’ It has only recently come into its own, with exhibitions in Los Angeles and Amsterdam, and a digital exhibit hosted by The Dumbarton Oaks Research Library Rare Book Collection. She is even the subject of a children’s book. Ingrid Rowland notes her “crystalline accuracy, ” “incomparable precision,” and the “electric intensity” of her color. She asserts, “there is no question that she was an artist. Her disquieting view of life in all its forms has carefully, cleverly shaped every one of the images that seem, so deceptively, to present intimate, dispassionate snapshots of reality.”

Pervading her works is a healthy Aristotelian sense that something must be known in all its variousness. Working alongside this cognitive disposition and perhaps encouraging it was a habit that she shared with many contemporaries: collecting. Her life-like compositions conceal the artificial taxonomizing and categorizing that lie behind them, making it appear as if she had discovered, rather than created the scene depicted.

These are qualities that Peter the Great evidently appreciated; he was an avid collector of her work, much of which remains in the Russian Academy of Sciences in St. Petersburg. In 1974  The Leningrad Watercolours is a facsimile edition featuring fifty of the works housed there. It is a large-format edition limited to 1750 copies.  Several prints from the collection  are available to view in our reading room. The entire collection collection (RARE QH31 .M4516 .A34 1974) is also available to consult.

Select Bibliography

Reitsma, Ella, Maria Sibylla Merian and Daughters: Women of Art and Science. Amsterdam : Rembrandt House Museum, 2008.

Rowland, Ingrid. “The Flowering Genius of Maria Sibylla Merian.” New York Review of Books. April 9, 2009.

Todd, Kim. Chrysalis: Maria Sibylla Merian and the Secrets of Metamorphosis. Orlando: Harcourt, 2007.

The Unemployed (click to enlarge)

Our McCutcheon comic collection contains original pen-and-ink drawings that date from 1903 to 1944, many of which were published in the Chicago Tribune. While he covered a range of issues of the day, McCutcheon’s wit and biting satire shined in his depiction of economic hardships.

"1913 Bread Line: He Kept Us out of Work" (click to enlarge)

Figure 1 and Figure 2, from 1913 and 1916, both show the depression and struggle of being unemployed. McCutcheon demonstrates his mastery over the medium by using merely a few darker lines to show how isolated and alone his unemployed man is, compared to the happy and joyful families walking down the street.

We’ve seen a roller coaster ride in the stock market recently, but nothing compares to the Crash of 1929, which led to a decade-long Great Depression. Our last cartoons, Figures 3 and 4, show two instances of men who lost it all on Wall Street, and wonder if they’ll ever get it back. Little do they, or McCutcheon know – the worst economic downturn in history is only beginning.

The Bursting of the Stock Bubble (click to enlarge)

John McCutcheon’s comics captured the mood of the day, and sometimes it’s surprising how much relevance 100-year old sketches can have to our own time. His entire collection of over 300 cartoons and drawings is available to all patrons.

The Sun of Prosperity... (click to enlarge)

If, as the popular saying goes, a picture is worth a thousand words, then pictures and words together form an even more powerful tool for communication, expression, and storytelling than either would alone.

The materials in this exhibition are from the Rare Book Collection and the Comic Art Collection. In each, artists and writers have used sequential art to construct narratives that are complex, subtle, sophisticated, and powerful. Rather than presenting an evolutionary history of visual storytelling, these selections allow us to situate woodcuts, engravings, comic strips, and graphic novels in a long tradition of word- and image-making, in order to consider the roles of image and narrative in our culture.

Beyond Words will be on view in the Ellis Library Colonnade May 3-31, 2013.