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"My drawings were first made entirely in
watercolors."
Not watercolors in the sense we are accustomed to, as Audubon's
watercolors used mixed-media, such as papers, adhesives, glazes, pastels, graphite, oil
paint, egg white, gouache, chalk and more.
The watercolors were
Audubon's preparatory studies
for the subsequent
Birds
of America. These watercolors were often painted by Audubon 'on the spot' in the
field.
Audubon's watercolors depicted for the
first time, life-size, all known species of North American birds in
characteristic poses. Each painting presented a drama in the life of
the subject, and Audubon succeeded in surpassing what he viewed as the
stilted and constrained efforts of previous naturalists. Their works
were, in his words, 'stiff.' Audubon's images live to this very day.
"As I wandered, mostly bent on the
study of birds, and with a wish to represent all of those found in our woods, to the best
of my powers, I gradually became acquainted with their forms and habits, and the use of my
wires was improved by constant practice." John James Audubon
After acquiring specimens, Audubon inserted wires in freshly
killed birds to simulate lifelike postures. These models were then positioned in
front of a grid background, so as to draw them accurately to scale.
Not easily satisfied with his drawings, Audubon often wrote notes on
the drawing itself so that the engravers and colorists who were to follow would enhance
his work.
Doubtless, considering the working conditions in the field, lack of
modern optical equipment, and his being self-taught, the producing of these watercolors
represents a monumental achievement.
The watercolors
themselves were never reproduced
as such by Audubon, as they were a
means to the end, a preparatory step to the final goal of producing and publishing prints
from engravings based on the watercolors. In fact,
many of the watercolors were never completed, with only enough composed so
as to transfer their images to the copperplates utilized by Havell, his
London engraver.
It is truly amazing that the vast majority of the original
watercolors, are still in existence. Audubon's widow, Lucy Bakewell Audubon, sold
them in 1863 to the New-York Historical Society. We suggest you take the time to see
these priceless works of America's most famous artist/naturalist.
* Although there are 435 etchings in the completed Birds of
America, these were produced from 433 watercolors. Two of the 433 were each the
basis for two etchings. Two are also missing, thus the collection of original
watercolors in the New-York Historical Society today totals 431.
Further, more detailed information regarding the
original watercolors.
Having a substantial number of watercolors now ready
for engraving, Audubon traveled to Philadelphia, then the center of publishing in the
young United States. However, he was unable to find a publisher, willing to produce
his works, and thus brought his art abroad to England. He first contracted
with a William Lizars of Edinburgh. After completing only ten etchings, Lizars'
colorists went on strike, and Audubon was forced to find another publisher. This
would be Robert Havell, Jr. of London, whose etchings were considered superior to those of
Lizars. Today, these double elephant prints are often referred to as 'Havells', or
'Havell, after J.J. Audubon'.
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