黑料不打烊

While historical paintings have captured the essence of war history and diplomacy, the artist has taken on roles in other disciplines beyond the humanities. Botanical illustrators were vital to the progression of early studies in Biology and Evolution. One of the most notable of these figures was a woman named Maria Sibylla Merian. With a background in entomology, the study of insects, the German artist was the first to record her observations directly, and with vivid detail. Her own research was spread throughout various regions of Europe – from Frankfurt to Amsterdam.

Title page of The Caterpillars' Marvellous Transformation and Strange Floral Food Vol. I, 1679. Illustrated by Maria Sibylla Merian. Print on parchment. Courtesy of Wikimedia Commons.

Her initial interest was in silkworms, and various species of moths and butterflies. Her illustrations recorded the process of metamorphoses, including its various stages. While many reproductions of these paintings were produced in black and white, colored prints on vellum still exist within the British Museum’s collection today. Plate I of Caterpillars depicts the life of a silkworm on mulberry tree, where the leaves are its primary source of nutrients. There is an inherent delicate quality, purely based on how intimately close Merian was able to study these creatures. The plate even features the shell of a broken cocoon, eggs, and of course a moth whose wings are spread to reveal all sorts of patterns and shapes. A title page with the text Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung (The Caterpillars' Marvellous Transformation and Strange Floral Food) also demonstrated Merian’s skilled work in calligraphy and artistic composition as the page features various plants, budding berries, and smaller insects.

Plate I of The Caterpillars' Marvellous Transformation and Strange Floral Food Vol. I, 1679, depicting the life cycle of silkworms. Illustrated by Maria Sibylla Merian. Print on parchment. Courtesy of Wikimedia Commons.

This 1679 publication was the first of two parts published within Merian’s lifetime; both parts were published by her husband in Nuremberg, and each contained fifty engravings depicting the metamorphosis of various butterflies and moths.

She is quoted in Maria Merian’s Butterflies, writing: “From my youth onwards I have been concerned with the study of insects, in which I began with silk-worms in my native city, Frankfurt am Main; then I observed the far more beautiful butterflies and moths that developed from caterpillars other than silk-worms, which led me to collect all the caterpillars I could find in order to study their metamorphosis. I therefore withdrew from society and devoted myself to these investigations; at the same time, I wished to become proficient in the skill of painting in order to paint and describe them from the life.”

Regarding her husband, her personal life was complicated. She married Johann Graff, an apprentice of her stepfather Jacob Marell. These two men were greatly influential to Merian’s career as Marell was the first to encourage her work as an artist and naturalist. She had two children with Johann Graff – Johanna and Dorothea – but divorced him soon after the death of her mother in 1685. She did not remarry since; instead, her daughters became her companions throughout her studies, especially in her later life. Her daughter – Johanna Herolt – accompanied her to Suriname (then, named Surinam), a small country off the coast of South America. Its tropical climate was rich in biodiversity, and most definitely fascinated Merian, like many of the Dutch colonists of the time.

The first plate of Merian books on insects within the region, published in the early 18th century, was regarding cockroaches. The insects surrounded a pineapple, a fruit regarded highly in European society for its unique shape and flavor. According to the British Museum, Merian considered it to be “'the most outstanding of all the edible fruit.” She also notes how cockroaches disrupt day-to-day life on the island, especially when it comes to the destruction of woods and linens.

About her work in Suriname, Merian notes: “Now that I had returned to Holland and several nature-lovers had seen my drawings, they pressured me eagerly to have them printed. They were of the opinion that this was the first and most unusual work ever painted in America.”

As stated earlier, the scientist’s daughters followed in her footsteps, helping throughout the publication process and assisting with illustrations of their own. One instance of signed work, produced by Johanna Herolt is titled House mice, melons and nuts, which illustrate just that. The color and accuracy are most definitely inspired by her mother, but with a unique execution demonstrating rich texture and detail. Notably of course is her focus on mammals, rather than insects which was her mother’s specialty. Johanna’s life ended in Suriname with her husband, where she continued observing the wildlife of the tropical region until she passed.

House mice, melons and nuts, c. 1691-1700, illustrated by Johanna Herolt. Pigment on vellum. Courtesy of Wikimedia Commons.

Her younger sister, Dorothea Graff, was yet another skilled painter in her own right. Her own interests lie in the interactions between birds and serpents. These seem to be the most dynamic in terms of its storytelling, yet just as attentive in detail and biological accuracy. Both daughters’ works were published upon their return from Suriname and were presumably displayed alongside their mother’s works. They sustained the Merian name by publishing the third volume of butterflies and insects after their mother’s death. Dorothea’s later career was as a teacher at the Petrus Academy of Science.

Spectacled Caiman (Caiman crocodilus) and a False Coral Snake (Anilius scytale), c 1701-1705. Watercolor and gloss over etching print on parchment. Formerly attributed to Maria Sibylla Merian, now recognized as the work of Dorothea Maria Graff. Courtesy of Wikimedia Commons.

While the drawings are stunning to look at in their own right, Maria Sibylla Merian is a pioneer beyond artistry. Her contributions to the world of science still inspired the works of others. Being the first European to travel to South America as an independent explorer, she inspired many other women in the 19th century to do the same. This was a huge stride for women’s representation in the natural sciences, especially during a time when women’s rights were still a heated subject of debate. Her dedication to educating her daughters was also a huge accomplishment, as this work expanded her own legacy beyond her lifetime. All three of these women were extremely dedicated to their craft, and the joys of nature. Overall, the Merian House was invaluable to the craft of botanical illustration. The name can actually be found in the naming conventions of insects such as: the split-banded owlet butterfly (Opsiphanes cassina merianae), the Cuban sphinx moth (Erinnyis merianae) and the Orchid bee (Eulaema meriana). Collections of various prints can be found in the British Museum and the National Museum of Women in the Arts in Washington D.C.

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