Birds of America commanded significant attention due to its theatrical portrayal of avian species that had never before graced the eyes of the public. Pictured: a striking representation of a raven from Birds of America, masterfully crafted by John James Audubon.
Image courtesy of the National Museums Scotland
John James Audubon, the visionary artist and naturalist behind the iconic Audubon’s Birds of America collection, profoundly transformed the naturalist movement while casting a spotlight on the richness of American wildlife. His contributions paved the way for future generations of ornithologists and artists alike.
Nevertheless, it’s important to recognize that Audubon wasn’t without his flaws.
Audubon possessed a surprising knack for marketing, ingeniously promoting his works to a captivated audience.
Currently, the St. Petersburg Museum of Fine Arts is showcasing a temporary exhibit featuring 46 oversized originals from Audubon’s Birds of America. This exhibit runs through mid-February and showcases Audubon’s alluring yet complex narrative. The full collection consists of 435 works, yet the St. Pete selection is part of a touring exhibition originating from the National Museums Scotland.
Though the exhibit dazzles with beautiful, naturalistic bird paintings, the history wrapped around this masterpiece is tinged with significant human darkness. Many of these vividly colored birds are now extinct, but they were considered agricultural nuisances during Audubon’s time, often found plaguing farms near Carolina towns. Work depicting Carolina parakeets from Birds of America, by John James Audubon.
Image courtesy of the National Museums Scotland.
An American Beginning
Though Birds of America inspired the formation of the American National Audubon Society, it’s worth noting that Audubon himself came from tumultuous beginnings. He was the illegitimate child of a French sea captain and a servant, born in Haiti.
“We think of him as this American institution, this American icon, and he is, but he has a much more complicated background than you might guess,” remarked MFA curator Stanton Thomas.
Audubon’s identity evolved over time; his name changed multiple times to help him assimilate into American society. Following the conventional course of early American life, Audubon’s father set him up in a lead mining venture that ultimately failed in spectacular fashion.
As a contingency, Audubon’s father arranged for him to work as a merchant in a Louisville store. He encountered Alexander Wilson in 1810, who was then promoting his own collection of birds.
“I can do better than that,” Audubon might have thought as he assessed Wilson’s efforts.
Editor’s note: There’s some speculation here about motives. But it makes sense that a young man might rather travel unexplored lands hunting and painting birds than stay at home gathering dust and his father’s favors. This information comes from MFA curator Stanton Thomas and other research.
The Birds and the Business
Years later, Audubon embarked on his journey with meager funds, a grand vision, and a rudimentary map of the Americas. His ambitious plan involved studying, capturing, and painting birds, hoping to market his findings and profit from what would evolve into Birds of America.
Audubon journeyed through regions such as Missouri, Louisiana, Texas, and the Florida Keys, in pursuit of species that remained largely unknown to most Americans at the time. Those in Washington, D.C. were likely unaware of what a roseate spoonbill even looked like.
The initial purchase price for Audubon’s Birds of America was set at $200, with the complete collection ultimately amounting to around $1,000 — an impressive sum that translates to approximately $30,000-$35,000 by today’s standards. Thomas estimates that around 200 subscribers originally signed on for the collection, though many were unable to complete their sets. Today, an estimated 120 complete subsets still exist.
Despite his lack of formal training in art or biology, Audubon achieved remarkable success in selling his creations.
Detail of a work depicting Carolina pigeons or turtle doves from Birds of America, by John James Audubon, on exhibit at the MFA in St. Pete through Feb. 16.
Image courtesy of National Museums Scotland.
Feathered Friend or Foe?
Art enthusiasts laud Audubon’s works for their dynamic and dramatic flair. In contrast to the flat, two-dimensional representations prevalent during his time (the MFA exhibit showcases examples, including a portrayal of a roseate spoonbill by John Latham), Audubon infused life and vigor into his depictions.
His artistic approach often depicted birds engaging in visceral scenes—tearing apart flesh, battling, or frantically caring for their confused chicks—imbuing a sense of kinetic energy to his art.
His oeuvre can indeed be classified as the Baroque period of avian artistry. This was no mere coincidence; Audubon immersed himself in the study of birds by living among them, subsequently killing approximately 200 of each species to comprehensively capture all variations and genders. He ensured freshness in his studies by pinning the birds’ bodies immediately after killing them, thus preventing the stiffness that typically accompanied time.
“One criticism of Audubon was that his birds had too much personality to be scientifically accurate,” remarked Thomas.
While Audubon primarily killed the birds he studied, it is important to acknowledge his ownership of at least nine enslaved Black individuals, from whom he never offered freedom. His white supremacist views are well-documented, and he frequently employed enslaved individuals to capture smaller birds that were difficult to hunt without causing harm to the subjects.
Audubon observed a distinct market preference for larger, more dramatic avian representations. The smaller varieties, it turned out, didn’t perform as well commercially.
In pursuit of capturing consumer interest, he occasionally resorted to fabricating birds.
Birds of a Feather, Faked Together
Centrally displayed within the MFA exhibit is Audubon’s infamous “Bird of Washington,” an imposing bird of prey that, intriguingly, does not actually exist. He conceived this creature under the presumption that wealthy individuals in Washington would desire such an exotic specimen.
Despite his ethically questionable practices, Audubon made invaluable contributions to the historical record, preserving the likenesses of numerous now-extinct birds, including the Carolina parakeet, Labrador duck, passenger pigeon, pinnated grouse, and the great auk.
Notably, North America’s only parrot species, the Carolina parakeet, serves as cover art for the exhibit. Additionally, the MFA showcases a taxidermied replica affectionately known as “Frankie.”
Why You Should See It
Audubon not only revolutionized the field of naturalism but adeptly monetized it.
While the darker shades of his legacy persist, the avian subjects of his works remain stunning and lifelike, including the imagined creatures. This exhibit serves as a powerful reminder of both the beauty and resilience of nature, alongside the crucial need to respect and protect it.
Although the artwork is nearly two centuries old, one can still feel the vibrant personalities of these creatures and imagine the awe that their first viewers must have experienced through Audubon’s artistic lens.
Ultimately, Audubon won’t benefit from today’s ticket sales—he’s as deceased as the birds he brought to life on canvas.
See Audubon’s Work at the MFA St. Pete
Audubon’s Birds of America Museum of Fine Arts, St. Pete [255 Beach Dr. NE, St. Petersburg] runs through February 16, 2025. Tickets are available online at mfastpete.org.
**Interview with Stanton Thomas, Curator at the Museum of Fine Arts, St. Petersburg**
**Editor:** Thank you for joining me today, Stanton. Your recent focus on John James Audubon’s work has shed light on an important chapter in art and natural history. Let’s start with the significance of *Birds of America*. Why do you think this collection continues to captivate audiences over a century later?
**Stanton Thomas:** Thank you for having me! *Birds of America* is a fascinating collection because it is not just a record of avian species; it tells a complex story about nature, artistry, and the human condition. Audubon brought these birds to life through his unique, dynamic style, which was revolutionary for its time. People are drawn to the beauty and drama of these images, which often depict vital scenes from nature—this combination of artistry and naturalism is a big part of its allure.
**Editor:** Indeed. Audubon was not only skilled as an artist but also adept at marketing his work. Can you elaborate on how he positioned himself and his art within the public sphere?
**Stanton Thomas:** Audubon had a remarkable talent for promotion. He recognized a burgeoning interest in American wildlife and capitalized on it. By engaging with subscribers directly and presenting his work in a theatrical manner, he managed to make ornithology accessible and appealing to a broad audience. His travels and the stories he shared about discovering new species created an air of adventure and excitement.
**Editor:** Yet, while his work is celebrated, it’s important to acknowledge its darker aspects, such as Audubon’s views on race and his use of enslaved individuals. How do you think this complexity affects our understanding of his legacy today?
**Stanton Thomas:** That’s a crucial point. Audubon’s legacy is multifaceted and cannot be separated from the context of his time and his personal beliefs. Acknowledging the full story, including his troubling views and practices, enriches our understanding of him as both an artist and a person. Audubon’s achievements in ornithology are significant, but they were achieved within a societal framework that was exploitative in nature. It’s vital that we examine both the beauty of his work and the ethical implications surrounding it.
**Editor:** The current exhibit features oversized originals from *Birds of America*. What can visitors expect to see, and why is this selection particularly noteworthy?
**Stanton Thomas:** Visitors will be treated to 46 stunning oversized works, showcasing Audubon’s unparalleled artistic skills. This selection highlights the intricate details and vibrant colors that are often lost in smaller reproductions. It’s a rare opportunity to appreciate his technique up close and to engage with the narratives of the species he depicted. Importantly, this exhibit links back to the broader discussions around conservation, loss, and the impact of human actions on wildlife—conversations that are still very much relevant today.
**Editor:** what do you hope visitors take away from experiencing this exhibit?
**Stanton Thomas:** I hope they leave with a deeper appreciation for the interplay between art and nature, as well as a critical understanding of history. Audubon’s work is visually stunning but also a starting point for discussing the complexities of our past and the ongoing challenges in conservation today. Understanding the dualities in his life and work can inspire more thoughtful engagement with our environment and our history.
**Editor:** Thank you, Stanton, for your insightful reflections. It is clear that Audubon’s legacy is as rich and intricate as the birds he so masterfully portrayed.
