I was talking to a friend about paleoart a couple weeks ago. We were talking about how the first thing you absorb about something is generally what establishes your head canon and makes it hard to change. I realized that a good portion of mine came from two-page spreads in Zoobooks like this one:
There will not be any more information here than you can learn on Zdeněk Burian’s wikipedia page, but what I have done is compile as many of the loose plate copies from his works that they are selling on ebay and dropping them into a giant album of varying resolution. I have also ordered a couple of his books that haven’t been translated and was going to wait until the arrived to post, but they haven’t even shipped yet.
The conclusion of this painting’s 700 mile 20 year round trip is a fitting end to this series of my work and I feel like my summer projects have been finally completed.
A quick backstory on the painting’s subject in case you are catching up on this at the end: The cotylorhynchus is an early Permian synapsid that was first described by OU’s own J. Willis Stovall in 1937. The species name for the specimen found just north of Norman is Romeri for Alfred Romer (1894-1973), the founder and first president of the Society of Vertebrate Paleontology which now grants the Romer Prize to predoctoral students for work excellence of scientific value and oral presentation at SVP’s annual meeting.
Several days after visiting with Ralph’s great nephew, Bill, he called me to say he had found a small watercolor study for one of the old museum dioramas and a few charcoal studies that Ralph had done as a student and others that were originals submitted as accompanying illustrations for short stories.
I was finally able to go back with my camera and take better photos of the paintings as well as look at these new finds. Those “few” sketched turned out to be an enormous century-old portfolio filled with over 100 pieces of art that Ralph had done either for story illustrations, studies, or magazine cover layouts. I was in awe.
For me, History is filled with people and things. I have never really indulged in the movements and theories and isms that seem to infect the past presently. For a historian this is a professional character defect, for me it is what brings history alive and allows us to find our connections to it. It is likely why I spent so much time learning archaeology and paleontology. I believe it is ultimately what lead me to the history of science so I could talk about all of that at once.
When I first came to OU and was getting settled across campus with the few people I had some connection with I was shown around the Sam Noble Natural History Museum. On the second floor back in the hallway to the VP lab and collections there are these two enormous paintings (13.5 feet long by 3.5 feet high). After taking in the scale and content of these behemoths I immediately looked for the signature. “Ralph B. Shead ’42” and “Ralph B. Shead ’34 (or 39 it is obscured by the frame I believe it is 34).
Continuing with the Scooby Doo theme here I get to update one of the most exciting stories that has happened since my time here. You remember my last lament of the missing murals? Well guess what isn’t “missing” anymore!
This all started with a mammoth butt.
Some time back (2 years!) I began a project at our natural history museum to scan, digitize, archive, collect all of the images and negatives that were in our Vertebrate Paleontology collection. Thousands of images later a couple things really stand out: The importance of the WPA in the growth of out collections (see WPAleontology) and a couple of large paintings had disappeared since the late 30s and early 40s.
It is amazing what you can do with an extra half-day off. This is half of the emergent specializations set, the other being Anthropology and Paleoanthropology. In this case it covers the development of paleontology from natural philosophy, through the interested gentleman scholar/statesman/parson through to its full professionalization in the beginning of the 20th century. There is no delineation of what comes from which book this week as they mostly say the same things, they only structure the order somewhat differently or go into farther in one life or another.
Let’s start as our early geologists have: In the Beginning…The books I have reabsorbed here do not concern themselves with the birth og geology per se, but it is useful to frame what happens first before jumping into what happens next. Gentleman naturalists. Men of means with an insatiable curiosity (usually) rivaled only by their families purse are the progenitors of our “geologists.” The irony of this is the amount of time these drawing room men would spend in the field, on the coast, in early stages of canal building, mud pits, mines, caves and
Some of the earliest cross class relationships develop between the collector with a cabinet of curiosity and a working class man in the field or, more often, a mine or quarry. Nothing less than answering the broadest questions about the earth’s history is their duty and charge. Their approaches reveal much about their backgrounds. Catastrophists and Neptunist are the camps that Early Modern practitioners tended to raise their flags. At the most broad level they were earth’s historians looking at the vast petrified pages of the archive preserved in the countryside.
Steno lays down the sediment in order, all flat and uniformly, then converts to catholicism and moves to northern Europe letting the rest of Europe fight it out. William Smith (a working canal-man) notices that the layers can be matched with an order of fossil shells, and producing a “map that changes the world.”
Paleontology, and in this case vertebrate paleontology goes one farther to answer questions about enormous bones that are obviously not just natural stone shapes mimicking living organisms. On the American side of things, which is where I am situated–geographically, socially, and intellectually–the bones were reported by European colonists very early. Some, such as mammoth teeth, were identified by African slaves as elephant. Others were less easily identified, but neither were exactly easy to explain.
Thomas Jefferson was fashioning a bulwark against Buffon’s accusations of New World degeneration with American (vertebrate) paleontology. A giant (neé mega) claw from a cave is first described as a large American lion. TJ here is an interesting case with more involvement in the Enlightenment arguments of Europe than others of his day. John Adams was notoriously uninterested in giant bones as there were more important matters of state and nation at hand. Jefferson, like many deists of the time, could not fathom the idea of extinction. Nature was perfect and balanced and there most definitely were the American mammoths (actually mastodons) living in the vast expanses of the North American continent including the Louisiana Purchase.
The biggest question about any of these bones were “what are they?” Taken as a whole it was up to the anatomists of the day to make the distinction, and even they didn’t agree on what the similarities and differences meant. Richard Owen was of the Archetype mind which works on sort of a single blueprint with modifications for different animals idea. The reason that bats have the same bones in their wings as humans have in their hands and whales have in their fins is because they are all forms from the same archetype. Others were trying to work out a more encompassing theory and throughout the mid 19th century variations on this theme peg all along the spectrum as Darwin’s Origin ushers in a more compartmentalized theory. Is there a difference in an Archetype and a common ancestor? That depends on who you asked in the 1850s, which depended greatly on the answerers socio-economic class, political and religious affiliations, and to a great extent what the person they hated believed (see previous post).
Rudwick’s book looks at the visual aspect of not only Theories of the Earth but of the emergent descriptors of paleontology (just assume at this point when I write that I mean “vertebrate paleontology”). The illustrations themselves stem from the biblical tradition–namely putting everything possible into single image a la all those edenic scenes you are familiar with. That is almost still the case as you see a version of the Eocene with hundreds of creatures flittering about a waterhole that would never be there together if things were so green and lush. This may be practical in the case that you get as much mileage from your one or two illustrations or mural as you can, or it may be implicit nods to the biblical roots. I think it is more the former.
Publications came with illustrations too. Many, like those of Caspar Wistar, were done with an anatomist’s eye and an artists’ sensibilities. This standard was invaluable when new bones were discovered and needed to be identified. That Americans had to rely on European (mainly French and British) sources caused more than a little indignation. There was a good reason to market the American Mammoth (again mastodon) as a carnivorous giant and let the mega-claw (Megalonyx) lie after Wistar described it as a giant sloth and not a lion. This was part of nation building. I have been compiling notes on this idea of “Our Founding Fossils”™ and fossils as national identity for years now, but never enough to actually put anything together besides lists of names, dates, locations. This back and forth continued for most of the first half of the 19th century with oddities here and there trotted out by Owen or Cuvier in order to explain in support of one theory and, more often, an attack on another.
The second half of the century opens up the American West and the paleontology game entirely. Dinosaurs had already been discovered and described by the time the west was open. Mantell’s mighty megalosaurus and Leidy’s New Jersey hadrosaur aren’t as famous as the Dinosaurs of Crystal Palace but they are as old, and in some ways more important outside of the public display arena.
The bones that came to Philadelphia for Leidy to describe were far from a trickle, but the amount of prehistoric fossils that were shipped back east in the last two decades of the 19th century can hardly be fathomed. It is amongst this generational shift we see the terms of paleontology shift from collecting, naming, and describing that was so admirably done by Leidy, to a more theory driven undertaking.
Edward Cope and O.C. Marsh not only turn the tap on the firehose of fossil work up, the manage to knock the entire hydrant off the street corner and the geyser of their discoveries, animosities, and students fall out all over the discipline. That much has been said about the Bone Wars would be understatement. Much of that has been from the journalistic style or from paleontologists themselves. Historians of science have yet to really peel away the generational veneer to see what it means for American Science. That the fued spilled over into a younger generation and the Cope-Marsh battle regenerated, or at least continued, in the Hayden-Powell hostilities. When viewed together these become microcosms for the struggles between independent and government funded work. Marsh and Powell working for the USGS and Cope and Hayden working for themselves, the university, or smaller society. Whichever side you choose one of the most striking things is that when Cope was approached to prove what was his and what belonged to his backers his meticulous notes allowed him to maintain ownership of fossils collected with his own money. Marsh on the other hand faced government funding backlash over birds with teeth (which incidentally was paleontologically and evolutionarily more important than Archaeopteryx ) that the appropriations committee called for an audit. When Marsh, who saw the entire undertaking as his couldn’t adequately prove what was his and what belonged to the Peabody or the USGS, he lost most of his collection. (If your German is up to par you can enjoy this German musical of their feud)
As the 20th century dawned many of the Eastern Universities and any museum worth its salt had a collection of extinct animals. Funding was still an issue and expeditions had to be underwritten by weatlhy patrons, committees, or museum boards. The American Museum led the charge with Osborn (firmly #TeamCope) oversaw huge developments in paleontology while taking over the museum directorship and moving Columbia from College to University. His political connections and personal family wealth (railroad money) aided him in ways other directors and paleontologists could only dream. The Field Museum benefactor was tighter with the purse strings not only due to a less than rabid interest in bones, but a more logical concern of building places to house the reconstructions that had become so popular.
Carnegie financed his own expeditions and it paid off. With the discovery of a giant sauropod (diplodocus carnegii) Carnegie attempted to cash in on the popularity of the reconstructions and museums. Multiple casts of the diplodocus were sent to the main institutions in Europe to display in their main atria. With a dinosaur Carnegie tried to privatize world peace. It almost worked.
One of the reasons that the Cope and Marsh debacle is so well known outside the discipline is because the professionalization of their field occurred at the same time that the popularization of science was taking off. The Penny Press was well established by the time the Bone Wars heated up. Both men would have grown up with newspapers as staples of life. Cope had kept just as meticulous notes on Marsh’s calumnies and other errors (he had a folder labeled “Marshinalia”) Marsh notoriously would not allow his assistants to publish and was slow paying them. Many quit after Cope aired their grievances in the public press. What does this who episode reveal, is Marsh ye olde guard only threatened by Cope because he was evenly matched with family money or do the two reflect something else? Do they have to serve as avatars of larger social conditions in US science for their story to have meaning? Wither way, when the time was right Cope took his notes to the paper. The debate raged for weeks in the paper, each accusing the other of misdealing, misidentification, misdeeds, and missing the point.
For paleontology, anthropology, etc. popularization was part and parcel of professionalization. The only difference between H. F. Osborn and P.T. Barnum was Osborn was their approach to science as education versus entertainment. That, and Barnum’s penchant for humbugs which, I suppose, isn’t any worse than Osborn’s positive eugenics and anti-immigration stance in the 1920s. (more on this is a later post, but I want to foreshadow it now because I am feeling particularly clever making this connection in print). In fact, Barnum fits as neatly between Charles Wilson Peale and Osborn as Cope, and in many ways moreso. This also leads to the popular press adoring people like Osborn and his protege (and employee) Roy Chapman Andrews. Andrews’ popular books continue to influence children today because they are given as gifts from parents or grandparents as a continuation of that wonder and excitement they felt when reading it for the first time.
It should come as no surprise that this whole section is steeped in Romanticism. Many of the authors here talk about the dual nature of the paleontologist in the field vs the lab. They are the frontiersman in the badlands and the pinnacle of modern science back east. It is a timeshare in the greatest areas of American culture. What they don’t do, mainly because they don’t delve that far into it (except Rainger) is split the distinction once again between the paleontologist trained in geology and those trained biology. Most assume that geologically trained paleontologists are those that work with the invertebrates. This distinction is true but lacks totality. Modern distinctions, if they have a place here, are geologists in the field and biologist in the lab (comparative anatomy). This is a continuation of the professionalization that because somewhere between Leidy and Cope/Marsh.
The biggest boon to American paleontology (and geology more generally) is the size of the continent and Manifest Destiny that pushed the country across it entirely. Once railroads were established field work within ones own country offered many more acres than was available to the British, French, or Germans, even taken internationally. The geography also offered more in the way of diversity of species as well as geological phenomena. Even Lyell had to visit and suggested that to truly understand the history of the earth one had to visit the United States. American geology proffered a locality for nearly each one available in Europe and in some cases even more amazing finds, from giant six-horned mammals to Tyrannosaurus rex, triceratops, stegosaurs, and sauropod. The bones from the American West were incredible in size and importance. They could not, or weren’t found in Europe. To study them European paleontologists has to visit the United States museums and universities. American paleontologists were leading the whole of the discipline and were the experts par excellance in the prehistoric world. This was a complete turnaround from the arrangement that existing when Jefferson read his Mega-Claw paper at the American Philosophical Society.
In many ways this happened within Osborn’s lifetime (1857-1935). In fact, Osborn’s death in 1935 just missed the first rejuvenation of government funding of paleontological field expedition in the form of WPA projects overseen by universities with the federal government supplying pay for manpower.
Readings for this section:
Paul Brinkman, The Second Jurassic Dinosaur Rush: Museums and Paleontology in America at the Turn of the Twentieth Century
Claudine Cohen (trans William Rodarmor). The Fate of the Mammoth: Fossils, Myths, and History (University of Chicago Press, 2002) Specifically Chapter 5.
Desmond, Adrian. Archetypes and Ancestors: Paleontology in Victorian London, 1850- 1875 (U of Chicago Pr, 1995)
Url Lanham, The Bone Hunters: The Heroic Age of Paleontology in the American West
Ronald Rainger, An Agenda for Antiquity: Henry Fairfield Osborn and Vertebrate Paleontology at the American Museum of Natural History, 1890-1935
Rudwick, Martin. Scenes from Deep Time: Early Pictorial Representations of the Prehistoric World
Thomson, Keith. The Legacy of the Mastodon: The Golden Age of Fossils in America (Yale U Pr, 2008)
They exist, and the one I am going to tell you about here is positively amazing on both counts.
If you have been following along with my arc into the madness that is doctoral work you will remember me being greatly aided in sanity by getting back into comic books. Like all things I have tried to absorb everything that is going on in the world thereof and have started following many comic book artist and writers on twitter (Fun fact: many of them are super interactive on social media). They share rants and works in progress (WIP), sketches, updates, previews, and a host of other things.
Twitter is how I found out about the Science comics series. I can’t remember who retweeted some of the art from it (I tried finding it, but my twitter feed is almost as bad as my Facebook overload) and I started tracking it down.
I am trained in paleontology (Eocene, not dinosaurs specifically) and have since moved into the History of Science to study the history of field explorations centered around paleontological madness. I do this on several public fronts which means I get a lot if dinosaur stuff sent my way. I try to keep up with the news and share it through the Paleo Porch Facebook page as well.
I also run a traveling museum of sorts filled with replica dinosaur claws, mammoth teeth, scale skulls, etc. so I am constantly looking for ways to share this stuff with others. This is one of the first reasons I fell in I’ve with :01 First Second’s Dinosaurs Fossils and Feathers.
I ordered it as soon as I could, and since it is for repeated scientific research, sprang for the hardcover. When I started reading it, it got even better. Not only was the comics explaining dinosaurs it was explaining how we came to understand earth’s distant geological past. When I got to the folklore explanations I was settled on sharing it with everyone I knew that had kids. For adult versions see Adrienne Mayor’s Fossil Legends of the First Americans and The First Fossil Hunters: Dinosaurs, Mammoths, and Myth in Greek and Roman Times
Then, it got even better. For anyone with more than a passing interesting in the people that shaped what we have come to know as geology there are recognizable names: Smith, Buckland, Mantell, Owen, Cope, Marsh, etc. that form the mental Mount Rushmore of early Paleontology. Or at the very least the most famous (or infamous) accounts in the Bone Wars. They are all here, and they are all described and drawn beautifully.
Following the standards was great and it was looking good enough to suggest to some close colleagues as well, I was just waiting to see if the author (MK Reed) was going to fall prey to the age old Owen complex problem. I cannot tell you how delighted I was (and am) to say that she absolutely did not. In fact Reed blasts Owen for the self-absorbed force of will that he was. If I had to pick a single panel in this entire graphic novel to sum up how accurate the history of science is it would be this one:
because in reality Richard Owen was a butthead of the first order.
The writing is superb and clever and Joe Flood‘s art flows with it unimaginably well. Dinosaurs Fossils and Feather is filled with not only science but that science’s history as well, and not just the well known history either. Of course the double page spreads of Mary Anning in the Field, of the Crystal Palace, and Roy Chapman Andrews are all prints I wish I had in my office but they include an enormous swath of paleontologist rarely discussed outside hard science circles. Seriously, how many of you know the story about the Transylvanian paleobiologist Franz Nopcsa? Really, see? There you go, he is in this book, in comic form, which hides his tragic ending, but highlights his contributions to geology.
Alfred Wegener is here too! They could have chosen to talk about how he was mostly correct eventually and now we know how brilliant he was, but there is another personal favorite panel of mine included that shows why he was dismissed.
Really, how could a meteorologist (scientific, not TV forecaster by the way) dare think about the continents. Incidentally there is a much anticipated (by me and more than a few other historians of earth science) book about Wegener that is out this year too called Alfred Wegner: Science, Exploration and the Theory of Continental Drift that will be as close to a complete look at Wegener as we will likely ever see.
Get this book. Get it for yourself, get it for your kids, get it for your friends’ kids. The writing is brilliant, the art is stunning, the science is excellent, and the history is fantastic (not just for graphic novel standards but for history standards). If only it were at all possible to have full biographies of each of their included players done in this same tone and style.
I have highlighted only a few great things about this little book. There are many, many more. If I must be hard pressed to find something to complain about, or to point out as a shortcoming, I should choose to saw that I wish this book was a larger format so the pages and art would be larger.
I will end with a final snapshot merely because I have portraits of E.D. Cope and O.C. Marsh hanging in my study at home which would benefit from these more stately bone crests.
Turns out Hugh Hudson has a new film out that focuses on the discovery of the prehistoric cave paintings in Altamira. If you aren’t familiar with the discovery, the Cliff Notes version is an 8 year old girl named Maria led her father Marcelino Sanz de Sautuola to a cave which held amazing paleolithic paintings of bison among other wonders; scientific debates ensue.
The end of the 19th century was rife with debates on man’s place in nature as well as the entire story of mankind in general. The established French view was that prehistoric humans were incapable of such higher forms of thought required to create such things. Arguments about the past and the professional nature of the scientists and divided disciples were heated, marked, and many times personal. Paleoanthropology and other disciplines as we know them were in their
infancies fetal stages and battle for the authority to pontificate on humanity’s past was as much the prize as finding answers to the questions they were asking.
Having done a fair amount of research on the Piltdown Affair and its context within the debates that came to a head because of find like Altamira, I am especially intrigued. Adding to that is the fact that like so many other important discoveries in this period it was made by an amateur. That is to say it was reported by an amateur since it was originally discovered by a child.
The movie itself looks wonderful since it will have the debates and forces of will involved (including the Church). It also included the wonder that fills Maria as the bison from the cave come alive in her dreams and become a part of her.
As with most things in life I didn’t get to this from any direct route. I actually first heard of this film through a trailer for its soundtrack. As bizarre as soundtrack trailers sound the bits and pieces around it are where I can glean more of the story.
Mark Knopfler and Evelyn Glennie worked together to create the score for the film and it sounds incredible. It was on Mark’s official Facebook page that I first say the trailer to the soundtrack. Complete with the reimagined stylized version of the famous bison on the front.
The bison form Altamira are iconic and you may recognize them from the plethora of Bisonte cigarette ads/packs that are everywhere. (I say everywhere, that may only be the case if you are as interested in Spain as I am). If not everywhere then at least on cigarettespedia.com which is a more useful website than you may think, especially for someone who studies visual culture.
Getting to the heart of the film is difficult since all the available trailers are in Spanish since it was released there at the first of this month (April 2016). This isn’t because the film is in Spanish, but because of locality (I guess). So the trailers are dubbed into Spanish which just strikes me as odd, even if I am appreciative of the fact that was produced in English.
There are a few English clips that are part of the making of the soundtrack video below where I grabbed some of the above photos. As far as the cave itself goes, it remains closed to visitors since the damage it sustained from visitor’s breathing in the 1960s. The museum close by has a full replica included some sculptures of human faces that you couldn’t get to in the cave itself. There are also reproductions in Madrid, Germany, and most recently Japan. The Caves were up for reopening to the public a few years ago, but in an effort to preserve the site the decision was made to keep them closed. looking at a fake trope was still contentious in 2014.
The Cave was designated as a UNESCO World Heritage site in 1985 and they have a short video on it as well. Until it gets wider release this will have to suffice to piece together what is going on.
Update: Aug. 3, 2016 Full length English trailer finally hits youtube.