Bird lovers and environmentalists around the world hold the name John James Audubon (1785-1851) in high esteem. Others find their admiration reduced by the knowledge that Audubon, like many influential figures in American history, also periodically bought and sold a small number of slaves.
In contrast to the legacies of some slave-owners who invested a lot of energy and resources into maintaining that “peculiar institution,” Audubon at least appears to have been more interested in his pursuits as an artist and naturalist. In this regard, his gifts to the world continue to prove valuable to descendants of those who lived in freedom and those who survived as slaves during his lifetime.
When we look at the treasured body of his work, including numerous paintings and drawings of birds found in America, it’s easy to see why Audubon is remembered in a mostly favorable light. His classic, The Birds of America , from Drawings Made In The United States And Their Territories, was published in 1838. The pages contained 435 hand-colored engravings of 1,065 birds from 489 species. He is, arguably, more celebrated today as a naturalist, ornithologist, and painter, than he is reviled as a slave-holder. That is particularly important for this creative and the art series subject of this post: Birds of a Bronzed Audubon Feather.
New Visual Interpretations
Because Audubon’s original works still stand well enough on their own, I wanted to create modern visual interpretations which pay tribute to his visionary artistry. The online “Birds of a Bronzed Audubon Feather” series posted at Fine Art America so far consists of the following 4 canvases:
A Strange Kind of Paradox
Many consider the artist and naturalist’s legacy exceptionally significant in our modern times as we battle against levels of environmental injustice and climate change he likely could never have imagined. Ironically, he disagreed with the choice to make the eagle America’s national emblem, or “standard,” because of what he described as the bird’s tendency to steal prey captured by other birds. Different varieties were plentiful in his lifetime but have gone on and off endangered species lists over the last few decades.
Any number of Americans thought the turkey a better candidate to serve as the country’s national symbol. Interestingly enough, given the presence of turkey’s on dinner tables during contemporary holiday observances, in some ways it has become the preferred national fowl.
Audubon’s sensitivity to the issue might strike some as a strange kind of paradox given his apparent lack of worries when it came to maintaining human livestock as investment properties. It must be admitted, however, that he was then, and is now, far from being alone in any perceived failure to reconcile ethical misbehavior with passionate creative pursuits.
Creator of Authentic Silk-Featherbrush Artstyle
Author of Dreams of the Immortal City Savannah
Co-author of Encyclopedia of the Harlem Renaissance
Regular readers of this blog may recall I previously stated my non-fiction book, Greeting Flannery O’Connor at the Back Door of My Mind, was only one part of a planned trilogy of creative works to address the layered complexities which make up the corpus of O’Connor’s celebrated writings. Major second and third parts of the trilogy, in the form of visual art and poetry, have just been published in the 2022 Flannery O’Connor Review (FLOCR, Vol. 20).
The review, edited by Marshall Bruce Gentry, is published by Georgia College in Milledgeville, Georgia (USA), where O’Connor lived and wrote most of her adult life. This new volume represents a double milestone for the publication which, as seen on the front cover, commemorates 20th and 50th anniversaries.
To purchase the 2022 review please click here.
The event is a particularly significant one for me not only because it delivers on the pledge to produce an unusual form of commentary on an iconic author’s writings and cultural influence. It also marks the first time my visual art has been on the cover of a major academic journal and a substantial selection of my images featured inside the publication. In addition, my poem History and Prophets’ Prerogatives, which until now has only been available in very limited broadside and art poster editions, has made its international debut in the same pages.
Contemporary award-winning American author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.