
Margaret Honda: Transfer Pictures
March 25 – May 22, 2004
ViewMarch 25 – May 22, 2004
Ocean Flowers: Impressions from Nature traced the role of drawing and botany in the development of early photography in the mid-nineteenth century. Focusing on a period of tremendous advances in graphic media, the exhibition featured over 300 beautiful natural history illustrations of the Victorian era and showed a fertile exchange among graphic media, including: drawings, "nature prints" (direct imprints from plants), hand-colored prints, mounted specimens, and "photogenic drawings" (photographs made without a camera).
In mid-nineteenth-century England and Scotland, the advent of photography generated as much creative fervor as digital media had in recent years, but rather than rendering conventional drawing obsolete, this art form encouraged experimentation with all kinds of media. The centerpiece of Ocean Flowers was the drawings and photograms of the British artist Anna Atkins (1799–1871) and her contemporaries. Atkins was the first person to create a book of botanical illustrations printed exclusively with photographic techniques. From 1843 to 1853, Atkins created stunning albums of cyanotypes to illustrate ordered series of seaweed species. These pioneering photograms were one-of-a-kind photographic prints created by laying the specimens directly on light-sensitive paper, and then exposing the paper to the sun.
Ocean Flowers also encompassed important examples from the wider field of natural history, including illustrations of ferns, feathers, shells, stones, flowers, coconuts, batwings, and snake skins made by amateur and professional artists, scientists, and specialists. Among the works featured were drawings by Walter Fitch, William Harvey, William Jackson Hooker, Harriet Moseley, Jane M. Patison, Mrs. Simpson, Mrs. Dawson Turner, and Catherine Wills; photograms by Anna Atkins, William Henry Fox Talbot, and Sir John Herschel; "nature prints" by Alois Auer and Henry Bradbury; mounted specimens published by Mary Howard and Mary Wyatt; and works in various media by anonymous artists, some of which were from India.
Ocean Flowers: Impressions from Nature was curated by Carol Armstrong, who was Professor of Art and Archaeology and the Doris Stevens Professor of the Study of Women and Gender at Princeton University at the time. Catherine de Zegher also curated the exhibition, and was formerly the Director of the Drawing Center.
Ocean Flowers: Impressions from Nature was made possible with the support of the National Endowment for the Arts, The Hite Foundation, The Horace W. Goldsmith Foundation, The Howard Gilman Foundation, Mrs. Paul Mellon, The Annenberg Foundation, and with public funds from the New York State Council on the Arts, a state agency. Additional support for the publication was provided by the Publications Committee, Department of Art and Archeology, Princeton University; The Getty Grant Program; the Samuel I. Newhouse Foundation; and The Paul Mellon Centre for Studies in British Art.