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Maria Sibylla Merian - J. Mulder - Cotton leaf Jatropha and Hawkmoth Nr. 38
About the Item
From Metamorphosis Insectorum Surinamensium, first published 1705
Engravings by J. Mulder, P. Sluyter (Sluiter) and D. Stoopendaal after Maria Sybilla Merian.
This plate is part of a comprehensive collection comprising 17 plates. Check out other listings to view the entire series.
1964 Hoffman and Campe Verlag, Hamburg Complete production Mladinska Knjiga, Ljubljana/Yugoslavia.
This 1964 official reproduction table come from the editions: Dissertation sur la génération et les transformations des insectes de Surinam, The Hague, Pierre Gosse, 1726, and Over de Voortteeling en Wonderbaerlyke Veranderingen der Surinaamsche insects, Amsterdam, Jean Frederic Bernard, 1730.
COTTON LEAF JATROPHA AND MOTIVE HAZARDS
The strong leafy plant is a spurge plant, Jatropha gossypiifolia, the cotton-leaved Jatropha, also native to Suriname, but cultivated and growing wild in Asia and Africa. The root is used as a remedy for snake bites, leaves and seed oil are used for laxatives.
A powerful caterpillar, the moth with its long proboscis, which, contrary to the drawing, it curls up during flight. The plant doesn't care at all, and yet it can only with difficulty assert itself against the animal, which gives the impression of strength in all its positions. The author uses the word vigoureux several times in her text. It is Cocytius antaeus, the wrestler's nickname Antaios also indicates vitality. A hawkmoth - the caterpillar's curved horn is suitable for all hawkmoth larvae. The pupa's front beak indicates where at least part of the trunk will be housed. When hatching, all parts are fully developed with the exception of the wings; the wings are inflated after hatching, but not with air, but with body fluid. Top right probably Methonella cacilia, a case of mimicry. In the tropics, butterflies imitate each other across all family groups, so they cannot be defined by their appearance, but must be examined anatomically. Sometimes the butterfly imitates a dangerous wasp and thereby protects itself, sometimes the mimicry seems to be a pointless game, the spirit of creation is joking. (Original plate no. 38)
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Maria Sibylla Merian (1647-1717)
Joseph Mulder, Pieter Sluyter, and D. Stopendael worked as engravers from the original drawings by Merian, who oversaw all aspects of the publication of her works during her lifetime. The Metamorphosis is Merian's most famous work, resulting from her journey with her daughter Dorothea to Surinam in 1699. The two women spent two years studying and recording insects and plants, returning to Amsterdam with a series of finished drawings on vellum, sketches and specimens, from which they continued to work. The work first appeared simultaneously in Latin and Dutch in 1705 with 60 plates. Later editions all included 12 additional plates after Merian's elder daughter Johanna.
MARIA SIBYLLA MERIAN, born in 1647 in Frankfurt on the Main, was a daughter of the renowned engraver and publisher, Matthaeus Merian. From childhood she showed a vivid interest in the world of plants and insects. In her engravings an eminent artistic talent meets with scientific accuracy. First she worked in Nuremberg, the birthplace of her husband, and at a later period in the Netherlands. From 1690 to 1701 she stayed, as a member of the Labadist congregation, in Surinam (Dutch Guiana), exploring the hitherto unknown beauties of tropical plants and butterflies; her most significant work, the METAMORPHOSIS INSECTORUM SURINAMENSIUM, was the result of this voyage. After her return to Europe, the artist died in 1717 in Amsterdam.
MARIA SIBYLLA MERIAN
THE MOST BEAUTIFUL PLATES FROM THE BIG BOOK OF BUTTERFLIES AND PLANTS
METAMORPHOSIS OF SURINAMESE INSECTS
SELECTED
INTRODUCED AND DESCRIBED
BY GERHARD NEBEL
MERIAN LIBRARY
FROM HOFFMANN AND CAMPE PUBLISHING
HAMBURG MCMLXIV
- Creator:Maria Sibylla Merian (Artist)
- Dimensions:Height: 17.72 in (45 cm)Width: 11.93 in (30.3 cm)Depth: 0.04 in (1 mm)
- Style:Other (Of the Period)
- Materials and Techniques:Paper,Other
- Place of Origin:
- Period:
- Date of Manufacture:1964
- Condition:Wear consistent with age and use.
- Seller Location:EINDHOVEN, NL
- Reference Number:1stDibs: LU9046237941282
Maria Sibylla Merian
Maria Sibylla Merian (1647—1717) was a naturalist and artist. Her contributions to entomology were never appropriately recognized in her lifetime. She is now considered to be a pioneer in the fields of botany and zoology. She made detailed observations of live specimens, which was a departure from previous studies that used preserved specimens. She focused great detail on the processes of metamorphosis, which had not been studied so comprehensively before her work. The engravings for the publication were done by J. Mulder, P. Sluyter and A. Stopendaal, all after paintings on vellum by Merian. The work is considered to be one of the most beautiful, and famous illustrated natural history works of the 18th century. The work was the result of Merian's trip in 1699 with her daughter Dorothea to Surinam, a Dutch colony on the northeastern coast of South America. The pair studied and recorded plants and insects for two years under difficult conditions. They came back to Amsterdam with specimens, notes and drawings and there completed their astounding work. One naturalist proclaimed "Her portrayals of living insects and other animals were imbued with a charm, a minuteness of observation and an artistic sensibility that had not previously been seen in a natural history book; if Gould and Audubon have 'a spiritual ancestor, then it is difficult to think of a more worthy claimant to the title than Maria Sibylla Merian." On the day Maria Sibylla Merian died, Tsar Peter the Great purchased a two-volume collection of her unbound paintings, as well as her journal. Born in Frankfurt am Main, Maria Sibylla Merian was the daughter of Matthaus Merian the Elder (1593—1650), a famous German-Swiss painter, engraver and publisher. Her father died when she was three and her mother remarried Jacob Marrel (1614-1681), who was a still-life painter. From the time she was eleven, Marrel schooled Maria Sibylla Merian in the tradition of northern European still life painting, working directly from life. As her interests evolved toward the study of insects, she employed these artistic skills to create her outstanding scientific and esthetically beautiful works. She was truly at the crossroads of art and science.
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