This is a painting that Maria Sibylla Merian published in her book, Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung -- The Caterpillar, Marvelous Transformation and Strange Floral Food (1705). The painting depicts the metamorphosis and life cycle of the Thysania agrippina, or White Witch Moth. The emphasis is a large black caterpillar sitting on a branch, with a moth above and to the side of it, and an egg sac and cocoon below it. All around the caterpillar are leaves with holes in the middle. The spacing between the caterpillar, moths, and egg sac are arranged in an almost circular way, emphasizing a connection between the three different subjects. This spatial arrangement was important because Merian was trying to show what she studied from this moth species, which was that caterpillars transformed into moths, which in turn laid eggs that hatched into new caterpillars. In a time when the study of science was growing in northern Europe, her painting of this life cycle was important in disproving the popular theory of spontaneous generation (which included the idea that insects came from rotting mud). She also incorporated punctured leaves in the painting, which explained how the insect received sustenance before and after metamorphosis. In addition, there is a great attention to detail to the wing pattern and of the moth and the color of the caterpillar's body, which boosted the credibility and accuracy of her scientific observation. The detailed patterns also revealed her passion for insects, which conflicted with the Catholic church's dogma that viewed insects as "beasts of the devil." Merian was able to follow her Protestant belief of seeing God's divine beauty in nature through her painting of the Thysania agrippina metamorphosis.
Friday, February 12, 2010
The Caterpillar
This is a painting that Maria Sibylla Merian published in her book, Der Raupen wunderbare Verwandlung und sonderbare Blumennahrung -- The Caterpillar, Marvelous Transformation and Strange Floral Food (1705). The painting depicts the metamorphosis and life cycle of the Thysania agrippina, or White Witch Moth. The emphasis is a large black caterpillar sitting on a branch, with a moth above and to the side of it, and an egg sac and cocoon below it. All around the caterpillar are leaves with holes in the middle. The spacing between the caterpillar, moths, and egg sac are arranged in an almost circular way, emphasizing a connection between the three different subjects. This spatial arrangement was important because Merian was trying to show what she studied from this moth species, which was that caterpillars transformed into moths, which in turn laid eggs that hatched into new caterpillars. In a time when the study of science was growing in northern Europe, her painting of this life cycle was important in disproving the popular theory of spontaneous generation (which included the idea that insects came from rotting mud). She also incorporated punctured leaves in the painting, which explained how the insect received sustenance before and after metamorphosis. In addition, there is a great attention to detail to the wing pattern and of the moth and the color of the caterpillar's body, which boosted the credibility and accuracy of her scientific observation. The detailed patterns also revealed her passion for insects, which conflicted with the Catholic church's dogma that viewed insects as "beasts of the devil." Merian was able to follow her Protestant belief of seeing God's divine beauty in nature through her painting of the Thysania agrippina metamorphosis.
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I really like the details in the moth's open wings, it is clear that she studied moths at a lenght. I like that you called attention to the circular arrangement of the instects and its representation of the moth's life cycle. I also like the fun fact about people thinking moth's came from rotting mud.
ReplyDeleteI love these watercolors and prints so much it's almost impossible for me to do any analysis of them
ReplyDeleteyour scientific perspective is particularly welcome
I'll just add that ironically, this was a not highly valued wing of artistic production, so therefore it was OK for a woman.