One of America’s first great success stories began 230 years ago today. Back then Audubon’s rise to fame was far from certain and definitely not easy. Viewing him as a controversial figure, the scientific community in his adopted homeland even initially rejected his work. Only due to his perseverance and talent was the man whose name today is synonymous with all things bird-related able to secure his rightful place in history.
Born on a Caribbean Plantation
On April 26, 1785, our hero’s unlikely story started in a French colony in an area known today as Haiti. An illegitimate child born to the owner of a sugar plantation, the boy initially resided in the Caribbean. Within a few years, though, his father brought him to France. There he began drawing. Audubon later in life attributed several childhood experiences with his passion for birds, one of which oddly enough involved a parrot-killing monkey. Reportedly, the young Audubon wailed for the dead pet bird, which was later “buried with all the pomp of a cherished lost one” (1).
Immigrating to the United States, where he soon married and became a citizen, Audubon continued his lifelong fascination of studying and illustrating birds. His travels took him through much of the continental United States, including parts of New England, the Ohio River Valley, and the Louisiana territory. He interacted with the Native Americans of the frontier, especially the Osage tribesmen (2). On one occasion while hunting a great horned owl, Audubon reported falling into “quicksand up to my armpits” but was pulled free by his companions (3, 4). Like other ornithologists of that day, he often had to kill his specimens. Instead of photography—cameras had not been invented yet—he had to rely on his shotguns (5, 6).
Continuing to perfect his artistic skills, Audubon developing a special grid-board with wires for mounting his avian specimens in life-like poses. The belted kingfisher was the first bird he painted via this new system, a method that he would eventually share with other ornithologists (7). His first successful depictions of birds in flight were of a whippoorwill and nighthawk (8). Throughout his lifetime, Audubon illustrated at least 440 species of birds, according to an estimate made in William Souder’s Under a Wild Sky (9). Among these creatures, the wild turkey ranked among his favorites, its image used for his own personal seal (10, 11). Known primarily today for his paintings of birds, Audubon also illustrated other animals (12). He even made a living during some of his travels by working on portraits (13).
A Few Missteps
Richard Rhodes’s John James Audubon: The Making of an American and Souder’s book, both published in 2004, are wonderful sources for an in-depth view of Audubon’s triumphs and struggles. Much of the information cited here is available in those two biographies. From these books, one can easily sense that Audubon was a man of remarkable expertise, talent, ingenuity, and fortitude. Yet, all these traits beg an important question: Why was he forced to seek endorsement and financial assistance in Britain to publish his magnum opus?
Part of the problem likely involved Audubon’s personality. He was known on occasion to stretch the truth. He frequently misrepresented his origins, but understandably so due to social stigma and legal issues (14, 15). Other statements he made, though, seem less reasonable, such as his dubious claims about receiving instruction from the French portrait painter Jacques-Louis David and hunting with Daniel Boone (16, 17). Some of his field studies and accounts drew ridicule for misinformation, in particular those regarding rattlesnake behavior (18) and his claim that turkey vultures cannot smell (19, 20). While such circumstances are notable blemishes, one must keep in mind that reputable ornithologists of that time period were not immune to mistakes.
Like all great men and women in history, Audubon had his share of flaws. For instance, he and his wife for a few years owned several slaves (21). As noted above, he may have been dishonest at times. Some people, too, may find fault in that he killed hundreds of birds to complete his drawings. Let’s not overlook the fact, though, that he also kept several as pets (22), and that he was concerned about the effects of industrialization on avian habitats (23). But most importantly, besides being the foremost expert on American birds in his day, Audubon was a pioneering artist.
Success First in Britain then America
Some influential people in U.S. ornithological circles refused initially to acknowledge the value of his work, most notably, George Ord, who held prominent positions in the Academy of Natural Sciences and the American Philosophical Society. Believing Audubon lacked the necessary integrity and aesthetic style for science illustrations, Ord and others within the establishment treated the outsider with disdain. Most likely, Ord, who had played a role in the late Alexander Wilson’s American Ornithology, felt Audubon a personal threat (25). No such resistance occurred in Britain, where Audubon was able to secure the means to print volumes from 1827 through 1838 of his Birds of America, a masterpiece of unequaled quality and scope.
Unlike previous illustrations of ornithological specimens from the United States, Audubon painted his birds in life-sized proportions. He also chose to represent his subjects interacting with one another and their environment. And, as a special thank-you to his supporters, Audubon named several species of birds for international ornithologist-friends, such as Charles-Lucien Bonaparte (Napoleon’s nephew), William Swainson, and William MacGillivray (26).
Later, praises and admiration followed in his adopted homeland. The National Audubon Society, one of the oldest and most respected conservation groups in the world, was named in his honor. In fact, digital reproductions of Audubon’s work are featured on the group’s website. Also, several historic sites in the U.S. share his namesake, including John James Audubon State Park in Henderson, Kentucky.
- Rhodes, R. John James Audubon: The Making of an American. New York: Alfred A. Knopf, 2004. pp. 4–5, 21–22.
- Rhodes, R. pp. 82–83.
- Rhodes, R. p. 116.
- Souder, W. Under a Wild Sky: John James Audubon and the Making of the Birds of America. New York: North Point Press, 2004. p. 147.
- Rhodes, R. pp. 11, 73–74.
- Souder, W. pp. 97–99.
- Souder, W. P. 71.
- Rhodes, R. pp. 101–102.
- Souder, W. p. 286.
- Souder, W. p. 245.
- Rhodes, R. p. 273.
- Rhodes, R. pp. 240–241, 262–263, 335.
- Rhodes, R. pp. 145, 216.
- Rhodes, R. pp. 4–5, 315.
- Souder, W. pp. 11, 19–21.
- Rhodes, R. pp. 315, 346.
- Souder, W. pp. 11, 264–266.
- Souder, W. pp. 223–225.
- Souder, W. p. 219.
- Strycker, N. The Thing with Feathers: The Surprising Lives of Birds and What They Reveal About Being Human. New York: Riverhead Books, 2014. pp. 53–54, 62–63.
- Rhodes, R. p. 115.
- Rhodes, R. pp. 117–118.
- Rhodes, R. p. 280.
- Rhodes, R. pp. 221–223.
- Souder, W. pp. 286–287.