Relevant bibliographies by topics / Birds of America (Audubon, John James)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Birds of America (Audubon, John James)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Birds of America (Audubon, John James)"

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riely, elizabeth gawthrop. "John James Audubon's Tastes of America." Gastronomica 11, no. 2 (2011): 29–37. http://dx.doi.org/10.1525/gfc.2011.11.2.29.

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John James Audubon (1785–1851), the ornithologist and artist, traveled widely through the great American wilderness searching for bird specimens to draw for what became The Birds of America (1827–38). He observed them closely in their natural environment, keeping detailed field notes and journals under difficult conditions. Out of curiosity and hunger, he often cooked and ate these birds after drawing them and wrote down how they tasted—another kind of evidence. The article concentrates on his written descriptions (lively, humorous, wry, or astonished) and tasting notes in the wild. Audubon traveled down the Mississippi River to New Orleans, north to Labrador, south to the Florida Keys, and later, when searching for mammals to draw for The Viviparous Quadrupeds of North America, northwest up the Missouri River. There he wrote about hunting American buffalo (bison), sometimes comparing customs and rituals of white hunters and various Indian tribes, and even sampled dog served by a Blackfoot princess. During the western expansion of the early nineteenth century, Audubon witnessed and recorded profound changes in the American landscape. Settlers’ encroachment on habitat and hunters’ wanton destruction of wildlife increasingly alarmed him. He presaged the extinction of some species whose habits and tastes he described. Conservation is an implicit theme.
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Jackson, Christine E. "Henry Ward and John James Audubon, 1831–1837." Archives of Natural History 45, no. 1 (2018): 14–20. http://dx.doi.org/10.3366/anh.2018.0479.

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Edwin Henry Ward was a member of the illustrious Ward family of taxidermists. The first reference to Henry Ward was when he boarded the ship Columbia off Portsmouth on 31 July 1831 when he set sail for North America with Lucy and John James Audubon. As a teenager, Henry was already a skilled taxidermist, his ability being appreciated by the bird author John James Audubon. On his return from the USA, Henry established a business in London at a time when owning mounted birds became fashionable.
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Huff, Jacob M. "Bared Teeth, Plucked Feathers, Broken Eggs: Reading Human-Animal Relationships through Audubon." IU Journal of Undergraduate Research 2, no. 1 (2016): 6–12. http://dx.doi.org/10.14434/iujur.v2i1.20914.

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In this paper, I study John James Audubon’s famed drawings of wildlife to uncover his perspective on the evolving relationships between humans and animals during the era of American westward expansion. Using three engravings from Birds of America, along with his accompanying essays, I look beyond the animals in the foreground to examine the human settlements often lurking in the background. I discover that Audubon portrays three distinct types of human-animal relationships, which I then compare to the human presence shown in two of his later works, the engravings of Viviparous Quadrupeds of North America and their subsequent essays. This second set of drawings undercuts any attempt to derive an optimistic interpretation of the Birds plates, for they reveal an unsustainable relationship between humans and the animals whose habitats they invade. I conclude that while Birds and Quadrupeds glorify their animal subjects, rightly qualifying as artistic and scientific triumphs, their depiction of human activity carries a much darker weight, suggesting that human presence in nature necessarily causes damage. Ultimately, this idea recasts Audubon as a thinker who transcends his historical location and offers a relevant perspective on the environment occupied by the modern reader.
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Lindsay, Debra J. "The limits of imperial influence: John James Audubon in British North America." Archives of Natural History 47, no. 2 (2020): 302–18. http://dx.doi.org/10.3366/anh.2020.0656.

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For two decades, John James Audubon (1785–1851) travelled widely and frequently while working on his illustrated natural history volumes – still highly prized today for their aesthetic and scientific merit: Birds of America (1827–1838) and Viviparous Quadrupeds of North America (1846–1854). Neither independently wealthy nor employed as a salaried scientist, the artist-naturalist with a flair for marketing financed his projects by selling subscriptions. Successfully marketing Birds to members of the British aristocracy, as well as to organizations and to artistic and intellectual elites, Audubon was reluctant to take Quadrupeds to Britain even though sales there were key to the financial viability of his work. Instead, in 1842 Audubon travelled to Canada (now Ontario and Quebec), the most populous region of British North America. The colony was, he calculated, a viable source of subscribers; however, he was wrong. Moreover, having travelled to British North America previously, he should have expected modest returns. Nonetheless, he was optimistic that this expedition would succeed where those to New Brunswick (1832) and Labrador and Newfoundland (1833) had failed. This paper examines why success eluded Audubon in the colonies, arguing that entrepreneurialism buttressed by patronage – a winning strategy in Britain – failed because there was a vast difference between metropolis and hinterland when it came to supporting the arts and sciences.
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Logan, P. B., and M. A. Sidor. "John James Audubon’s prospectus for The birds of America." Archives of Natural History 48, no. 2 (2021): 263–80. http://dx.doi.org/10.3366/anh.2021.0721.

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The prospectus for The birds of America, which was used by John James Audubon as a marketing tool while canvassing for potential subscribers, went through a series of editions between 1827 and 1838. From a single folded sheet describing the general scope of the work and its price, the prospectus grew to 16 pages that incorporated a separate title-page, the names of subscribers, favourable reviews, and a list of the individual prints that had been published. As the project came to a close, Audubon encapsulated the salient details in advertisements printed in publications in England and America. Six editions, based on 16 extant copies, were identified by W. H. Fries in 1973. Since that time, additional information has become available about the various editions, including ones of which Fries was not aware. A summary and reclassification of the editions is appropriate to assist in better understanding the history and rarity of this publication.
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Jackson, Christine E. "The Ward family of taxidermists." Archives of Natural History 45, no. 1 (2018): 1–13. http://dx.doi.org/10.3366/anh.2018.0478.

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Three generations of Ward taxidermists practised their craft both in Britain and abroad. The grandfather, John, had a daughter Jane Catherine, and two sons, James Frederick and Edwin Henry, both of whom went to North America to collect birds (Henry with John James Audubon). Edwin Henry's own two sons, Edwin and Rowland, became two of the best known taxidermists in Great Britain. Edwin emigrated to California, where he taught his skills to his three sons. Rowland was the most famous, successful and wealthy member of the family, becoming world-renowned as a taxidermist.
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Logan, Peter B., and Martin A. Sidor. "John James Audubon's overlooked “Great Work”: his Ornithological biography." Archives of Natural History 48, no. 1 (2021): 157–74. http://dx.doi.org/10.3366/anh.2021.0694.

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John James Audubon's five-volume Ornithological biography (1831–1839), published as the textual companion to The birds of America (1827–1838), remains a rich source of information about North America's avifauna. Issued separately from the prints for both practical and economic reasons, this classic but often forgotten work contained individual biographical accounts of each species shown in the illustrations, based upon the naturalist's decades of field observations. The demands associated with the publication and marketing of the prints compelled Audubon to wait until the end of 1830 before he began to write it, just as the first volume of 100 plates was being completed. Assisted throughout the endeavour by Scottish ornithologist William MacGillivray, who edited Audubon's manuscripts and provided scientific descriptions of each species, the naturalist published the first volume in 1831 in both Edinburgh and Philadelphia, the latter to secure the US copyright. A second Philadelphia edition appeared in 1832. Succeeding volumes were published in Edinburgh in 1834, 1835, 1838, and 1839, following the completion of each of the remaining three volumes of plates. An American edition of the second volume was published in 1835, but almost three-quarters of the copies were destroyed in a Boston fire. With sales of the last three volumes lagging, significantly fewer than 750 complete sets were ever sold.
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Faherty, Duncan. ""Half artist, half man of action": John James Audubon and The Birds of America." Reviews in American History 33, no. 2 (2005): 169–76. http://dx.doi.org/10.1353/rah.2005.0029.

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GIBBONS, WILLIAM. "The Musical Audubon: Ornithology and Nationalism in the Symphonies of Anthony Philip Heinrich." Journal of the Society for American Music 3, no. 4 (2009): 465–91. http://dx.doi.org/10.1017/s175219630999068x.

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AbstractAnthony Philip Heinrich's two symphonies on avian themes— The Ornithological Combat of Kings, or The Condor of the Andes and the Eagle of the Cordilleras (original version ca. 1835; final form 1857) and The Columbiad, or Migration of American Wild Passenger Pigeons (ca. 1857)—have not been generally considered among his nationalistic works. Placing these works into historical context, however, makes the nationalism of their programmatic content clear. These symphonies reveal surprising connections in the U.S. consciousness between birds and national identity in the nineteenth-century United States. Through the examination of this music in the contexts of naturalist writers such as Alexander von Humboldt, Alexander Wilson, and John James Audubon, the last of whom was a close friend of Heinrich's, this article demonstrates the extent to which Heinrich's music tapped into the popularity of ornithology in the United States.
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Peck, Robert M. "Hart-Davis, D. Audubon's elephant: the story of John James Audubon's epic struggle to publish The birds of America." Archives of Natural History 32, no. 1 (2005): 110–11. http://dx.doi.org/10.3366/anh.2005.32.1.110.

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Dissertations / Theses on the topic "Birds of America (Audubon, John James)"

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Vandersommers, Daniel A. "Violence, Animals, and Egalitarianism: Audubon and the Intellectual Formation of Animal Rights in America." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274056876.

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Books on the topic "Birds of America (Audubon, John James)"

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Audubon, John James. John James Audubon " Birds of America". Benedikt Taschen, 1994.

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Audubon, John James. John James Audubon: American birds. Gramercy Books, 1999.

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K, Eder Elizabeth, and National Gallery of Art (U.S.), eds. Viewer's guide: John James Audubon : the birds of America. National Gallery of Art, 1993.

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Tyler, Ronnie C. Audubon's great national work: The royal octavo edition of Birds of America. University of Texas Press, 1993.

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1785-1851, Audubon John James, Blaugrund Annette, Stebbins Theodore E, Slatkin Carole Anne, and New York Historical Society, eds. John James Audubon: The watercolours for The Birds of America. Herbert, 1993.

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Audubon, John James. Capturing nature: The writings and art of John James Audubon. Walker, 1993.

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7

Christie, Manson and Woods Ltd. John James Audubon, the birds of America: Christie's New York September 14 and 15, 1987. Christie, Manson & Woods International Inc., 1987.

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8

Bannon, Lois Elmer. Handbook of Audubon prints. Pelican Pub. Co., 1991.

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Annette, Blaugrund, Stebbins Theodore E, Slatkin Carole Anne, Hotchner Holly, and New-York Historical Society, eds. The watercolors for The birds of America. Villard Books, 1993.

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10

1953-, Patterson Daniel, and Serrano Patricio J, eds. John James Audubon's journal of 1826: The voyage to the Birds of America. University of Nebraska Press, 2011.

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Book chapters on the topic "Birds of America (Audubon, John James)"

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Cope, Rachel, Amy Harris, and Jane Hinckley. "John James Audubon, Letter to Jean Audubon (1807)." In Family Life in England and America, 1690–1820. Routledge, 2021. http://dx.doi.org/10.4324/9781003113089-14.

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"4. Going into Business with The Birds of America." In John James Audubon. University of Pennsylvania Press, 2017. http://dx.doi.org/10.9783/9780812293845-005.

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Rogers, Susan Fox. "Don’t Move." In Learning the Birds. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501762246.003.0009.

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This chapter discusses John James Audubon, who is now celebrated as a bird artist. To create his drawings, Audubon did not just shoot the bird, string it up in a somewhat lifelike manner, and then reproduce it on the page. He poured into his art hours of observation of the bird's feeding and behavior in the wild; he wanted to know the bird alive and to capture it on the page. Audubon traveled widely to gather his bird specimens. It was to Paris and to London that he turned in 1828, once he had gathered his specimens and drawn them to create his Birds of America. While in Paris, Audubon met many great men, among them the father of paleontology, Georges Cuvier. The chapter then considers the author's reflection on the difference between birding and owling.
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"Audubon and Catlin: Artists of the American Wilderness." In American Travellers in Liverpool, edited by David Seed. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622041.003.0003.

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This chapter considers the writings of two specific visitors to Liverpool. The naturalist John James Audubon, famous for his Birds of America, recorded impressions gathered during his residence here. Secondly the showman George Catlin mounted a number of exhibitions in the city, including glimpses of Native American life. The latter was one of the earliest examples of celebrity culture in visitors to the city.
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Master, Lawrence L., and Lynn S. Kutner. "Vanishing Assets: Conservation Status of U.S. Species." In Precious Heritage. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195125191.003.0010.

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“The air was literally filled with pigeons; the light of noonday was obscured as by an eclipse.” So observed John James Audubon, the eminent naturalist and bird artist, of a mass migration of passenger pigeons (Ectopistes migratorius) passing through Kentucky in 1813. For three days the pigeons poured out of the Northeast in search of forests bearing nuts and acorns. By Audubon’s estimate, the flock that passed overhead contained more than I billion birds, a number consistent with calculations made by other ornithologists. As the pigeons approached their roost, Audubon noted that the noise they made “reminded me of a hard gale at sea passing through the rigging of a close-reefed vessel.” Indeed, they were so numerous that by some accounts every other bird on the North American continent was probably a passenger pigeon at the time of European colonization (Schorger 1955). Yet despite this extraordinary abundance, barely 100 years later the last passenger pigeon, a female bird named Martha, died in the Cincinnati Zoo. The vast flocks of passenger pigeons moved around eastern North America, feeding mostly on the fruits of forest trees such as beechnuts and acorns. Two factors conspired to seal their fate. Because of their huge numbers, the birds were easy to hunt, especially at their roosting sites. Hunters were ingenious in developing increasingly efficient ways to slaughter the birds. Armed with sticks, guns, nets, or sulfur fires, hunters swept through the enormous roosting colonies, carting away what they could carry and feeding the remaining carcasses to their pigs. One of these methods, in which a decoy pigeon with its eyes sewn shut was attached to a perch, or stool, gave rise to the term stool pigeon. As the railroads expanded west, enormous numbers could be sent to major urban markets like New York, where pigeons became the cheapest meat available. They were so cheap and abundant that live birds were used as targets in shooting galleries. At the same time that this frontal assault on the pigeons was under way, human settlers were expanding into the interior of the country, clearing large areas of the forests on which the flocks depended for food.
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"2. Hearing Birds, Heeding Their Call." In John James Audubon. University of Pennsylvania Press, 2017. http://dx.doi.org/10.9783/9780812293845-003.

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Grinnell, George Bird. "The Life of John James Audubon." In Spare the Birds! Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300215458.003.0004.

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Grinnell, George Bird. "The Character of John James Audubon." In Spare the Birds! Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300215458.003.0005.

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Grinnell, George Bird. "4. The Life of John James Audubon." In Spare the Birds! Yale University Press, 2020. http://dx.doi.org/10.12987/9780300224924-005.

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Grinnell, George Bird. "5. The Character of John James Audubon." In Spare the Birds! Yale University Press, 2020. http://dx.doi.org/10.12987/9780300224924-006.

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