Franklins Marmot Squirrel

Early Life, Family and Training

The origins of John James Audubon are rooted in the volatile landscape of Saint-Domingue, modern-day Haiti. Born Jean-Jacques Rabin on April 26, 1785, his arrival was marked by the complex social hierarchies of the Caribbean. He was the son of Lieutenant Jean Audubon, a French naval officer, and Jeanne Rabine, a twenty-seven-year-old chambermaid from Les Touches, Brittany. This lineage, caught between the stability of military service and the precariousness of colonial life, shaped a childhood defined by movement and shifting identities. As unrest gripped the island, the young boy was sent to France for safety and education, a transition that would eventually lead him to the American frontier.

His formal schooling provided little for his restless temperament. Instead, Audubon became a self-taught ornithologist and artist, developing his skills through direct, often difficult, observation of the natural world. He did not rely on the academic traditions of Europe but rather on a relentless, hands-on engagement with the creatures he sought to document. This autodidactic path required a resilience that would serve him well as he moved from the structured environments of his youth toward the untamed wilderness of the Americas.

The Pursuit of Avian Perfection

Before his name became synonymous with the birds of the Americas, Audubon’s life was a series of restless, often unsuccessful, diversions. He was a man of many trades, attempting to find his footing as a shopkeeper, a taxidermist, and even a man of commerce through mercantile pursuits and mining. In Kentucky, he opened a chain of stores, but the venture eventually failed, leaving him to seek a more singular purpose. This period of trial and error was not a detour so much as a preparation for the immense task that lay ahead.

His true vocation required a nomadic existence, a life spent moving back and forth across the vast North American landscape. Between 1827 and 1838, he undertook the monumental task of creating The Birds of America. This was no mere collection of sketches; it was a rigorous attempt to document nearly 500 bird species in life-size detail. He lived among the wilderness, traveling as far as Labrador in 1833, driven by a need to observe these creatures in their natural settings rather than through the lens of a preserved specimen.

This commitment to accuracy demanded a relentless presence in the field. He did not merely observe from a distance; he immersed himself in the habitats of his subjects to capture the essence of their movement and form. The sheer scale of his ambition required him to endure the hardships of the frontier, trading the stability of a settled life for the uncertainty of the wild, all to ensure that his visual record was as precise as the nature it sought to represent.

Technique and Style

Audubon’s method was born of a necessity to capture life before it faded. To achieve the animated poses that defined his work, he often used wires to prop up specimens, holding them in mid-flight or mid-action. His process began with a rapid outline sketch to ensure the proportions were correct. Once the essential form was established, he transferred the outline to permanent drawing paper. It was here that his meticulous nature took hold, as he added the minute structures of feathers with painstaking precision. While he was a master of watercolor on large sheets of paper, his studies were diverse, ranging from charcoal portraits to oil paintings.

The transition from his original vision to the printed page required a sophisticated marriage of different disciplines. His work relied on engraving combined with aquatint, a process that allowed for soft gradations of light and shadow. To add depth and richness to these prints, he often heightened the images with drypoint and etchings. This technical complexity ensured that the textures of plumage and the subtle musculature of the animals were preserved through the printing process. His ability to layer these mediums allowed him to move beyond simple illustration into a realm of detailed biological recording.

Patrons, Workshop and Commissions

The realization of Audubon’s grandest ambitions required a synergy of artistic vision and technical precision. While he provided the initial watercolors, the transition from delicate brushstrokes to enduring prints depended upon the expertise of engravers Robert Havell Sr. and Robert Havell Jr. The latter proved essential, acting as a conduit who translated Audubon’s specific visual intentions into finished works. The Havell family brought a diverse array of creative talents to their craft, including musicians, educators, and writers, providing a sophisticated environment for such a massive undertaking.

The scale of his projects necessitated a structured workshop environment. To manage the immense task of documenting North America's fauna, Audubon relied on several assistants who helped execute his original studies. This collaborative effort was particularly vital during the production of The Birds of America, where the sheer volume of detail required more than a single hand. His process involved a rapid outline sketch to ensure correct proportions, followed by the transfer of these outlines to permanent drawing paper. In some instances, elements from earlier drawings were cut and pasted onto newer compositions to achieve the desired accuracy before the final engraving took place.

Key Works

The most significant achievement of his career was the production of The Birds of America, a massive undertaking published between 1827 and 1838. This collection consisted of 435 engraved plates, many of which were presented in a large-format, double-elephant folio color-plate book. His ambition was to create a complete pictorial record of the bird species of North America, a goal he pursued through years of nomadic observation. The scale of the project was such that one set of these prints was sold to the Legislature of Louisiana through Governor Andre Bienvenu Roman.

His interests eventually expanded beyond the avian world to include the broader fauna of the continent. Between 1845 and 1849, he produced The Viviparous Quadrupeds of North America, a work that shifted his focus toward mammals. His studies included detailed depictions of the American bison and various species of foxes. To accompany his visual records, he also authored Ornithological Biography, which was published in volumes between 1831 and 1839.

• The Birds of America (1827–1838)
• Ornithological Biography (1831–1839)
• The Viviparous Quadrupeds of North America (1845–1849)

Circle, Rivals and Pupils

The artist’s life was deeply intertwined with his family, a circle that provided both continuity and the labor necessary to sustain his ambitious projects. His sons, Victor Gifford Audubon and John Woodhouse Audubon, were born in 1809 and 1812, respectively. While Victor’s life was cut short in 1860, John Woodhouse became a vital collaborator. He did more than merely assist; he oversaw the production of the Second Edition of The Birds of America, ensuring the family’s ornithological vision remained intact. This partnership bridged the gap between the original studies and the later, refined editions that expanded the known record of North American avian life.

The domestic sphere was marked by both presence and profound loss. His daughters, Lucy and Rose, lived only briefly, passing away in 1817 and 1820. These small, quiet tragedies existed alongside the immense, public scale of his scientific pursuits. The work required a specialized network of skilled hands to translate delicate watercolors into the final printed volumes. This included the essential technical partnership with the engraver Robert Havell Jr., whose mastery of the aquatint technique allowed for the subtle tonal gradations required to render the texture of feathers and the depth of natural landscapes.

Legacy and Influence

Audubon’s impact reaches far beyond the pages of his folio. By pioneering a field observation-based approach to ornithology, he shifted the focus of natural history from the study of static, preserved specimens to the observation of living creatures within their natural habitats. This method provided a detailed visual record of North American birdlife at a critical time, capturing species before the rapid environmental shifts of the 19th century could erase them. His commitment to documenting behavior and environment alongside anatomy changed how scientists and naturalists perceived the avian world.

The influence of his work persists through the institutions and movements his life helped inspire. The National Audubon Society was founded in his honor, continuing a mission of conservation that his meticulous documentation helped to foster. His observations remain a resource for those studying the natural history of the continent. Today, his depictions continue to inform the work of artists, scientists, and conservationists who seek to understand the delicate balance of the wilderness.

Where to See the Works Today

The physical remnants of Audubon's obsession are scattered across several continents, held in collections that reflect the global reach of his scientific and artistic pursuits. In the United States, the Amon Carter Museum of American Art in Fort Worth maintains a significant presence, housing ten of his works. For those seeking the institutional weight of his namesake organization, the National Audubon Society in New York City also holds pieces within its collection.

His influence extends far beyond North American borders. Museums Victoria in Melbourne preserves his work in Australia, while the Natural History Museum in London maintains a portrait of the man himself, painted by Lance Calkin. These holdings offer a glimpse into the life of a man who spent his years moving through the wilderness to document the life of the continent.

• Great Egret (Ardea alba)
• American Bison or Buffalo
• American Beaver
• American Badger
• American Cross Fox
• Columbian Black-Tailed Deer