ELIZABETH
GOULD was born Elizabeth Coxen to an educated middle class family in1804. She
earned a living as a governess teaching Latin, French and music, but found the
whole situation not to her liking. After a chance meeting at the Aviary of the
Zoological Society, she married John Gould at age 24; a marriage that suited
them. Through hard work and skill, John worked his way to post of Animal
Preserver to the British Museum, and Ornithology Superintendent to the
Zoological Society. As for Elizabeth, she wasted no time in launching into her illustration
career beginning with drawings for the first volume of a 20 part series: A Century of Birds of the Himalaya Mountains. Within
this time, she and John lost their first child at birth, but in 1830, she gave
birth to their second child, John Henry.
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| From Birds of Europe, Elizabeth Gould |
At John’s request,
Elizabeth received tutelage under Edward Lear, the famed bird artist at the Zoological Society.
This professional training increased her skills, depth and breath of work. Even
John James Audubon took notice. But as she was working on the next section of, A Century of Birds of the Himalaya Mountains,
she suffered the lose of third child after another difficult pregnancy.
John
Gould is often seen as an artist in his own right, an illusion he encouraged.
In truth, his passion lie more with the production of the work, and it was
Elizabeth’s hand that provided the final product. After A Century of Birds of the Himalaya Mountains
was finished, she began work on Birds of Europe. She and John traveled across
Europe together to study and collect specimens for the latest endeavor. During
this time she gave birth to three more children.
On May
16th 1838, Elizabeth left all but the eldest child with her mother, and
set sail for Australia with John. They spent two years in Australia. During
this time, she worked on drawing hundreds of specimens for Birds of
Australia and A Monograph of the Macropodidæ, or Family of Kangaroos. She
also worked with Charles Darwin on illustrations for the Ornithology volume of Zoology
of the Voyage of H. M. S. Beagle. Their seventh child was born in Tasmania.
They
arrived back in London is 1840, but Elizabeth never had a chance to complete
her work on the animals of Australia. She died after giving birth to their
eighth child, at age 37. The preparation for lithography printing (transferring
to stone) of her last drawings was completed by illustrator H. C. Richter. She did
not receive credit at publication. John Gould went on to produce his bird
books, using H. C. Richter, Edward Lear, Joseph Wolf and William Hart as illustrators.
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| Northern Quoll (Dasyurus hallucatus), credited to John Gould |
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AMANDA ZIMMERMAN
An illustrator of nature is an observer of form and behavior. My job is to create illustrations that not only engage the general public with vibrancy and motion, but educate the viewer about the subject and create a connection of memory. It is these connections to nature that we make, a sense of personal contact-even if only through an illustration- that imparts a sense of responsibility to our natural world. www.salamandaart.com
If you are interested in prints please visit my
Redbubble and
Etsy store.
As you can see, he's not something for the museum, and even now needs more work on those eyes, but a great improvement from the first attempt. All because I didn't give up on him!
I've been absent for a little bit, but had spare time today, on my Birthday (!) to sit down and share some recently learned tips and tricks for drawing the human form. Humans often seem to be a tricky subject for artists, myself included. I am consciously looking for sketching tips and resources to improve my work.
This works very well for the human form and I'm thinking that it might be applicable in some fashion to the animal form as well. The bean would be more stretched out of course, but the concept is valid. I'll give it a try and post my results in the near future.
Hello all-
I started working with oil pastels about a year ago with hit or miss results. There are a variety of ways to work with this medium, but I think the main issue to overcome is that oil pastels never really "dry out" I tend to frame mine with at least a single matte to keep the work from touching the glass. There are also several fixatives available. I have used the Sennelier brand with good results.
