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Show 27 It is certain that the aquatints were produced for a purpose other than that of the watercolors. The objective of the watercolors was twofold and was probably not clearly differentiated in either Maximilian's or Bodmer's thinking. Maximilian wanted accuarate documentation for his scientific investigations; from the beginning, however, he also had in mind publication of his account upon his return to Europe. Bodmer's priorities, on the other hand, were the reverse of Maximilian's. Bodmer was a young, ambitious artist who, with his future career in mind, anticipated the eventual reproduction of his watercolors into aquatint and painted his portfolio with this in mind.2 Secondly, Bodmer sought to satisfy Maximilian's constant demand for accuracy during the expedition. The expectations of both men were met. The watercolors were eventually used for production of the aquatints. Nonetheless, it was as documents that the watercolors would so dramatically excel.3 The purpose of the aquatints, on the other hand, was different. Although it is doubtful that Maximilian or Bodmer ever fully realized the implications of this change, the publication, promotion, and sale of the travelbook necessarily imposed upon the aquatints a purpose other than that of pure documentation. Rather than simply documents, the prints were intended to be book illustrations and, as such, reflected many of the accepted artistic conventions of this form of art. Yet, it is as documents that the prints have almost always been analyzed. The artistic purpose and value of the prints have been largely overlooked by those who have examined them; certainly they have been ignored by art historians. Those who have closely examined the prints have typically been ethnologists and historians. Because the original watercolors were "lost," the documentary value of the aquatints became |