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Show 131 21. There are many classical references in Bodmer's portraits and composite scenes, as well as in his landscapes. Although the romantic influence dominated, the classical framework upon which romanticism was based, cannot be forgotten. For Bodmer's debt to the seventeenth-century landscapist Claude Lorrain, see William H. Goetzmann's "The Man Who Stopped to Paint America" in Karl Bodmer's America. See also Robert N. Neelem, "George Catlin in France: His relationship to Delacroix and Baudelaire", The Art Quarterly. 24, no.2 (Summer 1961): 129-146; George P. Tomko, "The Western Prints of Karl Bodmer" in Prints of the American West, ed. Ron Tyler, (Fort Worth: Amon Carter Museum, 1983). 22. See note 1, Chapter Four. 23. See note 2, Chapter Four. 24. See View of the Stone Walls, watercolor on paper, 9-7/8" x 16-7/8", KBA #235; Landscape with Herd of Buffalo on the Upper Missouri, watercolor on paper, 9-5/8" x 12-3/8", KBA #209. 25. The White Castles, watercolor on paper, 5-1/8" x 7-3/4", KBA #216. 26. There are small variations in the overall size of the paper of these prints. 27. The subscription strategy chosen for Travels was not unique. In fact, it was modeled upon the methods used for John James Audubon's Birds of America, a publication much admired by Maximilian. Audubon's book, published between 1827 and 1830, remains one of the most exquisite examples of aquatint illustration ever achieved. Audubon's attempt to depict in life-size all the birds of North America was an immense and expensive undertaking. His book was published with 435 handcolored plates in an elephant folio, a large format measuring 36-1/2" x 25-1/2" inches, and was also sold through subscription. Subscribers received the publication in fascicles over a three year period. A clever marketing strategy, designed to make the book appealing to a broader segment of the public, organized issues of plates, five at a time, so that each issue included prints of small, medium, and large-sized birds. With every twentieth number subscribers also received and engraved title page, that then could be used to bind into the intended four volumes. Similarities between the subscription stategy of this book and that of Travels are strong. |