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Show points to the conclusion that all previous assumptions concerning Bodmer's American works and their place in historical, ethnological, and art historical research must now be re-evaluated. It is with the examination of the fourth and last aquatint, Tableau 37, The White Castles, that synthesis for the investigation is achieved. It becomes increasingly apparent that science and art, both in the nineteenth century and today, share corresponding concerns. By placing Bodmer's American aquatints in context with similar European travel illustration, the continuity of all of Bodmer's works and the close relationships between science and art can be established. It was also this last examination that necessitated a change in the methodology, underscoring the need for constant revision and flexibility for any interdisciplinary investigation. Throughout the investigation, the prints themselves will direct the course of the research. Close examination of the four selected aquatints allows each to reveal its own particular story. Further, the end result of the investigation is an analysis not only of Bodmer's American aquatints, but of how these works have been viewed in the past. A principal fact that comes to light during the course of the investigation is that care must be taken when evaluating works of art used principally as scientific documentation. Over the years, the value of the aquatints as works of art has been neglected-understandably so, since art historians paid little attention to these "documents.", Nonetheless, it is a dangerous precedent, since art historical evaluation has not been allowed to temper previous investigations. The ultimate conclusions of this investigation point to the relevance of future interdisciplinary inquiries. Shared information XIV |
