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    ‘Butterfly’ Explores 4,000 Years of Our Fascination with Lepidoptera in Art and Science

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    Kerry Miller, “A Handbook to the Order Lepidoptera” (2013), mixed media, 10 1/4 x 16 1/8 × 3 1/8 inches. Photo courtesy of Kerry Miller. All images courtesy of Phaidon, shared with permission

    ‘Butterfly’ Explores 4,000 Years of Our Fascination with Lepidoptera in Art and Science

    September 9, 2025

    ArtBooksNatureScience

    Kate Mothes

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    Since time immemorial, we have been awed by the ornate patterns, metamorphosis, and migrations of butterflies and moths. Their uncanny life stages and spectrum of vibrant colors and textures—both as caterpillars and as adult insects—endlessly inspire wonder.

    Butterfly: Exploring the World of Lepidoptera, a new book forthcoming from Phaidon on October 1, celebrates these distinctive winged creatures throughout art history and science. From portrayals in 4,000-year-old Egyptian artworks to pioneering entomological studies during the Enlightenment to contemporary explorations, the volume surveys our enduring fascination with the insects.

    John Abbot, “Black and Blue Admirable Butterfly and Chestnut-coloured Butterfly” (c.1774–1841), etching from watercolor, 15 3/8 x 11 3/4 inches. Image courtesy of Missouri Botanical Garden, Peter H. Raven Library

    So far, scientists have documented about 20,000 species of butterflies in the world, but there are likely more. And in the order of Lepidoptera, which includes moths, estimates of the total number of species range from a staggering 180,000 to 265,000. The largest is known as Queen Alexandra’s Birdwing, with a wingspan that can reach up to one foot. And when it comes to moths, a similarly sized wingspan can be found on a Southeast Asian species known as the Atlas Moth.

    Artists have long captured the likeness of butterflies in a range of media as a way to symbolically represent transformation, rebirth, beauty, and purity. More than 250 entries fill Butterfly, including sculptures, photography, paintings, illustrations, textiles, and more, which tap into the myriad ways in which these marvelous bugs pollinate not only our fragile ecosystems but our imaginations, too.

    Pre-order your copy now in the Colossal Shop.

    Ralph Martin, “Old World Swallowtail Wing” (2018), photograph, dimensions variable. Image courtesy of Ralph Martin / BIA / Nature Picture Library

    Rebecca Coles, “British Masters 01” (2017), recycled art books and entomology pins, 39 3/8 x 39 3/8 inches. Image courtesy of TAG Fine Arts

    Anonymous, Atlas Moth (c.1615), gouache on paper, 7 x 4 3/4 inches. Image courtesy of Rijksmuseum, Amsterdam

    Wardell Milan, “Sunday, Sitting on the Bank of Butterfly Meadow” (2013), chromogenic print, 39 7/8 x 60 inches. Image © Wardell Milan, courtesy Fraenkel Gallery, San Francisco and Sikkema Malloy Jenkins, New York

    Katsushika Hokusai, “Peonies and Butterfly” (1833–4), woodcut print, ink, and color on paper, 10 × 14 5/8 inches. Image courtesy of Minneapolis Institute of Art

    Cat Johnston, “Moth Creature” (2024), cloth, fur, paint, and epoxy clay Image © Cat Johnston

    Martin Frobenius Ledermüller, “Butterfly Wing Scales” (c.1764), watercolor and ink on paper, 10 x 8 inches. Image courtesy of Biodiversity Heritage Library; Smithsonian Libraries and Archives

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      in Art

      ‘Little Beasts’ Is a First-of-Its-Kind Museum Collaboration Reveling in Art and the Natural World

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      Jacopo Ligozzi, “A Groundhog or Marmot with a Branch of Plums”. (1605), brush with brown and black wash, point of the brush with black and brown ink and white gouache, and watercolor, over traces of graphite on burnished paper, sheet: 13 x 16 5/8 inches. All images courtesy of The National Gallery of Art, Washington, D.C., shared with permission

      ‘Little Beasts’ Is a First-of-Its-Kind Museum Collaboration Reveling in Art and the Natural World

      March 21, 2025

      ArtHistoryNatureScience

      Kate Mothes

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      During the 16th and 17th centuries, major developments in colonial expansion, trade, and scientific technology spurred a fervor for studying the natural world. Previously unknown or overlooked species were documented with unprecedented precision, and artists captured countless varieties of flora and fauna in paintings, prints, and encyclopedic volumes.

      Marking a first-of-its-kind collaboration between the National Gallery of Art and the Smithsonian National Museum of Natural History, Little Beasts: Art, Wonder, and the Natural World pairs nearly 75 prints, drawings, and paintings with around 60 objects from the NMNH collection.

      Jan van Kessel the Elder, “Insects and a Sprig of Rosemary” (1653), oil on panel, 4 1/2 x 5 1/2 inches

      “In major cities like Antwerp, artists such as Joris and Jacob Hoefnagel and Jan van Kessel created highly detailed drawings, prints, and paintings of these insects, animals, and other beestjes, or ‘little beasts’ in Dutch,” says the National Gallery of Art. “Their works inspired generations of artists and naturalists, fueling the burgeoning science of natural history.”

      Natural history has been a focus for scholars since ancient times, albeit early commentary was a bit more wide-ranging than its definition today. The largest single work to have survived from the Roman Empire is Pliny the Elder’s Naturalis Historia, which consists of 37 books divided into 10 volumes and covers everything from astronomy to zoology and mineralogy to art.

      Studying the natural world in ancient and early modern times was predominantly a philosophical pursuit until a discernible change during the Renaissance. By the 16th century, attitudes had shifted. The humanist learning tradition, centered on literature and the arts, began to give way to more advanced explanations for natural objects, describing their types and transformations and grouping them into classes.

      Private collections played a fundamental role in founding many natural history archives. The popularity of Wunderkammers, or “rooms of wonder,” transformed a pastime of the wealthy into exercises in scholarly prestige. By the late 17th century, more rigorous and formalized classification systems emerged as the philosophical component waned.

      Wenceslaus Hollar, “Shell (Murex brandaris)” (c. 1645), etching on laid paper, plate: 3 3/4 x 5 3/8 inches

      Throughout this time, artists like Albrecht Dürer, Clara Peeters, and Wenceslaus Hollar created works that responded to new discoveries. From biologically accurate renderings of shells and insects to playful compositions that employ animals and plants as decorative motifs, paintings and prints were often the only means by which the public could see newly discovered species.

      “Art and science have been closely aligned throughout the 175-year history of the Smithsonian,” says Kirk Johnson, director of the NMNH. “Even today, researchers at the National Museum of Natural History depend on scientific illustrators to bring clarity and understanding to the specimens they study.”

      Little Beasts opens on May 18 and continues through November 2 at the National Gallery of Art in Washington, D.C. Find more on the museum’s website.

      Clara Peeters, “Still Life with Flowers Surrounded by Insects and a Snail” (c. 1610), oil on copper,
      overall: 6 9/16 x 5 5/16 inches; framed: 10 x 9 x 1 1/2 inches

      Robert Hooke, “Micrographia: or, Some physiological descriptions of minute bodies made by magnifying glasses. / With observations and inquiries thereupon” (1665), bound volume with etched illustrations height (foldout illustrations significantly larger): 12 3/16 inches

      Jan van Kessel the Elder, “Artist’s Name in Insects and Reptiles [bottom center]” (1658), oil on copper, overall: 5 5/8 x 7 1/2 inches; framed: 9 7/8 x 12 1/8 inches

      Jan van Kessel the Elder, “Noah’s Family Assembling Animals Before the Ark” (c. 1660), oil on panel, overall: 25 3/4 x 37 3/16 inches; framed: 32 3/4 x 44 1/4 inches

      An Elephant Beetle (Megasoma e. elephas) from the Department of Entomology collections at the Smithsonian Institution National Museum of Natural History

      Wenceslaus Hollar, “Two Butterflies, a Wasp, and a Moth” (1646), etching on laid paper, plate: 3 3/16 x 4 3/4 inches; sheet: 3 1/4 x 4 13/16 inches

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    • 150 Shares179 Views

      in Art

      Biological Cells and Chinese Ceramic Traditions Coalesce in Shiyuan Xu’s Porcelain Sculptures

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      “Hybrid #7” (2024), porcelain, Paperclay, and glaze, 19 x 9.5 x 15 inches. All images courtesy of Shiyuan Xu, shared with permission

      Biological Cells and Chinese Ceramic Traditions Coalesce in Shiyuan Xu’s Porcelain Sculptures

      March 3, 2025

      ArtCraftNature

      Kate Mothes

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      From seeds to the world’s smallest organisms, the inspiration for Shiyuan Xu’s porcelain sculptures (previously) originates in biology. Fascinated by the patterns, shapes, and structures of a wide variety of creatures, the artist creates intricate interpretations of cells, the essential building blocks of all life forms.

      Working meticulously with porcelain Paperclay—a mix of clay and cellulose fibers—and glaze, Xu sculpts webbed, amorphous forms that appear amoeba-like, as if expanding and contracting. She is deeply influenced by the work of Scottish mathematical biologist D’Arcy Thompson (1860–1948), whose seminal book On Growth and Form traces the scale and shapes of living things.

      “Hybrid #9” (2024), porcelain, Paperclay, and glaze, 19 x 8.5 x 21.5 inches

      A “diagram of forces” is how Thompson described the form of a specimen. For Xu, this dynamic evaluation shapes how she translates micro life forms into her work. “It is about movement, time, and space,” she says. “It records the way they move and grow; the way they react to the surrounding environment by interacting, altering, evolving and adapting to generate infinite new forms.”

      Xu views the history of porcelain as deeply intertwined with her own memories and identity, and she often employs a classic Chinese ceramic color palette in her pieces. The irregular structures and ombre colors reference the artist’s personal experiences. She says:

      Being an outsider in America for the past decade, my experience offers me a new perspective to reflect my own cultural heritage… The repetitive and labor-intensive process serves as a therapeutic response to the challenges of my experience in navigating dual cultures. My pieces are in many ways like living organisms, a metaphor for the evolving nature of life itself, and my own journey and roots.

      If you’re in London, you can see Xu’s work in a small exhibition dedicated to Chinese contemporary studio craft at the V&A, and her work will be included in a handful of forthcoming juried exhibitions in Portugal, Italy, and Missouri. Find more on her website.

      “Blue Vein #15” (2024), colored porcelain, Paperclay, and glaze, 23 x 10 x 15 inches

      Detail of “Blue Vein #15”

      “Vena Celadon #5” (2025), porcelain, Paperclay, and glaze, 24 x 9 x 14.5 inches

      Detail of “Vena Celadon #5”

      “Hybrid #6” (2023), colored porcelain Paperclay, and glaze, 23 x 11 x 10.5 inches. Photo by Guy Nichol

      “Hybrid #5” (2023), porcelain, Paperclay, and glaze, 20 x 11 x 17 inches. Photo by Guy Nichol

      “Hybrid #8” (2024), porcelain, Paperclay, and glaze, 19.5 x 8.5 x 16.5 inches

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    • 150 Shares169 Views

      in Art

      Translucent Sculptures of Segmented Glass by Artist Jiyong Lee Evoke Single-Celled Organisms

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      Art

      #algae
      #biology
      #glass
      #sculpture

      September 3, 2020
      Grace Ebert

      “Green Cosmarium Segmentation” (2018), hot sculpted, cut, color laminated, carved, glass, 7 1/4 × 10 × 7 1/4 inches. All images © Jiyong Lee, shared with permission
      Fascinated by the organisms found in the sea and bodies of freshwater, artist Jiyong Lee (previously) sculpts semi-transparent artworks that evoke the various forms of algae and other microscopic creatures. The segmented pieces, which are composed of smooth, matte glass, create both organic and geometric shapes. Part of an ongoing Segmentation Series, the composite works consider the evolution of a single cell, which Lee expands on:
      I work with glass that has transparency and translucency, two qualities that serve as perfect metaphors for what is known and unknown about life science. The segmented, geometrical forms of my work represent cells, embryos, biological and molecular structures—each symbolizing the building blocks of life as well as the starting point of life.
      Lee is based in Carbondale, Illinois, where he teaches at Southern Illinois University, and many of the pieces shown here will be part of a group show at Duane Reed Gallery in St. Louis from September 12 to October 17, 2020. The artist also was chosen as one of 30 artists for the Loewe Foundation’s Craft Prize, which will bring him to Paris for an exhibition in the spring of 2021. Until then, explore more of Lee’s biology-informed sculptures on Artsy.

      “Mitosis” (2010), cut, color (white) laminated, carved glass, 8.6 x 13 x 14 inches
      “Diatom segmentation” (2019), cut, color laminated, carved, hot formed glass, 7 x 10 x 7 inches
      “Black and White Diatom Segmentation” (2020), hot sculpted, cut, color laminated, carved, glass, 8 × 12 × 8 inches

      Left: “Gray Diatom Segmentation” (2018), cut, color laminated, carved glass, 5 1/4 × 12 1/2 inches. Right: “Yellow Orange Diatom Segmentation” (2020), hot sculpted, cut, color laminated, carved, glass, 7 1/2 x 10 x 8 1/2 inches
      “Green Yellow Diatom Segmentation” (2020), hot sculpted, cut, color laminated, carved, glass, 5 3/4 × 12 × 12 inches
      “White Green Diatom Segmentation” (2020), hot sculpted, cut, color laminated, carved, glass, 8 1/2 × 10 × 8 1/2 inches

      #algae
      #biology
      #glass
      #sculpture

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