Student Artwork Guide
Copyright This work is in the public domain. Maria Sybilla Merian died in 1717; copyright lasts 70 years after the artist’s death, so it ended in 1787.
In context
Lizard — Maria Sybilla Merian
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 70 at death.
Shaded: the lifetime of Maria Sybilla Merian (1647–1717) every dated painting, decade by decade
This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?
Pick one work above: name two things it shares with this one, and one thing that's different.
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Measured from the image
Main colour
Putty #e9e1cb
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 99.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 28 works by this artist, of which 9 were looked at at least once. This painting ranks 8 of them, with 8.3% of that attention. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Frankfurt, Italy
Maria Sibylla Merian, born in Frankfurt in 1647, was a figure remarkably ahead of her time—a naturalist, scientific illustrator, and an artist whose dedication to meticulous observation transformed our understanding of the insect world. Her story isn’t simply one of artistic talent; it's a testament to unwavering curiosity, courageous exploration, and a profound connection to the natural world that defied the conventions of 17th and early 18th-century society. Growing up amidst the bustling trade and intellectual currents of Frankfurt, Merian’s initial exposure to art came through her family. Her father, Matthäus Merian the Elder, was a renowned engraver and publisher, providing a foundation in visual representation. However, it was her stepfather, Jacob Marrel, a skilled still life painter, who actively fostered her artistic inclinations, encouraging her drawing and painting skills from a young age. This early nurturing wasn’t limited to technique; Merian developed an intense fascination with insects, meticulously collecting and studying them—a pursuit considered unusual, if not eccentric, for a woman of that era. Even as a child, she didn't merely depict butterflies and caterpillars; she sought to understand their complete life cycles, a revolutionary approach in a time when the prevailing belief was spontaneous generation – the idea that insects simply arose from mud or decaying matter.
Merian’s artistic career blossomed alongside her scientific investigations. She received formal training from Marrel and his pupil, Abraham Mignon, honing her skills in rendering botanical details with exquisite precision. Her early works focused on the flora of Europe, culminating in publications like Neues Blumenbuch (“New Book of Flowers”), showcasing her talent for floral illustration. However, it was her groundbreaking work on insect metamorphosis that truly set her apart. Published in 1679 and 1683, Der Raupen wunderbare Verwandelung und sonderbare Blumennahrung ("The Wonderful Transformation of Caterpillars and Their Peculiar Nourishment from Flowers") documented the life cycles of European insects with unprecedented accuracy. Each plate wasn’t just a beautiful image; it was a carefully researched record of an insect's development, its host plant, and its interactions within its environment. But Merian harbored a deeper ambition: to study insects in their natural habitat, free from the constraints of European gardens. This led to an extraordinary undertaking—a self-funded expedition to Dutch Guiana (modern-day Suriname) in 1699, accompanied by her daughter Dorothea. For two years, she immersed herself in the rainforests, documenting the exotic insects, plants, and animals with unwavering dedication, despite facing harsh conditions and considerable personal risk.
The culmination of Merian’s South American journey was Metamorphosis Insectorum Surinamensium (1705), a monumental work that cemented her legacy as a pioneering naturalist and illustrator. This two-volume publication presented detailed depictions of the insects of Suriname, their life cycles, and their relationships with the surrounding flora. Unlike previous natural history illustrations which often focused on isolated specimens, Merian’s plates depicted insects interacting with their host plants, showcasing a holistic understanding of ecological connections. Her illustrations weren't merely scientific records; they were vibrant works of art, imbued with a sense of wonder and appreciation for the beauty of the natural world. The work was revolutionary not only for its artistic quality but also for its scientific accuracy. Merian challenged existing beliefs about insect behavior and development, providing compelling evidence against spontaneous generation. She meticulously documented previously unknown species, contributing significantly to the field of entomology. Metamorphosis Insectorum Surinamensium became a landmark publication, influencing generations of naturalist illustrators and scientists.
Maria Sibylla Merian’s influence extends far beyond the realm of natural history illustration. Her work bridged the gap between art and science, demonstrating that meticulous observation and artistic skill could be powerful tools for scientific discovery. She challenged societal norms by pursuing her passion for natural history with unwavering determination, paving the way for future female scientists and artists. David Attenborough has rightly recognized Merian as a pivotal figure in entomology, acknowledging her groundbreaking contributions to our understanding of insect life cycles. Her legacy continues to inspire artists, scientists, and nature enthusiasts alike. Today, her original illustrations are highly prized possessions of museums and private collectors worldwide. Reproductions of her work—like “Plate 70 from Dissertation in Insect Generations and Metamorphosis in Surinam” or the exquisite detail found in "Erucarum Ortus, Alimentum Et Paradoxa Metamorphosis"—allow us to appreciate her artistic skill and scientific insight. Maria Sibylla Merian’s life was a testament to the power of curiosity, observation, and a deep reverence for the natural world—a legacy that continues to resonate centuries after her passing.
Key Contributions: Published her first book of natural illustrations in 1675; documented evidence on the process of metamorphosis and plant hosts of 186 European insect species; traveled to Dutch Guiana in 1699 to study tropical insects; published Metamorphosis Insectorum Surinamensium in 1705.
Notable Works: Metamorphosis Insectorum Surinamensium (1705), Erucarum Ortus, Alimentum Et Paradoxa Metamorphosis, “Fennel”, and "Plate 70 from Dissertation in Insect Generations and Metamorphosis in Surinam".
Influences: Her stepfather Jacob Marrel, a still life painter; the scientific curiosity of her era.
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Look closely
Lizard — Maria Sybilla Merian
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Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
The color identity of "Lizard" by Maria Sybilla Merian: a neutrals palette, dominated by putty (#e9e1cb).
To preview a reproduction of "Lizard" by Maria Sybilla Merian, open the artwork's Preview page.
The luminance recorded for "Lizard" by Maria Sybilla Merian is bright balance.