As part of our conference this year on Friday September 9th, we will be co-hosting a special exhibition on Animals and Theology curated by Professor Diana Donald in the Study Room at the Fitzwilliam Museum. The study room can only accommodate a maximum of 15 people, so the exhibition will be shown to small groups in 45 minute increments at: 2pm, 2:45pm, and 3:30pm. You can meet Prof Donald at the ‘courtyard entrance’ to the museum [not the grand central entrance] at your specified time and she will conduct you to the study room. The courtyard entrance is at the end of the left-hand wing of the frontage on Trumpington Street.Meet Prof Donald at the ‘courtyard entrance’ to the museum [not the grand central entrance] and she will conduct you to the study room. The courtyard entrance is at the end of the left-hand wing of the frontage on Trumpington Street.
Registered delegates will need to sign up for one of these sessions in advance, which you can do via our website by using one of the following links:
About the exhibition:
The chosen images cluster round three broad themes, which exemplify varied and even contrasting views of animals – shaped by Christian doctrine, but also by the individual interpretations of the artists concerned.
- the Genesis stories of the Garden of Eden, the fall of man, and Noah’s Flood, which were foundational for Christian views of the human-animal relationship
- animals as the companions of the saints and participants in their miracles
- animals as ‘the other’ – symbolising strange or demonic forces, or the grandeur of wild nature, as described in the Book of Job.
Works to be shown include:
- Roelant Savery, The Creation of Birds, 1619. Oil on panel.
- Lucas van Leyden, The Creation of Eve, 1529. Engraving.)
- William Strang, The Creation of Eve, an illustration to Milton’s Paradise Lost, 1895. Etching
- Johann König, Adam and Eve in Paradise, c.1629. Oil on copper.
- Albrecht Dürer, Adam and Eve, 1504. Engraving.
- Jan Saenredam after Abraham Bloemaert, Adam Naming the Animals, 1604, in a series of Genesis scenes. Engraving.
- Rembrandt, Adam and Eve Tempted by the Devil, 1638. Etching.
- Jan Sadeler after Maarten de Vos, Cain Tilling the Ground, Abel as Shepherd; The Sacrifices of Cain and Abel; and Cain, his Wife and Son Enoch, 1583. Etching and engraving.
- Marco da Ravenna after Raphael, Noah’s Sacrifice, c.1520-7. Engraving.
- Cornelis Cort after Maerten van Heemskerck, Noah’s Sacrifice after the Flood, c.1560. Engraving.
- Samuel Palmer, The Sleeping Shepherd: Morning, c.1857. Watercolour with body colour, gum arabic and ink.
- Albrecht Dürer, Saint Jerome in His Study, 1514. Engraving.
- Rembrandt, Saint Jerome Reading, 1634. Etching.
- Guiseppe Maria Rolli, The Miracle of the Ass, late 17th or early 18th century. Pen and brown ink, brown wash over black chalk.
- Jacques Philippe le Bas, Saint Anthony of Padua Preaching to the Birds, 1735. Etching and engraving.
- Martin Schongauer, Saint Anthony Tormented by Demons, c.1470. Engraving.
- William Blake, ‘Behemoth and Leviathan’, from Illustrations to the Book of Job, 1825-6. Engraving, hand-coloured.
- Odilon Redon, ‘Des peuples divers . . . ‘, from The Temptation of Saint Anthony, 1896. Lithograph.
About our curator:
‘Professor Diana Donald is an art historian who now works on human-animal relations in the eighteenth and nineteenth centuries. She is the author of Picturing Animals in Britain, 1750-1850 (2007); Endless Forms: Charles Darwin, Natural Science and the Visual Arts (2009); and The Art of Thomas Bewick (2013). She is presently working on a book for Manchester University Press, on the role played by women in animal protection in nineteenth-century Britain.’