By The Davis Museum at Wellesley College
Marie Flon, 2024 Liliane Pingoud Soriano '49 Curatorial Fellow
Please be aware that this exhibition discusses pregnancy and abortion, and that it includes graphic images.
18th-century anatomical illustrators prioritized accuracy, often using cadavers, which sometimes compromised the dignity of their subjects. The prints at the Davis Museum depict a pregnant woman in a clinical, dehumanized way, highlighting the era's focus on knowledge over ethics. The exhibition invites reflection on the intersection of science and ethics in history.
Demonstrations of a Pregnant Uterus of a Woman at Her Full Term, plate III (1761) by Johannes van Michael Seligmann after an original drawing by Jan van RymsdykOriginal Source: The Davis Museum at Wellesley College
This 1761 print at the Davis Museum, once a tool for midwives, blends artistry with medical knowledge. Originally from an anatomy manual, it offers insight into the evolution of art, medicine, and their historical context.
Notice the naturalism of this print, achieved through the artist’s use of light to highlight parts of the body. It almost feels like light is reflecting off real skin. This realism comes from the mezzotint printmaking technique.
Demonstrations of a Pregnant Uterus of a Woman at Her Full Term, plate V (1761) by Johannes van Michael Seligmann after an original drawing by Jan van RymsdykOriginal Source: The Davis Museum at Wellesley College
Mezzotint is a technique that creates naturalistic images, capturing subtle gradations of light and dark to depict forms like the human body with fine detail.
Ludwig van Siegen (1609-1680), a German soldier, invented the mezzotint technique in Amsterdam around 1642. The engraver Reinier van Persijn created this portrait of van Siegen in 1644.
French anatomist Charles Nicolas Jenty, based in London, commissioned Jan van Rymsdyk to create six anatomical drawings for his manual, using cadavers for direct observation. Engraver Joannes van Seligmann turned them into affordable prints, as seen in the Davis Museum's edition.
Using burnishers and scrapers, the engraver smoothed the plate to create lighter areas, contrasting with the darker, hatched background. This technique allowed for subtle gradations of light and shadow, crucial for realistic depictions.
The choice of mezzotint by Jenty for his commissioned anatomical drawings highlights the technique's unique suitability for creating lifelike medical illustrations.
Demonstrations of a Pregnant Uterus of a Woman at Her Full Term, plate III (1761) by Johannes van Michael Seligmann after an original drawing by Jan van RymsdykOriginal Source: The Davis Museum at Wellesley College
Jenty's 1757 book prioritized realism. He selected mezzotint for its ability to capture the subtle gradations of light and shadow, essential for depicting the human body accurately.
Demonstrations of a Pregnant Uterus of a Woman at Her Full Term, plate II (1761) by Johannes van Michael Seligmann after an original drawing by Jan van RymsdykOriginal Source: The Davis Museum at Wellesley College
The print's realism is striking; the blood appears to circulate. Mezzotint's ability to capture subtle gradations of light and shadow is key to this effect.
Demonstrations of a Pregnant Uterus of a Woman at Her Full Term, plate V (1761) by Johannes van Michael Seligmann after an original drawing by Jan van RymsdykOriginal Source: The Davis Museum at Wellesley College
Jenty's book, using realistic mezzotint prints, was designed as a practical teaching tool for students of anatomy and midwifery.
Dr William Hunter teaching anatomy at the Royal Academy (1772) by Johann ZoffanyOriginal Source: Royal College of Physicians, London
Dr. Jenty and Dr. Hunter's anatomical lessons at the Royal Academy were pivotal in advancing medical education during the 18th century. The painting captures a key moment.
Demonstrations of a Pregnant Uterus of a Woman at Her Full Term, plate II (1761) by Johannes van Michael Seligmann after an original drawing by Jan van RymsdykOriginal Source: The Davis Museum at Wellesley College
See how these images, with their labeled parts, functioned as an early form of visual learning aid for anatomy. A key helps identify each body part.
The Royal Academy of Arts (1773) by Richard Earlom after an original work by Johan Joseph Zoffany and Engraver Richard Earlom; After Johan Joseph Zoffany; Publisher Robert SayerOriginal Source: The Metropolitan Museum, New York City
The Royal Academy provided a unique setting for Jenty's anatomy lessons. Surrounded by artwork emphasizing human anatomy, he shared his knowledge with artists and doctors alike.
This focus on uterine anatomy in Jenty's manual reflects the rise of midwifery as a distinct medical field during the 18th century. Detailed anatomical knowledge was essential for effective care during pregnancy and childbirth.
Prior to the Enlightenment, midwifery relied on passed-down knowledge, not formal education. This 1633 print shows the communal aspect of childbirth care before modern medicine. The mother is surrounded by a supportive group of women.
The Davis Museum's prints highlight the evolving professionalization of midwifery, once seen as 'women's work' and delayed by male-dominated medicine. They reflect this crucial shift.
This Rymsdyk drawing shows forceps assisting a birth, a significant advancement in 18th-century midwifery. The illustration, from Dr. Hunter's textbook, reflects the era's focus on improving birthing practices.
An 18th-century print illustrates the changing face of midwifery. A man, representing formal training, uses forceps, while a woman employs traditional herbal remedies. The image portrays a transitional phase in midwifery care.
The focus on scientific midwifery in 18th-century England wasn't about women's comfort; it was a strategic move to boost the nation's population for the Industrial Revolution.
Anatomia uteri humani gravidi tabulis illustrata (Anatomy of a human uterus), plate XXXIII (1774) by John Baskerville after an original drawing by Jan van RymsdykOriginal Source: National Library of Medecine, London
Abortion in 18th-century England was viewed through a demographic lens. The need for a larger population prioritized understanding fetal growth and the preservation of women's fertility.
In the 18th century, obstetrics and midwifery were not yet distinct. The rise of male midwives led to their separation, with obstetricians trained for surgeries. The prints at the Davis Museum show how art and science were intertwined, with artists and scientists collaborating to advance both knowledge and visual representation.
Acknowledgments This online exhibition was curated by Marie Flon, the 2024 Liliane Pingoud Soriano '49 Curatorial Fellow at the Davis Museum, Wellesley College. Many thanks to the Wellesley College Art Library and the Pennsylvania Hospital of Philadelphia, especially Stacey Peeples, Curator-Lead Archivist, for their invaluable resources. I am particularly grateful to Dr. Nicole Berlin, Associate Curator of Collections at the Davis Museum, for her support in creating this exhibition. I would also like to thank Helen Connor, Assistant Registrar for Exhibitions & Digital Resources, for promoting the exhibition, assisting with the photographs, and helping bring this content to the public.
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