Today I’m returning to my Pictures At An Exhibition. In case
you haven’t read part 1, here’s the link http://davidsamateurpalaeo.blogspot.com/2015/03/pictures-at-exhibition-part-1.html
The mural discussed this time is off-exhibit, as the space
in both the Paleozoic and Cenozoic sections of the Evolving Planet exhibits is
limited. It’s not a very spectacular mural, but it’s a big one that requires a
lot of space. The corresponding gallery is relatively small, forming up part of
a larger room transitioning to another gallery. This is too bad-there’s not
much in the mural itself, but it’s still a haunting piece by a master artist.
This painting’s label is currently unknown, but it depicts
the shore of the Ordovician sea, 460 million years ago. You see, before
dinosaurs became the stars of the main fossil exhibit, the Field Museum used to
have a separate gallery of Paleozoic life, complete with dioramas showing life
under the sea. Two of Knight’s paintings may have either been featured here or
in the main gallery, but were meant to correspond to the gallery of marine
fossils. The University of Michigan museum still has their dioramas. At any rate, it was the age of marine
invertebrates, and Knight was depicting examples of them.
The setting is the shore around a bay, with large boulders
and rock pillars forming the sides and background. You see, in all of these
Knight murals, every scene is out of the water. Even those dealing with
expanses of oceans show the animals breaching the surface. This isn’t due to an
artistic failing-many of Knight’s murals show underwater activity; indeed, many
cover this exact subject. I think it was to create a kind of continuity across
the murals.
The foreground is dedicated to beached sea life. The context
may be of a storm or a tidal wave that stranded this sea life on the shore.
This is reminiscent of many old drawings of sea life; a lot of what we know is
from beached specimens; many species of deep sea fish, whales and squid
were/are known only from beached specimens. It took centuries for scientists to
see the giant squid in its natural habitat. In this way, the mural is a clever
invocation of past natural history art while illustrating new material. It’s a
tantalizing hint at the creatures of the ocean.
The creatures in question are fairly typical of the period.
In the foreground pile of seaweed are a pile of ammonites. They are shown as
closed or empty shells; it’s possible ammonites had an operculum like a snail,
but that’s still under debate. An operculum, in a mollusk context, is a hard
covering that slips over the opening of the animal when it withdraws entirely
into the shell to prevent dehydration and predation. It’s also possible they
could have been washed on shore already eaten by scavengers, as the land lacked
anything but bacteria to act as scavengers.
The biggest animals of the period are featured as stranded,
this time with their squishy bits intact; two giant nautiloids. As part of the
Ordovician diversity, there was a flourishing in the basal cephalopods, the
nautiloids. One branch was the aforementioned ammonoids, which lasted until the
great Cretaceous extinction. One that emerged after the Ordovician extinction
was the Coleoids, containing today’s squid and octopus. Of the basal
nautiloids, only the Nautilus itself survives. The biggest invertebrates until
the Mesozoic were Endocerids, very successful in the Ordovician before the
whole order was wiped out in the mass extinction to come. The largest genera
were Camaroceras and Endoceras, reach 20-30 and 12 feet long respectively. Of
course, it is these leviathans that are at the center of the mural.
Filling out the trio are the ubiquitous trilobites. Not
being a trilobite expert, I can only guess that they depict the largest and
most spectacular genus Isotelus, which is found in Ordovcian rocks. Their
order, the Asaphids, were among the casualties of the Ordovician extinction.
The Ordovician was a boom-bust period, where the revolution in diversity was
suddenly hit by a catastrophe. It says something about the success of these
clades that they recovered in the Silurian and Devonian-the ammonites thrived,
the Orthocones hung on until fish drove them out in the Carboniferous, and the
Trilobites made it even to the Permian.
So, with the two cephalopods and the trilobites, you get a
small but dramatic sample of Ordovician sea life. Of course, if the setting was
underneath the waves, it would show the first coral reefs, sponges, mollusks,
echinoderms, trilobites etc. The dioramas would have filled in that lack, as
the painting would connect that gallery with the main fossil hall. Still, it’s
Knight’s best effort to feature the marine life of the period without breaking
his motif.
The composition of the piece is good-the shore’s marine life
and the water’s edge are centered between the rocks, and there’s a nice
counterpoint between the water and land with neither dominating the scale. The
trilobites, Endocerids and ammonites each have a distinct look and color,
although the brown ammonites do blend in with the brown seaweed washed on top
of them. Knight loves to show animals in
different positions by showing multiple individuals, and this is the first time
we see this in the series. This is an excellent way to show three dimensions in
terms of the subjects, although this does lead to visual redundancy. It’s more
successful when it comes to herds and gregarious animals.
The mural is limited by having the animals out of their
context, but it’s certainly unique in this. It works to transition from the
previous murals of landscapes to subsequent ones of fauna. Once we reach the
Permian, we’ll go to animal life in full swing, but this is the first show of
animal life in the series of murals. It’s not going to be anyone’s favorite
mural, but it’s a fine Charles Knight piece.
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