Abstract
Artist and naturalist Charles-Alexandre Lesueur (1778-1846) valued his work as useful to science generally and to France in particular, including during the time he lived and traveled in North America from 1816 to 1837. Starting with Daniela Bleichmar’s concept of “visual epistemology: a way of knowing based on visuality, encompassing both observation and representation,” this essay claims that Lesueur’s art and scientific practice adhered closely to a belief in the authority of art from direct observation in nature, and they served different professional, educational, community, and potentially commercial purposes. It charts the conditions under which he produced the art, the purpose(s) of the art, the types of art (sketches, paintings, prints, landscape drawings), and the intended audience through four types of subjects from the expedition to Missouri in 1826: the challenges of scientific fieldwork, Blacks in Missouri, lead mining, and inland but especially riverside towns.
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