All language subtitles for Audubon.2017.1080p.WEBRip.x264.AAC-[YTS.MX].eng

Downloaded from
YTS.MX

JOHN FITZPATRICK: THIS IS A MAN
WHO GENUINELY CHANGED ART AND

Official YIFY movies site:
YTS.MX

HE GENUINELY CHANGED SCIENCE
IN THE FIRST HALF OF THE 1800'S.

RICHARD RHODES: THERE
WERE ONLY TWO AMERICANS WHO

WERE INAUGURATED INTO THE
GREATEST SCIENTIFIC SOCIETY OF

EUROPE OF THE DAY.

ONE WAS BENJAMIN FRANKLIN,

THE OTHER WAS
JOHN JAMES AUDUBON.

JAMIE WYETH: THERE'S AN
EXCITEMENT IN HIS WORK,

IT'S JUST MORE THAN JUST
PAINTING THE BIRD.

I MEAN, THEY ARE ACCURATE.

I GUESS THEY'RE BIOLOGICALLY,
SCIENTIFICALLY ACCURATE BUT,

BUT, IT GOES WAY BEYOND THAT
AND THAT'S WHERE I THINK HE'S,

YOU KNOW, HE'S A
GIANT OF PAINTING.

DANNY HEITMAN: THE ORNITHOLOGIST
ROGER TORY PETERSON

SAID IT BEST,

"AUDUBONS REAL GIFT
TO US IS AWARENESS.

AND IN THAT AWARENESS
IS THE BEGINNING OF ALL

TRUE CONSERVATION."

RICHARD RHODES: AUDUBON LIVED
ON THE CUSP OF THE CHANGE FROM

WILDERNESS TO FARM AND
INDUSTRIAL AMERICA.

SO HE SAW THE WILDERNESS
IN IT'S LAST FLOURISHING AND

HE SAW THE BIRDS IN
THEIR LAST FLOURISHING.

♪

♪

♪

CHRISTOPH IRMSCHER:
AUDUBON WAS BORN IN 1785 IN

ST. DOMINGUE, THE
FRENCH PART OF HAITI.

AUDUBON WAS ILLEGITIMATE,
WHICH WAS A FACT THAT HAUNTED

HIM HIS ENTIRE LIFE.

HE WAS THE SON OF A
CHAMBERMAID THAT HIS FATHER

HAD MET GOING OVER FROM
NANTES, WHERE HE WAS FROM,

TO ST. DOMINGUE.

HIS MOTHER DIED SHORTLY
AFTER HIS BIRTH.

WHEN THE SLAVE REBELLION ON
ST. DOMINGUE TOOK PLACE HIS

FATHER TOOK HIM AND HIS
SISTER OVER TO FRANCE,

WHERE THEY GREW UP
AND THEY WERE ADOPTED BY

HIS FATHER'S WIFE.

AUDUBON: THE FIRST OF MY
RECOLLECTIVE POWERS PLACE ME

IN THE CENTRAL PORTION OF...

THE CITY OF NANTES, ON THE
LOIRE RIVER, IN FRANCE...

THE THUNDERS OF THE REVOLUTION
STILL ROARED OVER THE LAND.

THE REVOLUTIONISTS COVERED THE
EARTH WITH THE BLOOD OF MAN,

WOMAN, AND CHILD.

RICHARD RHODES: IT
WAS A TERRIBLE TIME,

AND THIS LITTLE BOY SUFFERED
THE TRAUMA OF SEEING PEOPLE

SLAUGHTERED IN THE STREET,
CHAINED TO BARGES THAT WERE

SUNK IN THE MIDDLE
OF THE RIVER,

SO THAT FOR A YEAR THEY
COULDN'T EAT THE FISH BECAUSE

OF ALL THE CORPSES
IN THE RIVER.

HIS FATHER WISELY MOVED THE
FAMILY TO A VILLAGE SOUTH OF

NANTES ON THE LOIRE RIVER,
WHERE THEY LIVED FOR THE REST

OF AUDUBON'S CHILDHOOD.

AUDUBON: A VIVID PLEASURE
SHONE UPON THOSE DAYS

OF MY EARLY YOUTH.

WHEN I HAD HARDLY
YET LEARNED TO WALK THE

PRODUCTIONS OF NATURE
LAY SPREAD ALL AROUND ME.

THEY WERE MY FIRST PLAYMATES.

ALMOST EVERY DAY, INSTEAD
OF GOING TO SCHOOL WHERE

I OUGHT TO HAVE GONE,
I USUALLY MADE FOR THE FIELDS

WHERE I SPENT THE DAY.

I WAS FERVENTLY
DESIROUS OF BECOMING

ACQUAINTED WITH NATURE.

NONE BUT AERIAL COMPANIONS
SUITED MY FANCY.

I FELT THAT AN INTIMACY
WITH THEM MUST ACCOMPANY

MY STEPS THROUGH LIFE.

NO ROOF SEEMED SO SECURE TO
ME AS THAT FORMED BY THE DENSE

FOLIAGE UNDER WHICH
THE FEATHERED TRIBES WERE

SEEN TO RESORT.

RICHARD RHODES: ONE OF
THE OUTCOMES OF THE FRENCH

REVOLUTION WAS THAT
NAPOLEON TOOK OVER FRANCE.

AUDUBON WAS HIS
FATHER'S ONLY SON,

AND HIS FATHER DIDN'T WANT
HIM TURNED INTO CANNON FODDER

TO SATISFY
NAPOLEON'S AMBITIONS.

SO HE HAD THE RIGHT
DOCUMENTS FORGED,

AND PUT HIS NOW
EIGHTEEN-YEAR-OLD SON IN 1803

ON A FAST SHIP FOR
THE UNITED STATES.

AUDUBON: MY FATHER FOUND IT
NECESSARY TO SEND ME TO THE

UNITED STATES OF AMERICA,
AND I CAME WITH INTENSE AND

INDESCRIBABLE PLEASURE.

RICHARD RHODES: THE
UNITED STATES IN 1803 WAS STILL

BASICALLY AN
ATLANTIC COASTAL COUNTRY.

IN FACT THE FAMOUS EXPEDITION
OF LEWIS AND CLARK THAT

THOMAS JEFFERSON
SENT OUT WAS JUST,

WHEN AUDUBON ARRIVED
IN THE FALL OF 1803,

PREPARING
TO LEAVE FOR THE WEST.

AUDUBON: MY FATHER GAVE
ME WHAT AMERICANS CALL A

BEAUTIFUL PLANTATION.

REFRESHED DURING THE SUMMER
EVES BY THE WATERS OF THE

SCHUYLKILL RIVER AND TRAVERSED
BY THE CREEK CALLED PERKIOMEN.

IT WAS THERE, AT MILL GROVE,
THAT I COMMENCED MY SIMPLE AND

AGREEABLE STUDIES, WITH AS
LITTLE CONCERN ABOUT THE

FUTURE AS IF THE WORLD
HAD BEEN MADE FOR ME.

CARES I KNEW NOT, AND
CARED NOT ABOUT THEM.

I HAD NO VICES, NEITHER
HAD I ANY HIGH AIMS.

RICHARD RHODES: THIS STORY
WOULD NOT BE COMPLETE WITHOUT

THE GIRL NEXT DOOR.

AND THERE WAS A GIRL
NEXT DOOR, LUCY BAKEWELL.

THE BAKEWELLS HAD MOVED
TO THE UNITED STATES AROUND

THE SAME TIME AUDUBON DID.

AND THEY MOVED HERE TO A
SUBSTANTIAL PROPERTY NEXT DOOR

TO AUDUBON'S PLACE THAT
WAS CALLED FATLAND FORD.

AND THERE LUCY WAS LIVING WHEN
AUDUBON REALIZED HE NEEDED TO

BUY A GOOD HORSE, AND THAT HIS
NEIGHBOR MR. BAKEWELL MIGHT

HAVE ONE FOR SALE.

AUDUBON: I WAS SHOWN
INTO A PARLOR WHERE

ONLY ONE YOUNG
LADY WAS SEATED BY THE FIRE.

KELLY BRENGELMAN: LUCY WAS
ABOUT TO TURN SEVENTEEN OR

ALREADY WAS SEVENTEEN WHEN
SHE MET JOHN JAMES AUDUBON,

SO SHE WAS READY
TO MEET ROMANCE AND

HE GAVE IT TO HER.

AUDUBON: IT WAS SHE.

OH, MAY GOD BLESS HER,

WHO AFTERWARDS WOULD
BECOME MY BELOVED WIFE.

KELLY BRENGELMAN: SHE
WAS A VERY PROPER WOMAN,

AND THIS WAS A FLAMBOYANT
MAN COMING INTO HER LIFE.

LUCY AUDUBON: MY DEAR COUSIN,

MY MARRIAGE TOOK PLACE
AT THE BEGINNING OF APRIL.

I WISH YOU WERE ACQUAINTED
WITH THE PARTNER OF MY DESTINY.

IT IS USELESS TO SAY MORE
OF HIM TO YOU AT SO GREAT A

DISTANCE, THAN THAT HE HAS A
MOST EXCELLENT DISPOSITION,

WHICH ADDS VERY MUCH TO THE
HAPPINESS OF MARRIED LIFE.

RICHARD RHODES: WHEN THE
YOUNG PEOPLE OF AMERICA DECIDED

TO BECOME AMERICANS,
THEY WERE READY TO STRIKE OUT

FROM THE ATLANTIC COAST,
TO MOVE INTO THE INTERIOR,

TO CROSS THE APPALACHIANS TO THE
NEW TOWNS ON THE REAL FRONTIER,

THE FAR WEST, WHICH
WAS IN THOSE DAYS KENTUCKY.

LUCY AUDUBON: YOU WILL FORM
SOME IDEA OF THE ROADS WHEN

I TELL YOU THAT THE FIRST
DAY WE TRAVELED 70 MILES,

SET OUT AT FOUR IN THE
MORNING AND ARRIVED AT THE INN

ABOUT SEVEN IN THE EVENING,
AND EVERY DAY AFTERWARDS,

TRAVELING THE SAME
AMOUNT OF HOURS,

WE COULD ONLY GO BETWEEN
THIRTY AND FORTY MILES.

WE TRAVELED SOMETHING
MORE THAN 300 MILES BY LAND,

AND 700 BY WATER.

THE 700 MILES BY
WATER WAS PERFORMED WITHOUT

MUCH FATIGUE, THOUGH NOT
WITHOUT SOME DISAGREEABLES.

OUR CONVEYANCE WAS A LARGE,
SQUARE, OR RATHER OBLONG BOAT,

BUT PERFECTLY
FLAT ON ALL SIDES,

AND JUST HIGH ENOUGH TO ADMIT
A PERSON WALKING UPRIGHT.

I WISH, MY DEAR COUSIN, YOU
COULD HAVE ENJOYED THE VARIETY

OF BEAUTIFUL PROSPECTS
WE DID ON OUR JOURNEY,

WITHOUT PARTAKING
OF THE FATIGUES.

HOWEVER, CONSIDERING
THE LENGTH OF IT,

I MUST NOT COMPLAIN.

WE TRAVELED GENERALLY ALL
RIGHT AND REACHED THE PLACE OF

OUR FUTURE RESIDENCE,
WHICH IS A VERY

PLEASANTLY SITUATED PLACE.

THE COUNTRY ROUND
IS RATHER FLAT,

BUT THE LAND IS VERY FERTILE.

AUDUBON: THE COUNTRY
WAS SETTLED BY PLANTERS AND

FARMERS OF THE MOST BENEVOLENT
AND HOSPITABLE NATURE.

AND MY YOUNG WIFE, WHO
POSSESSED TALENTS FAR ABOVE PAR,

WAS REGARDED AS A GEM,
AND RECEIVED BY THEM ALL WITH

THE GREATEST PLEASURE.

THIS PLACE SAW MY BEST
DAYS, MY HAPPINESS,

MY WIFE HAVING BLESSED
ME WITH OUR SON, GIFFORD.

THE PLEASURE WHICH I FELT IN
HENDERSON AND UNDER THE ROOF

OF THAT LOG CABIN CAN NEVER
BE ERASED FROM MY HEART.

LUCY AUDUBON: I AM VERY SORRY
THERE IS NO LIBRARY HERE,

OR BOOKSTORE OF ANY KIND,
FOR I HAVE VERY FEW OF MY

OWN AND AS MR. AUDUBON IS
CONSTANTLY AT THE STORE

I SHOULD ENJOY A BOOK
VERY MUCH WHILST I AM ALONE.

AUDUBON: WE HAD MANY GOODS
AND OPENED A LARGE STORE,

WHICH WENT ON PROSPEROUSLY
WHEN I ATTENDED TO IT.

BUT BIRDS WERE BIRDS, AND
MY THOUGHT WE EVER AND ANON

TURNING TOWARDS
THEM, AS NATURE ONLY.

I SELDOM PASSED A DAY
WITHOUT DRAWING A BIRD OR

NOTING SOMETHING
RESPECTING ITS HABITS.

I FELT A GREAT DESIRE TO
MAKE CHOICE OF A STYLE MORE

PARTICULARLY ADAPTED TO
THE IMITATION OF FEATHERS THAN

THE DRAWINGS AND WATERCOLORS
THAT I HAD BEEN IN THE

HABIT OF SEEING.

TO COMPLETE A COLLECTION
NOT ONLY VALUABLE TO THE

SCIENTIFIC CLASS, BUT
PLEASING TO EVERY PERSON.

MY DRAWINGS HAVE ALL BEEN
MADE AFTER INDIVIDUALS FRESH

KILLED, MOSTLY BY MYSELF, AND
PUT UP BEFORE ME BY MEANS OF

WIRE IN THE PRECISE
ATTITUDE PRESENTED.

BUT IN FORMING WORKS
ENTIRELY WITH THE VIEW TO

DISTINGUISH THE
TRUE FROM THE FALSE,

NATURE MUST BE
SEEN FIRST ALIVE.

THE GREAT HORNED OWL IS ONE
OF THE MOST COMMON SPECIES

ALONG THE SHORES OF THE OHIO.

ROBERTA OLSON: THE GREAT
HORNED OWL IS ONE OF AUDUBON'S

EARLY MASTERPIECES.

AND IT SHOWS HIS
MODERN QUALITIES.

HE DID THE BIRD ON
THE RIGHT IN 1814 AS THE

INSCRIPTION SAYS, IN HENDERSON.

AND HE DID IT IN HIS
EARLY TECHNIQUE OF PASTEL,

EVEN THOUGH HE BEGAN TO USE
INK AND OTHER THINGS IN IT,

AND YOU CAN SEE THAT YOU CAN
ALMOST TOUCH THE FEATHERS,

THEY WOULD BE SOFT.

THAT IS THE MALE, WHICH IS
SMALLER THAN THE FEMALE.

THE FEMALE IS ON THE LEFT
AND YOU CAN SEE THAT SHE IS

DIFFERENT NOT ONLY IN HER
PLUMAGE BUT ALSO BY THE MEDIA,

BECAUSE SHE IS
DONE IN WATERCOLOR.

HE HAS OVERLAPPED THE
TWO AND COLLAGED THEM,

OR GLUED THEM DOWN ON
A THIRD SHEET OF PAPER.

DON BOARMAN: BY THE TIME HE'D
BEEN HERE ONLY THREE YEARS...

HE WAS THE THIRD WEALTHIEST
MAN IN HENDERSON.

HE BEGAN TO SPECULATE
IN REAL ESTATE.

CHRISTOPH IRMSCHER:
THEY LIVED QUITE COMFORTABLY,

GIVEN THE FRONTIER CONDITIONS.

THEY HAVE SLAVES, SOMETHING
THAT'S NOT ALWAYS MENTIONED.

DON BOARMAN: IN 1812
THEY'D HAD ANOTHER SON,

JOHN WOODHOUSE AUDUBON.

THE MIDDLE NAMES,
GIFFORD AND WOODHOUSE,

CAME FROM LUCY'S
SIDE OF THE FAMILY.

CHRISTOPH IRMSCHER: HE BECOMES
AN AMERICAN CITIZEN IN 1812,

A NATURALIZED
AMERICAN CITIZEN,

ON A TRIP BACK
TO PHILADELPHIA.

UNFORTUNATELY HE ALSO INVESTS
IN A STEAM MILL THAT BECOMES A

GIGANTIC BUSINESS FAILURE.

AUDUBON: THE BUILDING OF
THAT ACCURSED STEAM MILL WAS,

OF ALL THE FOLLIES OF MAN,
ONE OF THE GREATEST.

I HAD HEAVY BILLS TO PAY,

WHICH I COULD NOT MEET.

I PAID ALL I COULD,
AND LEFT HENDERSON POOR AND

MISERABLE OF THOUGHT.

NOTHING WAS LEFT TO ME
BUT MY HUMBLE TALENTS.

JOHN FITZPATRICK: THERE IS
A TRANSFORMATIONAL MOMENT

IN HIS LIFE,
RIGHT AROUND 1820 I THINK,

WHERE HE JUST SAYS,

"I'M COMMITTED TO THIS
TOTALLY CRAZY IDEA,

OF PAINTING ALL THE BIRDS
IN NORTH AMERICA, IN LIFE SIZE."

I DON'T THINK EVEN AUDUBON
KNEW HOW BIG A JOB THAT WOULD

END UP HAVING TO BE.

KELLY BRENGELMAN: WHEN
THEY WERE DESTITUTE,

AFTER THEY HAD LOST
EVERYTHING IN HENDERSON,

JOHN JAMES KIND OF BECAME
OBSESSED WITH FINDING MORE

BIRDS, AT A TIME WHEN HE
SHOULD HAVE BEEN OBSESSED WITH

FINDING A REAL JOB.

RICHARD RHODES: SO HOW
IS HE GOING TO DO THIS?

HOW IS HE GOING TO
SUPPORT HIS FAMILY?

WELL HE'S NOT, LUCY'S GOING
TO TAKE CARE OF THAT PART.

LUCY IS A TEACHER.

AND HE WILL SIGN
ON TO A FLATBOAT,

DOWN ONE OF THE GREAT BIRD
FLYWAYS OF NORTH AMERICA,

THE CENTRAL FLYWAY
DOWN THE MISSISSIPPI.

AUDUBON: I LEFT
CINCINNATI THIS AFTERNOON AT

HALF PAST FOUR O'CLOCK.

THE FEELINGS OF A HUSBAND
AND FATHER WERE MY LOT,

WHEN I KISSED MY BELOVED
WIFE AND CHILDREN WITH AN

EXPECTATION OF BEING
ABSENT FOR SEVEN MONTHS.

I AM ONBOARD A KEELBOAT
GOING DOWN TO NEW ORLEANS,

THE POOREST MAN ON IT.

RICHARD RHODES: THE BOATS
NEEDED SOMEONE ABOARD WHO

WOULD BE A POT HUNTER,

WHO WOULD GET OFF WHEN
THEY PULLED OVER TO THE BANK

AND GO FIND SOME ANIMALS IN
THE FOREST TO SHOOT THAT THEY

COULD COOK UP FOR FOOD.

THAT WOULD BE HOW HE WOULD
PAY HIS WAY DOWN THE RIVER.

AUDUBON: THIS
AFTERNOON BEING CALM,

WITH ONE OF THOSE
WHIMSICAL SUNSETS THAT ONLY

BELONG TO AMERICA.

AS NIGHT CAME,
OUR MINDS BECAME AFFECTED BY

STRONG EMOTIONS.

I LOOKED AT MY DRAWINGS, AND
PARTICULARLY AT THAT OF MY

BELOVED WIFE.

I LIKE TO SPEND ABOUT
ONE HOUR IN THOUGHTS DEVOTED

TO MY FAMILY.

THE MORNING BROKE, AND WITH
IT MIRTH, ALL ABOUT US.

THEY ARE NOT THE SOFT SOUND
OF THE FLUTE THAT I HEAR,

BUT THE SWEETER NOTES
OF NATURE'S OWN MUSIC,

CHEERING THE APPROACH OF
A BENEVOLENT, SHINING DAY.

I NEVER FOR A DAY GAVE
UP LISTENING TO THE

SONGS OF OUR BIRDS...

OR WATCHING THEIR
PECULIAR HABITS,

AND DELINEATING THEM IN
THE BEST WAY THAT I COULD.

I THOUGHT THAT I NOW DREW
BIRDS FAR BETTER THAN I HAD

EVER DONE BEFORE MISFORTUNE
INTENSIFIED OR AT LEAST

DEVELOPED MY ABILITIES.

RICHARD RHODES: AUDUBON
REALLY HAD REACHED THE POINT

WHERE HE COULD
BEAUTIFULLY DRAW A BIRD,

IN THREE DIMENSIONS,

AND AS HE SAID THE
ATTITUDE OF LIFE.

HE OBSERVED THE BIRDS
IN THEIR NATURAL ENVIRONMENT

FOR HOURS AND HOURS
AND DAYS AND DAYS.

AUDUBON: I RECEIVED TWO LETTERS
FROM MY BELOVED WIFE TODAY.

I HOPE THAT MY FAMILY
WISHES ME AS GOOD A CHRISTMAS

AS I DO THEM.

SUNDAY, JANUARY 7, 1821.

AT NEW ORLEANS AT LAST.

WE ARRIVED HERE ABOUT
EIGHT O'CLOCK THIS MORNING.

DANNY HEITMAN: AUDUBON
ARRIVED EARLY IN 1821.

IN SHORT ORDER HE HAD
HIS POCKET PICKED,

HE SUFFERED A HANGOVER.

AUDUBON: I AROSE EARLY,
TORMENTED BY MANY DISAGREEABLE

THOUGHTS, WITHOUT A CENT
IN A BUSTLING CITY WHERE

NO-ONE CARES A FIG FOR
A MAN IN MY SITUATION.

DANNY HEITMAN: IN THE SPRING
OF 1821 HE'S DESTITUTE,

HE'S DOWN ON HIS
LUCK, HE'S DEPRESSED,

AND HE'S QUITE POSSIBLY ABOUT
TO GIVE UP ON THIS AMBITION HE

HAS TO BE A FULL-TIME BIRD
ARTIST AND TO CONTINUE HIS

WORK ON THE BIRDS OF AMERICA.

IT'S AT THAT POINT...

THAT HE MEETS LUCRETIA PERRY,
WHO IS THE WEALTHY MISTRESS OF

OAKLEY PLANTATION...

IN ST. FRANCISVILLE,
NEAR NEW ORLEANS.

LUCRETIA WANTS AUDUBON TO
TUTOR HER DAUGHTER ELIZA,

WHO'S FIFTEEN YEARS OLD.

HE'S TO SPEND HALF OF HIS TIME
TUTORING ELIZA AND THE OTHER

HALF OF HIS TIME HE CAN
COMB THESE WONDERFUL WOODS

HERE FOR HIS BIRD SPECIMENS.

AUDUBON: THE WOODS
HERE HAVE A NEW AND

VERY ROMANTIC APPEARANCE.

THE MOSS ON EVERY TREE
DARKENS THE UNDERGROWTH AND

AFFORDS TO THE MELANCHOLY
MIND A RETREAT.

MY BELOVED BIRDS OF
AMERICA FILL ALL MY TIME,

AND NEARLY ALL MY THOUGHTS.

I KNOW OF NO SPECIES
SO GAY OR FROLICSOME AS THE

RED-HEADED WOODPECKER.

THEY FIND A SUPERABUNDANCE
OF FOOD EVERYWHERE,

AS WELL AS THE BEST FACILITIES
FOR RAISING THEIR BROODS.

THE LITTLE LABOR THAT
THEY PERFORM IS ITSELF A

SOURCE OF ENJOYMENT.

JOHN FITZPATRICK: I MEAN
THIS IS NOT JUST AN ARTIST.

THIS IS A GUY WHO IS
PASSIONATE ABOUT THESE THINGS,

HE'S CURIOUS ABOUT
WHAT THEY'RE DOING,

AND HE WANTS TO PUT ALL THAT
ONTO PAPER AND LET OTHER

PEOPLE ENJOY THAT.

THAT WAS REVOLUTIONARY,
COMPLETELY NEW.

SO HE'S DEPICTING
PLUMAGE MUCH MORE ACCURATELY

THAN ANYBODY EVER HAD.

HE'S DEPICTING POSTURES
FAR MORE ACCURATELY AND

WITH FAR MORE, WELL,
PASSION THAN ANYBODY EVER HAD.

AND HE'S DEPICTING BEHAVIORS,
ACTUAL GENUINE BEHAVIORS THAT

THE BIRDS DO IN REAL LIFE,

MUCH MORE ACCURATELY
THAN ANYBODY EVER HAD.

RICHARD RHODES: BIRD
ILLUSTRATIONS HAD BEEN

BASICALLY, BEFORE AUDUBON,

FOR PURPOSES
OF BIRD IDENTIFICATION.

REMEMBER THIS WAS
BEFORE PHOTOGRAPHY,

HE HAD TO ENVISION
THIS SOMEHOW IN HIS MIND

FROM DEAD SPECIMENS.

ROBERTA OLSON: AND
HE SAW THEM MOVING.

THEREFORE IN HIS WATERCOLORS
YOU WOULD HAVE THE BIRDS

MOVING BEYOND THE FRAME,
THEY WOULD BE COMING IN

FROM THE LEFT,
MOVING OFF TO THE RIGHT,

THEY'D BE FLYING
OFF OF THE TOP.

AND MANY OF THE BIRDS YOU
WILL SEE LIFTING THEIR FEET AND

YOU SWEAR THAT IF YOU BLINK
THEY WILL EITHER FLY AWAY

OR STEP OFF THAT
PIECE OF PAPER.

AND HE RECOUNTS HOW THIS
VERY EPISODE OF THE RED-TAILED

HAWKS HE VIEWED
WITH HIS OWN EYES.

A FEMALE HAD GRABBED A
RABBIT IN HER TALONS AND

WAS GOING OFF WITH IT
WHEN HER MATE ATTACKED HER.

CHRISTOPH IRMSCHER: THERE
IS NEVER A SIMPLE NARRATIVE

THAT AUDUBON GIVES YOU IN
HIS BEST COMPOSITIONS.

YOUR EYE IS DIRECTED INTO
MANY DIFFERENT DIRECTIONS,

WHICH IS WHY THESE
IMAGES ARE NEVER DULL,

THEY'RE NEVER BORING.

YOU SEE THE EYE OF THE MALE,
YOU SEE THE EYE OF THE FEMALE,

YOU SEE THEIR BEAKS, YOU SEE
THE OPEN BEAK OF THE MALE.

AND AUDUBON DOES ENCOURAGE
THAT KIND OF FEELING,

THAT WE ARE PART OF THE
IMAGE THAT HE PRESENTS TO US.

DANNY HEITMAN: I THINK WHAT'S
REALLY IMPRESSIVE ABOUT

AUDUBON IS HIS
PHENOMENAL ENERGY.

WHILE HE WAS HERE AT OAKLEY
HE WOULD RISE BEFORE DAWN,

HE WOULD GO OFF INTO THE WOODS
TO LOOK FOR BIRD SPECIMENS,

COME BACK, DO HIS TUTORING.

HE'D BE OUT IN THE
AFTERNOON, AFTER HIS TEACHING

RESPONSIBILITIES, AND HE
WOULD OFTEN BE WRITING LATE

INTO THE NIGHT, RECORDING
HIS EXPERIENCES HERE,

AND OF COURSE KEEPING UP
WITH HIS CORRESPONDENCE.

HE HAD A TIRELESS ENERGY.

OF COURSE HE BROUGHT
BACK SPECIMENS HERE.

IT'S VERY HOT, IT'S AT
THE HEIGHT OF SUMMER.

AND THERE ARE NOTES IN HIS
JOURNAL ABOUT WORKING VERY

HARD TO DRAW A
PICTURE OF A RATTLESNAKE

BEFORE IT DECOMPOSES.

THIS IS NOT THE SORT OF
PERSON THAT ONE WOULD IDEALLY

WANT TO HAVE AROUND YOUR HOUSE.

RICHARD RHODES: THERE'S A GOOD
DEAL OF CORRESPONDENCE THAT

SURVIVES BETWEEN LUCY AND
JOHN JAMES DURING THIS PERIOD

THAT HE'S IN NEW ORLEANS
AND UP RIVER ON THE PLANTATION.

SHE'S NOT VERY
HAPPY AT THIS POINT.

SHE'S LIVING WITH RELATIVES,
WHICH IS ALWAYS PAINFUL,

PARTICULARLY IF YOU'VE HAD
YOUR OWN ESTABLISHMENT AND ALL

OF THOSE THINGS BEFORE.

SHE HAS HER TWO YOUNG
SONS SHE TAKING CARE OF AND

TRYING TO SCHOOL.

THERE'S A GOOD DEAL OF HER
BEING CONCERNED THAT HE'S

FORGOTTEN HER.

THAT HE PERHAPS DOESN'T
LOVE HER ANYMORE.

THE SOLUTION WAS TO BRING
LUCY DOWN TO LOUISIANA.

KELLY BRENGELMAN:
THIS IS AT THE POINT WHERE

SHE FINALLY SAW THE BIRDS
THAT HE HAD DRAWN THERE.

AND EVERYTHING MELTED AWAY.

HER ANGER JUST WENT AWAY.

SHE SAW THE WORK THAT HE
WAS CREATING AND SHE KNEW

THAT THIS WAS GOING TO
BE VERY, VERY POPULAR.

SO ALL WAS FORGIVEN
AT THIS POINT.

ALL WAS FORGIVEN.

RICHARD RHODES: AND WITH
HER SET OF SKILLS SHE FIT IN

PERFECTLY TO SERVE AS THE
COMPLETE TEACHER ON THE

PLANTATIONS OF THESE WEALTHY
SOUTHERNERS WHO WANTED THEIR

CHILDREN TO
HAVE THE FINER TOUCHES OF

A EUROPEAN EDUCATION.

AND THEY MADE AN ADEQUATE
LIVING THAT WAY WHILE HE

COLLECTED IN THIS
PARADISE IN LOUISIANA.

WHEN AUDUBON STUDIED BIRDS
HE WASN'T ABLE TO GO TO A

PARK SOMEWHERE AND SIT ON
A BENCH AND WATCH THE BIRDS

FLY AND SO ON.

HE HAD TO GO INTO
THE WILDERNESS.

HE DID IT MOSTLY ON FOOT.

HE WAS A FAMOUS WALKER,

HE COULD WALK
FORTY MILES IN A DAY.

AND HE WASN'T WALKING ON
A NICE SMOOTH SURFACE,

HE WAS WALKING THROUGH
OPEN FOREST OR PRAIRIE.

ALL OF THIS IN THE SERVICE OF
UNDERSTANDING THE BIRDS NOT

SIMPLY AS DEAD SPECIMENS BUT
AS LIVING CREATURES WHO HAD

LIFE CYCLES OF THEIR OWN.

AUDUBON: THE FAMILIARITY
OF THE HOUSE WREN

IS EXTREMELY PLEASING.

THIS SWEET LITTLE BIRD
DELIGHTS IN BEING ABOUT THE

HABITATIONS OF MAN.

I KNEW OF ONE NEST IN
SUCH AN OLD HAT AS YOU SEE

REPRESENTED BEFORE YOU.

CHRISTOPH IRMSCHER: THE HOUSE
WREN IS ONE OF MY FAVORITE

IMAGES BECAUSE IT SHOWS THAT
AUDUBON HAS A SENSE OF HUMOR.

IT'S ONE OF THE FEW PAINTINGS
WHERE AUDUBON GETS EVIDENCE OF

HUMAN LIFE RIGHT
INTO THE PAINTING,

AND BIRDS HAVE REPURPOSED
IT FOR THEIR OWN LIVES,

USING IT AS A HABITATION.

YOU SEE EXCREMENT
DRIFTING DOWN THE HAT...

AS IF THE BIRDS WERE
EXPRESSING THEMSELVES.

YOU KNOW, EXPRESSING THEIR
OWN OPINION OF WHAT HUMANKIND

MEANS TO THEM.

JOHN FITZPATRICK: THERE'S
ONE OF AUDUBON'S PAINTINGS

THAT I PARTICULARLY LIKE
AS AN ILLUSTRATION OF THE

THOUGHT THAT HE PUT INTO
THESE COMPOSITIONS.

THE CAROLINA PARAKEET IS A
SPECTACULAR ONE WITH A WHOLE

BUNCH OF PARAKEETS, KIND
OF ARRANGED IN A BIG S CURVE

DOWN THE PAGE, AND
EVERY SINGLE PARAKEET'S IN

A DIFFERENT POSTURE.

ONE OF THEM NEAR THE
BOTTOM AND HE'S LOOKING

STRAIGHT AT YOU.

AND HE'S DISPLAYING ALL THEIR
FEATHERS AND THEIR DIFFERENT

POSTURES IN THAT ONE PAINTING,
AND IT'S ALL BROUGHT TOGETHER

IN A BEAUTIFUL MOSAIC OF
PATTERN THAT IS BRILLIANT.

ROBERTA OLSON: THIS IS THE
ONLY PARROT NATIVE TO AMERICA,

AND AUDUBON FIRST
SAW IT IN 1808.

THIS WATERCOLOR HOWEVER
DATES FROM AROUND 1825.

JAMIE WYETH: IF YOU LOOK AT
WATERCOLOR BEFORE AUDUBON CAME

ALONG IT WAS RATHER,
YOU KNOW, WASHES AND RATHER

PROSAIC AND WHATNOT.

HE JUST ZEROED RIGHT IN.

I MEAN THE EYEBALL OF A
BIRD AND THE GLEAM OF IT.

AND THIS IS WATERCOLOR!

TECHNICALLY, AS A
WATERCOLORIST HE WAS ONE OF

THE GIANTS OF THE
MEDIUM AND HE TOOK WATERCOLOR

TO ANOTHER LEVEL.

SO MY FATHER WAS JUST
INTRIGUED WITH THAT.

I THINK JOHN JAMES AUDUBON
AND ALBRECHT DURER ARE THE TWO

PEOPLE IN WATERCOLOR THAT
MY FATHER ABSOLUTELY ADORED.

HE'S A REMARKABLE
TECHNICIAN AND NOT RESTRICTED

BY HIS MEDIUM.

JOHN FITZPATRICK: HE STARTED
TO ACTUALLY REALLY FLOURISH

WITH THE STYLE THAT
BECAME SIGNATURE AUDUBON,

WITH LOTS OF BEHAVIOR.

HE WAS SHOWING OFF.

AND HE'S DOING THAT
WITH HIS PAINTINGS.

AUDUBON: I HAVE REPRESENTED
TEN OF THESE PRETTY AND

MOST INTERESTING BIRDS
IN VARIOUS POSITIONS.

FLITTING, FEEDING OR
SITTING ON THE SLENDER STALK

OF THE TRUMPET FLOWER AND
PRUNING THEMSELVES.

ROBERTA OLSON: MOST CERTAINLY
AUDUBON SAW RUBY-THROATED

HUMMINGBIRDS IN LOUISIANA.

AMONG THE MANY KINDS OF
MEDIA AUDUBON EMPLOYED HERE

WAS ONE THAT REALLY SORT
OF KNOCKS YOUR SOCKS OFF.

THAT IS THE APPLICATION
OF GOLD AND COPPER COLORED

METALLIC PIGMENTS.

YOU CAN ONLY SEE THEM WHEN
YOU TIP THE PAPER SO THAT THEY

CATCH THE LIGHT.

AND AS EVERYONE KNOWS WHO
HAS WATCHED RUBY-THROATED

HUMMINGBIRDS, THAT IS EXACTLY
THE WAY THEY LOOK WHEN THE

LIGHT CATCHES THEIR FEATHERS.

AUDUBON: THIS GLITTERING
FRAGMENT OF THE RAINBOW IS

SEEN ADVANCING ON FAIRY WINGS,

CAREFULLY VISITING
EVERY OPEN FLOWER CUP.

IT MOVES FROM ONE FLOWER TO
ANOTHER LIKE A GLEAM OF LIGHT.

UPWARDS, DOWNWARDS, TO
THE RIGHT, TO THE LEFT.

JOHN FITZPATRICK: BY THE
MID-TWENTIES AUDUBON HAS

ACCUMULATED A PRETTY AMAZING
COLLECTION OF PAINTINGS,

AND HE'S GOTTEN VERY,
VERY GOOD AT THESE THINGS.

HE'S NOW READY TO SAY, WELL,
I'VE GOT TO MAKE SOME MONEY

OFF THIS FINALLY.

SO HIS FIRST EFFORT OF
COURSE IS GO TO THE EAST COAST

OF THE U.S. AND TRY
TO GET SOME TRACTION THERE.

AND BASICALLY HE FALLS FLAT.

AUDUBON WAS NOT VIEWED BY
THE SCIENCE COGNOSCENTI IN

PHILADELPHIA AS ANYTHING
EXCEPT A PIONEER GUY,

A WOODSMAN OUT IN THE WEST.

DON BOARMAN: HE GIVES THE GOOD
NEWS AND THE BAD NEWS TO LUCY.

THE BAD NEWS IS I DID NOT FIND
AN ENGRAVER OR A PUBLISHER OR

ANYBODY INTERESTED IN
HELPING ME PROMOTE THIS IDEA.

THE GOOD NEWS IS EVERYBODY
LOVES MY PAINTINGS.

AND THEY TELL ME THAT I REALLY
NEED TO GO TO ENGLAND OR

FRANCE TO GET THIS DONE.

SO THEY BOTH AGREE THIS
IS WHAT HE NEEDS TO DO.

SHE BEGINS WORKING, TEACHING,
HE AGAIN FARMS HIMSELF OUT

TEACHING EVERYTHING
HE COULD THINK OF.

AND THEY MANAGE TO SAVE
A GOOD BIT OF MONEY.

BY 1826 HE TAKES HIS
DRAWINGS AND GETS ON A BOAT

HEADED TO LIVERPOOL, ENGLAND.

AUDUBON: I LEAVE
MY BELOVED AMERICA,

MY WIFE, MY CHILDREN,
AND ACQUAINTANCES.

THE PURPOSE OF THIS VOYAGE
IS TO VISIT ENGLAND WITH THE

INTENTION OF PUBLISHING MY
WORK OF THE BIRDS OF AMERICA.

MY SITUATION APPEARS
PRECARIOUS IN THE EXTREME.

I IMAGINE THAT EVERY
INDIVIDUAL WHOM I AM ABOUT TO

MEET POSSESSES TALENTS
SUPERIOR TO THOSE OF ANY ON

OUR SIDE OF THE ATLANTIC.

THE BIRD SEIZED WHEN
SITTING ON HER NEST...

COULD NOT BE MORE TERRIFIED.

DON BOARMAN:
AUDUBON NOW IS LONELY,

HE'S IN A FOREIGN COUNTRY...

HE'S SCARED OUT OF HIS MIND.

BECAUSE HE KNOWS THAT
THIS IS HIS LAST SHOT.

HE'S MEETING PEOPLE
HE DOES NOT KNOW,

HE'S DEPENDING ON THE
BENEVOLENCE OF PEOPLE HE

DOES NOT KNOW AND
IF HE FAILS HERE...

IT'S DONE.

ALL THESE LAST FEW YEARS
OF WORK WERE FOR NOTHING.

ALL THOSE PEOPLE,
INCLUDING HIS IN-LAWS,

WHO HAD RIDICULED HIM,
THIS IS ALL WEARING ON HIM NOW.

BECAUSE IF HE CAN'T MAKE
THIS WORK THEN MAYBE THEY

WERE RIGHT AND I AM A
WORTHLESS NO-GOOD JERK,

AND POOR LUCY HAS REALLY
MADE A BAD CHOICE.

RICHARD RHODES: HE HAD AN
INTRODUCTION TO SOMEONE WHO

BRUSHED HIM OFF WHEN HE
SHOWED UP IN HIS ROUGH COUNTRY

BUCKSKINS WITH HIS HAIR
DOWN TO HIS SHOULDERS.

AND HE REALLY WAS
LOST IN THE MIDDLE OF THIS

TOTALLY NEW WORLD.

BUT HE MADE A CONNECTION AND
WITHIN A FEW WEEKS WAS TAKEN

UP BY ONE OF THE FIRST
FAMILIES OF LIVERPOOL.

THEY THOUGHT
MR. AUDUBON WAS A TRUE AND

AUTHENTIC AMERICAN ORIGINAL.

AND HE SLIPPED INTO THIS
ROLE OF THE "AMERICAN WOODSMAN",

AS HE CALLED HIMSELF.

AND HE PERFORMED,

HE WOULD BE INVITED
TO DINNER...

HE'D WEAR HIS COUNTRY
CLOTHES, HE'D WOULD DO,

"WOO-WOO-WOO" INDIAN
DANCES AROUND THE TABLE.

AUDUBON: I WAS ASKED TO
IMITATE THE WILD TURKEY CALL

AND I DID, TO THE SURPRISE
OF THE WHOLE CIRCLE.

I HOOTED LIKE A BARRED
OWL AND COOED LIKE A DOVE.

I'M GLAD REALLY THAT I WAS NOT
DESIRED TO BRAY LIKE AN ASS,

BECAUSE IT WOULD HAVE BEEN
RUDE, EVEN FROM AN ASS,

TO BRAY IN SUCH COMPANY.

ROBERTA OLSON: AUDUBON
WAS A GENIUS AT MARKETING,

FIRST OF ALL AS THE AMERICAN
WOODSMAN HE CAME OVER TO

EUROPE WITH HIS BUCKSKIN
CLOTHES ON THE MODEL OF

NATTY BUMPO AND DANIEL BOONE,
AND HE PUT BEAR GREASE IN HIS

HAIR SO HE COULD
REALLY SMELL AUTHENTIC,

AND OF COURSE HE
DID ROAD SHOWS.

HE BROUGHT ALL OF HIS
WATERCOLORS AND HE WOULD TACK

THEM UP, FIRST IN LIVERPOOL
AND THEN IN EDINBURGH AT THE

ROYAL INSTITUTION.

AUDUBON: THIS DAY, LUCY,
WAS ONE OF TRIAL TO ME.

AT NINE THIS MORNING I WAS
QUITE BUSY ARRANGING AND

DISPOSING IN SETS MY DRAWINGS,

TO BE FAIRLY INSPECTED
BY THE PUBLIC,

THE CONNOISSEURS,
THE CRITICS.

THERE I WAS, ALL
IN VIEW OF THE WORLD.

MAN: PAINTINGS AND WATERCOLORS
COVERED THE WALLS OF THE

INSTITUTION HALL AND THE
EFFECT WAS LIKE MAGIC.

THE SPECTATOR IMAGINED
HIMSELF IN THE FOREST.

ALL WERE OF THE SIZE OF
LIFE, FROM THE WREN AND THE

HUMMINGBIRD TO THE WILD TURKEY
AND THE BIRD OF WASHINGTON.

'TWAS A WILD AND POETICAL
VISION OF THE HEART OF

THE NEW WORLD.

RICHARD RHODES: TO WALK
INTO A ROOM FULL OF BIRDS IN

THE SIZE AND MANNER OF LIFE,

AS AUDUBON WOULD
SAY, IN FULL COLOR,

LIT BY THE NATURAL
LIGHT FROM THE WINDOWS,

WAS SOMETHING LIKE GOING
TO A MOVIE THEATER TODAY.

IT MUST HAVE BEEN EMOTIONALLY
ALMOST OVERWHELMING.

HERE WAS THE AMERICAN
WILDERNESS BROUGHT TO LIFE

BEFORE PEOPLE'S EYES IN
THESE WONDERFUL DRAWINGS.

AUDUBON: MY DEAREST FRIEND,
MY SITUATION IN EDINBURGH

BORDERS ON THE MIRACULOUS.

WITHOUT EDUCATION I AM
POSITIVELY LOOKED ON BY ALL

THE PROFESSORS AS A
VERY EXTRAORDINARY MAN.

RICHARD RHODES: AUDUBON'S
FIRST ENGRAVER WAS A MAN IN

EDINBURGH, SCOTLAND,
BUT HE WAS NOT REALLY QUITE

UP TO DATE IN THE
TECHNOLOGY OF ENGRAVING.

HEARD THAT THERE WAS A MORE
MODERN WAY TO ENGRAVE THAT A

FAMILY IN LONDON, THE
HAVELL FAMILY, HAD PERFECTED.

THIS WAS CALLED AQUATINT, AND
WHAT IT MEANT WAS THAT THE

PLATE WAS PREPARED IN A WAY
THAT YOU GOT A KIND OF SHADING

IN THE AREAS WHERE
COLOR WAS TO BE APPLIED.

SO THIS NEW AND MODERN WAY
OF DEALING WITH ENGRAVING

DREW AUDUBON FROM SCOTLAND
TO LONDON WHERE HE MADE

AN ARRANGEMENT WITH THE HAVELLS,

WHO WERE DEFINITELY
THE FINEST ENGRAVERS IN

EUROPE OF THE DAY.

THE SERIES WAS GOING TO BE
PAID FOR BY SUBSCRIPTION.

FIVE PLATES WOULD BE DONE
AND THOSE WOULD BE DELIVERED

TO A SUBSCRIBER FOR
THE EQUIVALENT OF $100

FIVE MORE PLATES
AND ANOTHER $100.

AND THUS ACCRUING SLOWLY
YOU WOULD END UP WITH THE

435 PLATES OF THE
FINISHED FOUR VOLUMES OF

"THE BIRDS OF AMERICA".

KELLY BRENGELMAN:
WELL THERE JOHN JAMES WAS,

HE WAS IN ENGLAND, AND HE KEPT
WRITING LETTERS TO HER SAYING

I GOT HERE IN ENGLAND AND
EVERYBODY LOVES MY WORK,

AND I GOT ACCEPTED INTO ALL
THESE SCIENTIFIC SOCIETIES,

AND PEOPLE LOVE IT AND
I GOT GREAT REVIEWS,

AND HEY, I FOUND A PUBLISHER,
I'M GETTING IT PUBLISHED AND

I'M TRAVELING
FOR SUBSCRIPTIONS.

WELL, AT THIS POINT
SHE'S OVERJOYED.

BUT THEN JOHN JAMES'
LETTERS START CHANGING.

AUDUBON: MY DEAREST FRIEND,
IT IS NOW MY INTENTION TO REMAIN

IN ENGLAND AS LONG AS I WILL
HAVE DRAWINGS TO KEEP MY WORK

GOING, SAY FIVE YEARS
EXCLUSIVE OF THE PRESENT YEAR.

AND IF IN JANUARY NEXT I FIND
MYSELF SUBSTANTIALLY SETTLED,

I WILL WRITE FOR THEE TO COME.

RICHARD RHODES:
THEY CORRESPONDED,

BUT MAIL WAS DELIVERED ON
SAILING SHIPS IN THOSE DAYS,

AND SOMETIMES IT TOOK ONE
MONTH TO MAKE THE PASSAGE,

AND SOMETIMES IT
TOOK THREE MONTHS.

THEY SLOWLY GOT TO CROSS
PURPOSES WITH EACH OTHER.

KELLY BRENGELMAN: SO THEY
WOULD WRITE THESE LETTERS TO

EACH OTHER WHICH WOULD
CRISS-CROSS IN THE MAIL.

SO THEY'D GET ONE LETTER
THAT WAS FILLED WITH ROSES AND

LOVE, AND ANOTHER LETTER
THAT PRETTY MUCH LASHED OUT AND

TOLD EACH OTHER THAT
THEY'D HAD ENOUGH AND

THAT THEY DIDN'T NEED
EACH OTHER ANYMORE.

LUCY AUDUBON: MY DEAR HUSBAND,

I HAVE THIS DAY RECEIVED
YOUR LETTER OF AUGUST.

WHERE IT HAS BEEN
I CANNOT IMAGINE,

BUT I AM AT ANY RATE
VERY GLAD OF IT,

AS YOU SPEAK OF THINGS
I DID NOT KNOW BEFORE.

IF ANY CIRCUMSTANCE HAS
OCCURRED TO CHANGE YOUR

AFFECTION FOR ME, AS
YOU RATHER INSINUATE,

BE EXPLICIT AND LET
ME REMAIN WHERE I AM.

AUDUBON: DO, MY LUCY,
UNDERSTAND ME WELL.

MY WORK WILL NOT BE FINISHED
FOR FOURTEEN YEARS TO COME,

FROM THIS VERY PRESENT DATE.

AND IF IT IS THY INTENTION NOT
TO JOIN ME BEFORE THAT TIME,

I THINK IT WILL BE BEST
FOR BOTH OF US TO SEPARATE,

THOU TO MARRY IN AMERICA
AND I TO SPEND MY LIFE MOST

MISERABLY ALONE FOR THE
REMAINDER OF MY DAYS.

DON BOARMAN: FINALLY HE
CAN'T STAND IT ANYMORE AND HE

DECIDES TO COME BACK
HOME AND GET HER,

AND BRING HER TO
ENGLAND WITH HIM.

HE HAD ALREADY WRITTEN
HER SEVERAL TIMES,

PLEASE MEET ME IN NEW YORK.

AND SHE SAID NO.

KELLY BRENGELMAN: SHE WAS
ACTUALLY A QUITE STRONG WOMAN,

SO SHE SAID NO.

IF YOU WANT ME, YOU'RE
GOING TO HAVE TO COME TO ME.

DON BOARMAN: SO HE
ARRIVES WITH TWO PURPOSES.

NUMBER ONE WAS TO
GET HIS FAMILY.

AND NUMBER TWO WAS
TO REPLENISH HIS SUPPLY

OF BIRD PAINTINGS.

THERE WERE A LOT OF
BIRDS HE KNEW ABOUT THAT HE

DIDN'T HAVE SPECIMENS FOR.

HE KNEW HE HAD
TO GET THOSE IN ORDER TO

COMPLETE THE COLLECTION.

AUDUBON: THE FISH HAWK
HAS A GREAT ATTACHMENT TO

THE TREE IN WHICH HE HAS
BUILT HIS FIRST NEST,

AND RETURNS TO IT
YEAR AFTER YEAR.

THE NEST IS GENERALLY PLACED
IN A LARGE TREE IN THE

IMMEDIATE VICINITY
OF THE WATER.

THE YOUNG ARE FED UNTIL
THEY ARE FULLY FLEDGED,

AND OFTEN AFTER THEY
HAVE LEFT THE NEST.

IT RISES WITH EASE
TO A GREAT HEIGHT.

IT DIVES WITH WINGS
PARTIALLY CLOSED.

NO SOONER DOES IT SPY
A FISH SUITED TO ITS TASTE

THAN IT PLUNGES HEADLONG
WITH GREAT RAPIDITY INTO THE

WATER TO SECURE ITS PREY.

THE LARGEST FISH WHICH I HAVE
SEEN THIS BIRD TAKE OUT OF THE

WATER WAS A WEAKFISH SUCH AS
REPRESENTED IN THE PLATE BUT

SUFFICIENTLY LARGE TO WEIGH
MORE THAN FIVE POUNDS.

DON BOARMAN: SO HE HAD
ACCUMULATED PERHAPS SIXTEEN

NEW PAINTINGS OF BIRDS.

HE SENT THOSE TO ROBERT HAVELL
BACK IN LONDON SO HE WOULD

HAVE ENOUGH TO WORK ON
DURING AUDUBON'S ABSENCE.

HE THEN DECIDES THAT HE'S
NOT GOING TO WAIT ON LUCY,

HE'S GOING AFTER HER.

HE GETS ON A BOAT AND
HEADS DOWN THE RIVER.

RICHARD RHODES: WE HAD
STEAM RIVERBOATS BY THEN,

DOWN THE MISSISSIPPI RIVER.

GOT OFF IN LOUISIANA.

THE TOWN WAS EXPERIENCING A
YELLOW FEVER EPIDEMIC AT THE

TIME, IT WAS COMPLETELY
ABANDONED IN THE MIDDLE OF THE

NIGHT WHEN HE ARRIVED.

AUDUBON: I WENT AT ONCE
TO MY WIFE'S APARTMENT.

HER DOOR WAS AJAR.

ALREADY SHE WAS DRESSED
AND SITTING AT HER PIANO.

I PRONOUNCED HER NAME GENTLY.

SHE SAW ME, AND THE NEXT
MOMENT I HELD HER IN MY ARMS.

ONCE MORE WE WERE TOGETHER.

KELLY BRENGELMAN:
AT THAT POINT,

THAT'S WHEN THEY DECIDED
THEY COULDN'T DO THIS APART,

THAT THEY NEEDED TO BE TOGETHER
AND LUCY JOINED HIM IN ENGLAND.

DON BOARMAN: THEY PRETTY
MUCH VOWED THAT THEY

WOULD NEVER SEPARATE AGAIN.

WHEN THEY GET BACK TO ENGLAND
CRUIKSHANK PAINTED THE

PORTRAIT OF LUCY THAT'S
ABOUT THE ONLY ONE KNOWN.

KELLY BRENGELMAN: SHE
BECAME HIS BUSINESS MANAGER.

SHE HELPED HIM WITH SALES,

SHE KEPT ALL THE DETAILS,
THE FINANCIAL DETAILS TOGETHER,

BECAUSE SHE HAD THE
EDUCATION AND THE KNOWLEDGE

TO DO IT.

SHE FINALLY FELT LIKE
SHE WAS A PART OF HER

HUSBAND'S WHOLE LIFE.

NOT JUST HIS WIFE AND THE
MOTHER OF HIS CHILDREN AND

HIS LOVER AND HIS CONFIDANTE,
BUT SOMEONE OF WORTH.

CHRISTOPH IRMSCHER: THE
AUDUBON BRAND BECOMES A FAMILY

ENTERPRISE EVENTUALLY.

LUCY BECOMES PART OF IT,

HIS TWO SONS BECOME PART OF IT.

HE HAS A NETWORK OF
AGENTS THAT HE CREATES,

PEOPLE WHO WILL COLLECT
SUBSCRIPTION FEES FOR HIM.

RICHARD RHODES: ALL
OF THAT SLOWLY BUILT FOR

AUDUBON A REPUTATION,
NOT ONLY AS AN ARTIST,

BUT ALSO AS A NATURALIST.

AUDUBON: IN SPITE OF ALL THIS
I FEEL DULL, ROUGH OF TEMPER,

AND LONG FOR NOTHING SO
MUCH AS MY DEAR WOODS.

I AM GOING TO AMERICA AGAIN!

ROBERTA OLSON: BY 1831 AUDUBON
HAD RUN OUT OF WATERCOLOR

MODELS FOR HAVELL TO ENGRAVE.

SO HE CAME BACK TO THE
UNITED STATES WITH LUCY AND

HE EMBARKED ON TWO
SOUTHEASTERN EXPLORATIONS.

AUDUBON: I JUMPED AT ONCE
INTO MY WOOD-HUNTING HABITS:

UP BEFORE DAYBREAK
AND SOON AT WORK,

EITHER IN THE WAY OF
SHOOTING, TAKING VIEWS,

OR DRAWING BIRDS.

LET US PAUSE A WHILE,
AND WATCH THE HERON.

IN MY ESTIMATION FEW
WADERS ARE MORE INTERESTING

THAN THE BIRDS OF THIS FAMILY.

YOU MIGHT IMAGINE THAT
WHAT YOU ARE SEEING IS

THE STATUE OF A BIRD,
SO MOTIONLESS IT IS.

HE PATIENTLY AWAITS THE
APPROACH OF HIS PREY.

AND NOW, WHAT A START!

HIS FORMIDABLE BILL
HAS TRANSFIXED AN EEL.

SEE WITH WHAT DIFFICULTY
HE GULPS IT DOWN

HIS CAPACIOUS THROAT.

MY MIND WAS AMONG
THE BIRDS FARTHER SOUTH,

THE FLORIDA'S,
THAT ALMOST UNKNOWN COUNTRY.

FROM NOVEMBER UNTIL THE MIDDLE
OF APRIL THE AMERICAN COOT IS

EXTREMELY NUMEROUS IN FLORIDA.

IN THAT SEASON THEY ARE SEEN
IN FLOCKS OF SEVERAL HUNDREDS

ON THE GRASSY
LAKES AND INLETS.

WHILE SWIMMING THEY
MOVE WITH EASE,

ALTHOUGH NOT WITH MUCH SPEED.

THE CURIOUS FORM OF THEIR FEET
MIGHT INDUCE ONE TO SUPPOSE

THESE BIRDS INCAPABLE OF
MOVING ON LAND WITH EASE.

EXPERIENCE PROVES
THE CONTRARY,

FOR THEY NOT ONLY WALK WITH
FREEDOM BUT CAN RUN WITH GREAT

SPEED WHEN NECESSARY.

THE ROSEATE SPOONBILL IS
FOND OF THE COMPANY OF HERONS,

WHOSE KEEN SIGHT
AND VIGILANCE ARE USEFUL IN

APPRISING IT OF DANGER.

THIS BEAUTIFUL BIRD IS FOUND
ALONG THE MARSHY AND MUDDY

BORDERS OF ESTUARIES, WHERE
THEY CAN RESIDE AND BREED IN

PERFECT SECURITY IN THE MIDDLE
OF AN ABUNDANCE OF FOOD.

THE SIGHT OF A FLOCK OF THESE
BIRDS IS EXTREMELY PLEASING TO

THE STUDENT OF NATURE.

THE FLIGHT OF THE BLACK
SKIMMER IS PERHAPS MORE

ELEGANT THAT ANY WATER BIRD
WITH WHICH I AM ACQUAINTED.

THE GREAT LENGTH OF
ITS NARROW WINGS,

ITS PARTIALLY
ELONGATED FORKED TAIL,

ITS THIN BODY AND
EXTREMELY COMPRESSED BILL,

ALL APPEAR CONTRIVED TO ENSURE
THAT BUOYANCY OF MOTION ONE

CANNOT BUT ADMIRE WHEN
HE SEES IT ON THE WING.

RICHARD RHODES: BY THEN
HE WAS WELL ENOUGH KNOWN THAT

THE GOVERNMENT
LOANED HIM A GUNBOAT,

WITH A COMPLETE CREW
TO THREAD HIS WAY THROUGH

THE WATERWAYS AROUND
THE EVERGLADES.

AUDUBON: WE GET INTO A
BOAT AND AFTER AN HOUR OF

HARD ROWING WE FIND
OURSELVES IN THE MIDDLE OF

THE MOST EXTENSIVE MARSHES.

WE GO WADING THROUGH MUD
AND WATER TO OBSERVE THE WAYS

OF THE BEAUTIFUL BEINGS
WE ARE IN PURSUIT OF.

I KNOW I AM ENGAGED IN
AN ARDUOUS UNDERTAKING.

BUT IF I LIVE TO COMPLETE
IT I WILL OFFER TO MY COUNTRY

A BEAUTIFUL MONUMENT
TO THE VARIED SPLENDOR

OF AMERICAN NATURE.

IF LIFE IS
GRANTED TO ME,

I WILL LEAVE NO
PLACE IN THE WHOLE U.S.

UNSEARCHED FOR BIRDS.

ROBERTA OLSON: AFTER HIS
SOUTHEASTERN EXPLORATIONS,

HE EMBARKED ON HIS LABRADOR
EXPEDITION AND IT WAS HERE

THAT AUDUBON BECAME A
TRUE CONSERVATIONIST.

CHRISTOPH IRMSCHER: LABRADOR
IS A KEY EXPERIENCE FOR HIM

BECAUSE HE WANTS TO GO AS
HE SAYS TO WHERE THE BIRDS

ORIGINATE WHERE THEY NEST.

AUDUBON: ON MY VOYAGE
TO LABRADOR I OBSERVED

ATLANTIC PUFFINS EVERY DAY.

KNOWN AS THE SEA PARROT
TO THE FISHERMEN OF

NEWFOUNDLAND AND LABRADOR,

IT IS QUITE COMMON ON THE
ISLANDS OF THE BAY OF FUNDY,

ALTHOUGH THERE IS
PERHAPS NOT ONE NOW FOR

A HUNDRED THAT BRED
THERE TWENTY YEARS AGO.

CHRISTOPH IRMSCHER:
LABRADOR IN A SENSE LEADS HIM

TO REALLY THINK MORE
COMPREHENSIVELY ABOUT WHAT IT

IS THAT HE'S DOING,

AND WHAT IT IS
THAT HUMANS ARE DOING TO

BIRD LIFE AROUND THEM.

HE HAS SEEN ENOUGH EVIDENCE
OF THE DECLINE OF BIRD

POPULATIONS AROUND HIM.

IT IS IN LABRADOR THAT
HE PAINTS A STARTLING

REPRESENTATION OF A DEAD
BIRD IN A PLATE THAT IS NOT

ANOTHER BIRD'S PREY,
BUT SIMPLY DEAD, LYING THERE.

IT'S A FEMALE ESKIMO CURLEW,
WE HAVE A MALE ESKIMO CURLEW

LOOKING DOWN AT HIS DEAD MATE.

FROM THAT PERIOD ALSO COMES
A REPRESENTATION OF GANNETS,

OF A MALE GANNET SHIELDING
ITS YOUNG WITH ITS

BODY RIGHT BEHIND IT.

HE'S A PRE-DARWINIAN AND
WE NEED TO REMEMBER THIS,

HE'S NOT QUITE ABLE TO
PUT THE DOTS TOGETHER AND

COME UP WITH A SORT OF
COMPREHENSIVE SENSE OF WHAT IS

HAPPENING AROUND HIM.

BUT HE'S ABSOLUTELY AWARE THAT
NATURE AROUND HIM IS CHANGING.

THE LANDSCAPES THAT HE'S
SEEN ARE DIFFERENT WHEN

HE COMES BACK, AND HE KNOWS
THAT THIS IS SOMETHING THAT

JUST DOESN'T
HAPPEN ON ITS OWN.

HE RETURNS TO BIRDS OF
AMERICA WITH RENEWED ENERGY,

REALLY PUSHING
HAVELL TO FINISH,

AND HAVELL RACES TO THE END.

IN 1838 THEY PULL
THE LAST PLATE,

THEY ARE DONE WITH WHAT IS
HIS LIFE'S WORK, BASICALLY.

AUDUBON: THE
TASK IS ACCOMPLISHED.

I HAVE DEPICTED THE BIRDS
OF AMERICA AND STUDIED THEIR

HABITS AS THEY ROAM AT LARGE
IN THEIR PECULIAR HAUNTS.

YOU MAY WELL IMAGINE HOW
HAPPY I AM AT THIS MOMENT,

WHEN I FIND MY JOURNEY
IS ALL FINISHED,

MY ANXIETIES VANISHED,
MY MISSION ACCOMPLISHED.

RICHARD RHODES: WHEN
FINALLY AROUND 1838 THIS

PROJECT WAS DONE,

THEY RETURNED TO
AMERICA AS CELEBRITIES.

AUDUBON WAS THEN VERY QUICKLY
ALMOST A NATIONAL HERO.

THEY DINED AT THE WHITE HOUSE
WITH THE PRESIDENT.

THIS POOR BASTARD CHILD,
THIS SEMI-ORPHAN FROM FRANCE,

HAD ACHIEVED THE PINNACLE
OF AMERICAN SUCCESS.

CHRISTOPH IRMSCHER: HE'S
FINALLY ABLE TO GIVE LUCY THE

KIND OF LIFESTYLE THAT
SHE'S ALWAYS WANTED.

AND LONG TIME COMING,
BUT IT FINALLY CAME.

ROBERTA OLSON: HE WROTE TO
DANIEL WEBSTER IN 1841 ASKING

THAT THIS COUNTRY
HAVE A NATIONAL MUSEUM

A NATIONAL MUSEUM
OF NATURAL HISTORY,

AND HE SUGGESTED
TO DANIEL WEBSTER THAT

HE COULD BE THE DIRECTOR.

AND HE DID SO BECAUSE HE
SAW THE WRITING ON THE WALL,

HE KNEW THAT BIRDS WERE THE
CANARY IN THE COAL MINE AND HE

SAW THE RAMPANT DESTRUCTION
OF HABITAT AND WILDLIFE,

AND HE WANTED TO TAKE OVER
THE REINS OF PRESERVATION.

WHICH IS WHY OF COURSE THE
NATIONAL AUDUBON SOCIETY NAMED

THEIR ORGANIZATION AFTER HIM.

PAUL SWEET: THE LAST WILD
PASSENGER PIGEON WAS SEEN

AROUND 1900 ALTHOUGH
THERE WERE SPORADIC

REPORTS AFTERWARDS.

BUT WE KNOW FOR SURE THAT
THE LAST EVER PASSENGER PIGEON,

WHOSE NAME WAS MARTHA,
DIED IN THE CINCINNATI ZOO

A HUNDRED YEARS AGO IN 1914.

AUDUBON: THE MULTITUDES
OF PASSENGER PIGEONS IN

OUR WOODS ARE ASTONISHING.

I HAVE VIEWED A COLUMN
ONE MILE IN BREADTH,

PASSING OVERHEAD WITHOUT
INTERRUPTION FOR THREE HOURS,

AT A RATE OF ONE
MILE IN THE MINUTE.

THE NOISE MADE BY THE
MIGHTY FLOCK REMINDED ME OF

A HARD GALE AT SEA.

JOEL CRACRAFT:
FOUR TO FIVE BILLION,

PROBABLY THE MOST COMMON,

POTENTIALLY THE MOST
COMMON VERTEBRATE ON EARTH,

WAS KILLED OFF OVER A
PERIOD OF PARTICULARLY ABOUT

50, 60 OR 70 YEARS.

WHICH IS PROBABLY THE
MOST REMARKABLE STORY OF

EXTINCTION ON EARTH.

RICHARD RHODES: AUDUBON
LIVED ON THE CUSP OF THE CHANGE

FROM WILDERNESS TO FARM
AND INDUSTRIAL AMERICA.

THE TRAINS, THE STEAM
ENGINE AND THE RAILROAD CAME

IN DURING THIS
PERIOD OF HIS LIFE.

SO HE SAW THE WILDERNESS
IN ITS LAST FLOURISHING AND

HE SAW THE BIRDS IN
THEIR LAST FLOURISHING.

AUDUBON: WHEN I THINK OF
THOSE TIMES AND CALL BACK TO

MIND THE GRANDEUR AND
BEAUTY OF THOSE ALMOST

UNINHABITED SHORES;

WHEN I PICTURE TO
MYSELF THE DENSE AND LOFTY

SUMMITS OF THE FOREST THAT
EVERYWHERE SPREAD ALONG THE

HILLS AND OVERHANG THE
MARGIN OF THE STREAM;

WHEN I SEE THAT NO LONGER
ANY ABORIGINES ARE TO

BE FOUND THERE, AND THAT THE
VAST HERDS OF DEER AND ELK

AND BUFFALO HAVE
CEASED TO EXIST;

WHEN I REFLECT THAT ALL THIS
GRAND PORTION OF OUR UNION,

INSTEAD OF BEING IN
A STATE OF NATURE,

IS NOW MORE OR LESS COVERED
WITH VILLAGES, FARMS,

AND TOWNS; WHEN I REMEMBER
THAT THESE EXTRAORDINARY

CHANGES HAVE ALL TAKEN
PLACE IN THE SHORT PERIOD

OF TWENTY YEARS...

I PAUSE, WONDER, AND CAN
SCARCELY BELIEVE ITS REALITY.

CHRISTOPH IRMSCHER:
IN 1843 HE GOES WEST.

HE EXPECTED TO FIND THE
WEST AS GEORGE CATLIN AND

OTHERS HAD DESCRIBED
IT AND HE DOES NOT.

HE FINDS SOMETHING
THAT DEPRESSES HIM,

BECAUSE AGAIN HE'S
CONFRONTED WITH MASSIVE,

MASSIVE EVIDENCE OF
DEVASTATION: BUFFALO BEING

NEEDLESSLY KILLED; INDIANS,
TO WHOM HE'S ALWAYS

FELT REALLY ATTUNED,
LIVING IN DINGY SURROUNDINGS,

DIRTY, DISEASED.

AND HIS EYESIGHT GIVES OUT,
WHICH IS KIND OF POIGNANT WHEN

YOU THINK ABOUT HOW IMPORTANT
SEEING HAS ALWAYS BEEN TO HIM.

HE'S NOT ABLE TO
PAINT ANYMORE,

AND HE SINKS INTO SOME
KIND OF MENTAL DARKNESS FOR

WHICH NO NAME
AT THE TIME EXISTED.

RICHARD RHODES: AUDUBON
GRADUALLY FELL INTO A DECLINE

AND DEVELOPED DEMENTIA.

THERE'S A VERY POIGNANT
MOMENT IN A LETTER HOME FROM

AN OLD FRIEND OF HIS WHO'S
VISITING HIM FROM CHARLESTON,

WHERE HE SAYS 'THE MAN IS TO
ALL APPEARANCES THE SAME MAN,

BUT THE MIND IS ALL IN RUINS.'

AND EVENTUALLY HE
WAS CONFINED TO HIS BED

AND HE DIED IN 1851,
AT HOME, SURROUNDED BY HIS

SONS AND HIS
WIFE, HIS WIDOW.

THE SAD THING ABOUT
BIOGRAPHY IS ALWAYS THAT

THE HERO DIES IN THE END.

I ALWAYS THINK OF AUDUBON
WITH HIS BIRDS AROUND HIM,

OUT IN THE WOODS.

THAT'S WHERE HE
SHOULD BE REMEMBERED.

IN THE FIRST MAJOR PUBLISHED
ESSAY BY HENRY DAVID THOREAU

THAT ESSAY OPENS WITH
A TRIBUTE TO AUDUBON'S

DESCRIPTIONS OF THE
AMERICAN WILDERNESS.

HE REALLY WAS RIGHT AT
THE HEART OF A CHANGE IN

AMERICAN LIFE THAT WAS
JUST BEGINNING TO BE NOTICED

BY AMERICAN WRITERS LIKE
EMERSON AND THOREAU.

HIS WRITINGS ABOUT THESE
CHANGES WERE ONE OF THE

PRECURSORS FOR THE MOVEMENT
OF CONSERVATION THAT WOULD COME

TOWARD THE SECOND HALF OF
THE NINETEENTH CENTURY.

DANNY HEITMAN: AUDUBON
REALLY DIDN'T HAVE A FORMAL

PHILOSOPHY AS A
CONSERVATIONIST.

BUT I THINK THE ORNITHOLOGIST
ROGER TORY PETERSON

SAID IT BEST,
WHEN HE SAID THAT,

"AUDUBON'S REAL
GIFT TO US IS AWARENESS,

AND IN THAT AWARENESS
IS THE BEGINNING OF

ALL TRUE CONSERVATION."

JOHN FITZPATRICK: HIS ART
MOVED STIFF PORTRAYALS OF

NATURE INTO LIVING,
BREATHING, PASSIONATE,

CHARACTER-FILLED PORTRAYALS.

HIS ART GAVE WAY IN THE
LATE 1800'S TO THE ROMANTIC

HUDSON RIVER SCHOOL AND THE
GREAT PAINTINGS OF YELLOWSTONE

THAT CREATED THE
NATIONAL PARK SYSTEM.

JAMIE WYETH: MY FATHER WAS
A GREAT ADMIRER OF AUDUBON,

AS I THINK WAS MY
GRANDFATHER, N.C. WYETH,

I MEAN I LITERALLY
GREW UP WITH HIS WORK.

I PUT HIM RIGHT UP THERE WITH
REMBRANDT AND MICHELANGELO,

I THINK HE'S AN
EXTRAORDINARY PAINTER.

ROBERTA OLSON: THE NEW
YORK HISTORICAL SOCIETY,

NEW YORK'S OLDEST
MUSEUM FOUNDED IN 1804,

HAS ALL 435 WATERCOLOR MODELS
FOR THE BIRDS OF AMERICA.

THEY ARE AUDUBON'S ORIGINAL
WORKS AND ALL ROOST HERE.

LUCY BAKEWELL AUDUBON
SOLD THE WATERCOLORS TO THE

HISTORICAL SOCIETY IN 1863.

KELLY BRENGELMAN: LUCY WAS
A VERY STRONG WOMAN AND MANY

STRONG WOMEN OFTEN OUTLIVE
THE MEN IN THEIR LIVES.

SHE ALSO OUTLIVED
BOTH OF HER SONS.

SHE MOVED BACK TO KENTUCKY
AND MOVED IN WITH HER

GRANDDAUGHTERS, WHO TOOK CARE
OF HER UNTIL SHE PASSED AWAY.

SHE PASSED AWAY AND HER
BODY WAS MOVED TO NEW YORK

WHERE JOHN JAMES WAS LAYING.

AND THAT'S WHERE THEY
REST TODAY, TOGETHER.

AUDUBON: NEITHER THIS
LITTLE STREAM, THIS SWAMP,

THIS GRAND SHEET
OF FLOWING WATER,

NOR THESE MOUNTAINS WILL
BE SEEN IN A CENTURY HENCE

AS I SEE THEM NOW.

THE FISHES WILL NO LONGER
BASK ON THE SURFACE,

THE EAGLE SCARCE EVER
ALIGHT, AND THESE MILLIONS

OF SONGSTERS WILL BE
DROVE AWAY BY MAN.

OH, AMERICA.

LOOK UPON HER,
SEE HER GRANDEUR.

NATURE STILL NURSES HER,
CHERISHES HER,

BUT A TEAR FLOWS IN HER EYE.

REPORTER: NOW HERE'S
A QUESTION FOR YOU.

WOULD YOU PAY
TEN MILLION DOLLARS

FOR A BOOK?

WELL TOMORROW
CHRISTIE'S WILL SELL THE

WORLD'S MOST EXPENSIVE
BOOK AT AUCTION.

JOHN JAMES AUDUBON'S
'THE BIRDS OF AMERICA'

IS EXPECTED TO
FETCH BETWEEN SEVEN AND

TEN MILLION DOLLARS.

JOINING THE COMPANY
NOW IS FRANCIS WALGREN,

CHRISTIE'S INTERNATIONAL
HEAD OF BOOKS

AND MANUSCRIPTS.

UP TO TEN
MILLION DOLLARS.

WHY IS IT
SO VALUABLE?

FRANCIS WALGREN: IT WAS A
VERY EXPENSIVE PRODUCTION

AND IT'S RETAINED
IT'S VALUE OVER THE YEARS.

IT'S CONTINUALLY BEEN
THE MOST EXPENSIVE BOOK,

ONLY IN A VERY FEW
YEARS HAS IT NOT BEEN THE

MOST EXPENSIVE
BOOK EVER SOLD.