Pasteur's lifelong engagement with the fine arts: uncovering a scientist's passion and personality.

The French chemist Louis Pasteur (1822-1895) chose to be actively engaged in the fine arts throughout his life-yet scholarship has ignored or dismissed these pursuits. This empirical study documents his unknown, but deep involvement with art and artists from age thirteen until his death. This was no casual pastime. Art animated Pasteur. It was also at times useful to him for making political statements, cultivating status, and supporting loyal friends. This account identifies nearly twenty significant friendships with painters and sculptors and uncovers over thirty other artists with whom his associations deserve examination. The narrative suggests points at which art was especially germane to his scientific career and possible junctures that merit further research. Evidence from his artistic friendships also corrects the common picture of Pasteur as a dour workaholic who never laughed or smiled.

Medical History as Fine Art in American Mural Painting of the 1930s.

To illuminate popular notions of medical progress during the inter-war era, this article examines four large mural projects depicting medical history. Aside from portraits of individual medical heroes, such as Pasteur and Lister, artists also created imagery strongly contrasting traditional and modern medicine in general. This analysis features the works of four stylistically distinct artists (Bernard Zakheim, Charles Alston, William C. Palmer, and Victor Arnautoff), whose 1930s murals may be viewed today in San Francisco, New York City (Harlem and Queens), and Palo Alto, California. These murals are significant works of art in themselves, and they form an unusual group of special interest to historians because they took on an uncommon subject for the fine arts - the history of medicine - rather than what had long been the far more common portrayal of medicine by artists, namely contemporary medical scenes from their own era.

Medical History's Moment in Art Photography (1920 to 1950): How Lejaren à Hiller and Valentino Sarra Created a Fashion for Scenes of Early Surgery.

Two groups of black-and-white photographs are found in medical rare book rooms and the collections of historically minded physicians. They were created by artists Hiller and Sarra to bring medical history to life for members of the health professions and, to some extent, for a wider public. These were not didactic illustrations for a textbook, but elegant scenes of great figures from Antiquity to the nineteenth century, evocation not documentation even though they were based on research. As pieces of fine art, cherished in portfolios or framed on the wall, the quality prints were intended to stimulate curiosity about the achievements of the figures portrayed. While familiar to some archivists and librarians, these photographs have received almost no attention in the scholarship of medical history. Only one short article examined them in 1983. In recent years these photographers have been given new consideration by scholars of advertising and photography. Using those works and primary sources, this article expands both men's biographies, and it explores their working methods, their artistry, and their achievements. An appreciation of these photographs enlarges our understanding of the place of medical history in American culture during the first half of the twentieth century.

Louis Pasteur (1822-1895), his friendships with the artists Max Claudet (1840-1893) and Paul Dubois (1829-1905), and his public image in the 1870s and 1880s.

Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the third in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medical science. In their first article, the authors examined his unique working relationship with the Finnish painter Albert Edelfelt and the creation of the famous portrait of Pasteur in his laboratory in the mid-1880s. A second study documented his especially warm friendship with three French artists who came from Pasteur's home region, the Jura, or from neighbouring Alsace. The present study explores Pasteur's friendships with Max Claudet and Paul Dubois, both of whom created important representations of Pasteur. These friendships and others with patrons reveal an active pursuit of patronage and reputation building from 1876 into the late 1880s. Yet, although Pasteur actively used public art to raise his status, it becomes clear in these stories that for Pasteur beauty was an ideal and art a pleasure for its own sake.

Louis Pasteur's three artist compatriots-Henner, Pointelin, and Perraud: A story of friendship, science, and art in the 1870s and 1880s.

Biographers have largely ignored Louis Pasteur's many and varied connections with art and artists. This article is the second in a series of the authors' studies of Pasteur's friendships with artists. This research project has uncovered data that enlarge the great medical chemist's biography, throwing new light on a variety of topics including his work habits, his social life, his artistic sensibilities, his efforts to lobby on behalf of his artist friends, his relationships to their patrons and to his own patrons, and his use of works of art to foster his reputation as a leader in French medical science. In a prior article, the authors examined his unique working relationship with the Finnish painter Albert Edelfelt and the creation of the famous portrait of Pasteur in his laboratory in the mid-1880s. The present study documents his especially warm friendship with three French artists who came from Pasteur's home region, the Jura, or from neighboring Alsace. A forthcoming study gives an account of his friendships with Max Claudet and Paul Dubois, both of whom made important images of Pasteur, and it offers further illustrations of his devotion to the fine arts.

Collaboration of Art and Science in Albert Edelfelt's Portrait of Louis Pasteur: The Making of an Enduring Medical Icon.

Historians of medicine--and even Louis Pasteur's biographers--have paid little attention to his close relationship with the Finnish artist Albert Edelfelt. A new look at Edelfelt's letters to his mother, written in Swedish and never quoted at length in English, reveals important aspects of Pasteur's working habits and personality. By understanding the active collaboration through which this very famous portrait was made, we also discover unnoticed things in the painting itself, gain a new appreciation of its original impact on the French public's image of science, and better understand its enduring influence on the portrayal of medicine in the art and the popular culture of many countries even to the present day.

Medical history for the masses: how American comic books celebrated heroes of medicine in the 1940s.

When comic books rose to mass popularity in the early 1940s, one segment of the industry specialized in "true adventures," with stories about real people from the past and the present--in contrast to competing books that offered fantasy, science fiction, superheroes, detectives and crime, funny people, or funny animals. This study examines the figures from both medical history and twentieth-century medicine who were portrayed as heroes and role models in these comic books: first, to call attention to this very popular, if unknown, genre of medical history, and second, to illustrate how medical history was used at that time to popularize scientific and medical ideas, to celebrate the achievements of medical research, to encourage medical science as a career choice, and to show medicine as a humane and noble enterprise. The study explains how these medical history stories were situated in American popular culture more generally, and how the graphic power of comic books successfully conveyed both values and information while also telling a good story. Attention to this colorful genre of popular medical history enriches our picture of the mid-twentieth-century public's enthusiasm for medical progress.

Public careers and private sexuality: some gay and lesbian lives in the history of medicine and public health.

This study explores the careers of 5 physicians active in public health and medicine during the first half of the 20th century to illustrate interactions between private and professional life. An examination of these individuals, who might today be variously designated as gay, lesbian, bisexual, transgender, or queer, suggests how historical understanding can be enriched by a greater willingness to investigate intimacy and sexual life as potentially relevant to career and achievements. Further, the narratives support a plea for all historians to provide readers with a more frank acknowledgment of the possible relevance of personal life to intellectual work, even in the sciences. Additionally, this historical exploration of ways that careers and achievements may have been affected by a person's homosexuality (even when the person did not publicly embrace a gay identity) opens up a new area of research through biographical sketches based on historical sources combined with generalizations that are intentionally provisional. Included are the stories of Sara Josephine Baker, Harry Stack Sullivan, Ethel Collins Dunham, Martha May Eliot, and Alan L. Hart.