Surgeon and artist Joseph Maclise, a contemporary of Gray’s, was a master of the craft of anatomical drawing. His intricate and delicate works, created during a time of burgeoning medical understanding, have recently garnered renewed interest for their unique approach and historical context. Maclise’s work provides an entrancing glimpse into the intersection of art and science. His 1851 atlas, Surgical Anatomy, is a stunning illustration of this rare junction.
Maclise’s artistic brilliance was perhaps never more in evidence than in his stunning, celebrated anatomical drawings. He had a great gift for seizing on minute particulars that escaped the attention of most other painters. His depictions often included minute scars or blemishes on bodies, showcasing a realism that set him apart from his contemporaries. In addition, he was open to experimentation, using real people found on the streets of London and Paris as living models. He melded the vivid energy of living creatures with the meticulousness of anatomical cadaver studies. This method led to creations that were both scientifically precise and profoundly expressive.
The 1851 atlas Surgical Anatomy would become the turning point in helping make human anatomy more approachable for the average everyday person. Maclise’s work went a long way to making the intricacies of the human body less intimidating, turning them into works that sparked excitement and exploration. His artistic pursuits yielded knowledge not only for physicians and medical experts, but for non-medical people.
Though this success would follow him throughout his career, little is known about Maclise on the personal side of his life. Unfortunately, he left no documents like letters or diaries, nor did he ever take a wife. This patchy documentation has puzzled many historians, forcing them to guess about his private self. Jack Gann, a contemporary scholar, noted, “He never left any real records of his personal life – he never wrote letters or diaries and he never married.” This lack of mention in turn raises questions regarding Maclise’s potential queerness. Some are even proposing that his illustrations offer glimpses of queer aesthetics.
These artistic images by Maclise are quickly being rediscovered as integral pieces to a “lost archive of queer expression.” Gann further elaborated on this aspect, stating, “The story is most clearly told by just looking at the pictures and coming face to face with that sensuality.” These readings serve to underscore the dual importance of Maclise’s work—simultaneously an example of anatomical documentation and a potential erotic art form.
Additionally, Maclise’s contributions reach far past the world of art history. His drawings have been brought to life, reinterpreted and repurposed across mediums and stage settings since then, most similarly in a celebrated 2011 National Theatre production of Frankenstein. This adaptation proved that Maclise’s work is still very relevant in today’s culture, helping to connect the past and present.
In his quest to document the human form, Maclise’s pioneering talents shown through in the diversity of his subjects. Gann remarked on one of his drawings, noting, “One of them has an ear piercing; they aren’t like Greek gods.” This observation underscores Maclise’s commitment to portraying anatomical subjects in a relatable manner, emphasizing their humanity rather than idealized forms.