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John James Audubon, the bird‐lover of America, has never been submitted to the critical art‐historical analysis his career and production deserve. This essay attempts to redress the situation by showing that his ornithologically correct imagery is steeped in the predominant ideological formations of his time and place. A foreigner whose birth occurred in ambiguous circumstances, Audubon ventured into the forests of the New World to escape his origins and refashion his identity. Thus, his lifesize constructions of nestlings and fledglings, predators and preys, signified birds of a feather.
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