Elaine R.S. Hodges, who accumulated art with science in her authentic assets of insects and added bacilli as a authentic illustrator at the Smithsonian’s National Building of Accustomed History, died June 27 of blight at her home in Eugene, Ore. She was 69.
She retired to Oregon 10 years ago afterwards 31 years at the museum, area she became one of the country’s arch abstracts in her burdensome field.
Hodges’ illustrations of bees, moths, mosquitoes, fleas and added invertebrates were hardly apparent by the all-inclusive numbers of visitors at the Smithsonian’s museums in Washington, D.C. Instead, they appeared primarily in authentic affidavit and books as allotment of the analysis of Smithsonian scientists.
She was a architect of a able group, the Guild of Accustomed Science Illustrators, and was the editor of the arch book on the topic, the “Guild Handbook of Authentic Illustration,” aboriginal appear in 1989 and revised in 2003.
“Elaine was one of the complete masters in the field,” said Pamela Henson, administrator of institutional history at the Smithsonian Institution Archives.
“She wrote the arbiter on accustomed history illustration,” said Robert Robbins, an entomologist at the Accustomed History Building and Hodges’ above supervisor. “In that sense, she was a apple figure.”
Hodges followed an aesthetic attitude that dates to age-old Greece and aboriginal attempts to allocate animals and characterize medical ailments. Since then, artists accept illustrated about every annex of science.
Much of her assignment was done with the aid of a microscope, and she accepted the banned of cameras and agenda technology. Some subtleties, she knew, can be captured alone by an artist’s hand.
“Photographs artlessly cannot do it, because they are not accurate,” she told the Eugene Register-Guard in 2000. “If you draw from a photograph, you can be abiding you’ll be in agitation with accuracy.”
Peering through a microscope at her tiny specimens — generally damaged by the time they accomplished her — Hodges drew in pencil or ink. She sometimes corrective with brushes biconcave in carbon dust. Most authentic publications crave black-and-white artwork, but she additionally accomplished some arresting full-color images of bees.
“Many authentic illustrations are breathtakingly beautiful, but you cannot accept aesthetic flourishes,” said Henson, who co-curated the 1996 exhibition “Eye on Science” with Hodges. “It has to be absolute and accurate.”
Elaine Rita Snyder was built-in in Washington on March 7, 1937, and was cartoon afore she was a year old. She took a summer advance at the Corcoran Gallery of Art back she was about 10 but contrarily had little aboriginal training. She advised at the Pratt Institute in New York. By 1963, she had begin a job as a agent at the Smithsonian. She ran into an associate from Pratt who appropriate she booty up authentic drawing.
She was an illustrator with the Building of Accustomed History from 1965 to 1996, and during that time advised analysis at the University of Maryland.
Her husband, above Agriculture Department entomologist Ronald Hodges, said one of her assiduous assets could booty up to 80 hours to complete. Each beard on a moth’s legs, for instance, had to be fatigued absolutely to scale.
Through her ability and the Guild of Accustomed Science Illustrators, Hodges became a arresting amount in her field. She spent years alive on the “Guild Handbook of Authentic Illustration,” enlisting the advice of dozens of artists with the 575-page book.
An aboriginal marriage, to Irving Taylor, concluded in divorce.
In accession to her bedmate of 39 years, survivors accommodate two sons from her aboriginal marriage, Steven Hodges of Santa Barbara and Lawrence Hodges of Germantown, Md.; her father, Samuel Snyder of Frederick, Md.; a sister; three brothers; and two grandchildren.
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