Anatomical exhibition includes rare Victorian-era drawing of a black body

Unveiling Hidden Histories: Joseph Maclise and the Art of Anatomy

In the annals of medical history, where science often intertwines with art, certain figures emerge whose contributions redefine our understanding of the human body. One such luminary, Joseph Maclise, a Victorian surgeon and artist, is now the subject of a compelling new exhibition at the Thackray Museum of Medicine in Leeds. Titled "Beneath the Sheets: Anatomy, Art and Power," this exhibition promises to peel back the layers of historical anatomical illustration, revealing not only the intricate beauty of the human form but also the complex societal dynamics that shaped its representation.

At the heart of the exhibition lies a particularly striking and historically significant image: an anatomical drawing of an unnamed Black man, depicted with his eyes closed and his internal organs meticulously exposed. This drawing, rendered with astonishing care and precision, holds a unique place in medical art, potentially standing as the only anatomical illustration of a Black body produced during the entire Victorian age. Its inclusion in Maclise's seminal 1851 atlas, *Surgical Anatomy*, underscores a pioneering spirit that challenged the prevailing norms of his time.

Joseph Maclise: A Visionary at the Crossroads of Science and Art

Joseph Maclise was no ordinary anatomist. Born into a family steeped in artistic talent—his brother was the celebrated painter Daniel Maclise—Joseph possessed a rare gift for combining scientific rigor with artistic sensitivity. His magnum opus, *Surgical Anatomy*, published in 1851, was a groundbreaking work that aimed to make the complexities of human anatomy accessible not just to medical students but to a broader public. Before the advent of photography in medical textbooks, detailed and accurate illustrations were paramount, and Maclise's atlas quickly became an indispensable resource.

Maclise's methodology was as innovative as his output. He meticulously combined studies of living models, often individuals from the bustling streets of London and Paris, with detailed dissections of cadavers sourced from the morgues of the French capital. This dual approach allowed him to capture both the idealized forms of the human body and the precise, observable realities of internal structures. His drawings were renowned for their intricate detail and delicate execution, often highlighting subtle features that other artists might have overlooked or deliberately omitted.

The Unseen Figure: A Black Man in Victorian Anatomy and the Shadow of Prejudice

The anatomical portrait of the Black man featured prominently in Maclise’s *Surgical Anatomy*, a book that enjoyed wide circulation and critical acclaim in its original European publication. However, its journey across the Atlantic revealed a stark and troubling aspect of 19th-century American society. When the atlas was published in the United States, this particular image was conspicuously absent. The decision to omit it was a direct consequence of the rampant racial prejudice and segregationist attitudes prevalent in the lead-up to the American Civil War. This act of censorship serves as a potent reminder of how scientific and artistic endeavors can be manipulated by societal biases, effectively erasing representation and perpetuating systemic discrimination.

Jack Gann, the curator at the Thackray Museum of Medicine, emphasizes the profound significance of this image and its omission. "The decision to remove this image for the American market speaks volumes about the racial climate of the time," Gann explains, highlighting how even in the pursuit of scientific knowledge, the dehumanizing forces of racism could dictate what was seen and what remained hidden. This historical erasure underscores the importance of exhibitions like "Beneath the Sheets" in bringing these forgotten narratives to light and challenging contemporary audiences to confront the uncomfortable truths of the past.

Beyond Idealization: Realism, Sensuality, and Queer Expression in Maclise's Work

Maclise's artistic philosophy diverged sharply from the prevailing trend of idealizing the human form, often drawing inspiration from classical Greek sculpture. Instead, he embraced a radical realism, meticulously capturing the unique characteristics and imperfections of his subjects. "He drew little scars or blemishes," notes Jack Gann. "One of them has an ear piercing; they aren’t like Greek gods." This commitment to depicting individuals as they truly were, with all their human particularities, imbues his work with a profound sense of authenticity and empathy.

Perhaps one of the most intriguing and discussed aspects of Maclise's drawings is his consistent and often prominent depiction of the genitalia of his subjects, even when the primary focus of the illustration lay elsewhere on the body. This recurring feature has led to considerable academic speculation and interpretation. The American medical historian Michael Sappol famously described Maclise’s work as a "catalogue of irrelevant penises," a phrase that captures the unusual emphasis placed on these details.

This artistic choice, coupled with the known scarcity of information about Maclise's personal life—he never married, wrote no letters or diaries—has fueled speculation regarding his sexuality. While there is no definitive evidence to confirm it, Gann suggests that some scholars believe Maclise may have been gay, and that his anatomical drawings could have served a dual purpose, functioning not only as scientific illustrations but also, perhaps, as a form of veiled erotica. "He never left any real records of his personal life," Gann adds. "The story is most clearly told by just looking at the pictures and coming face to face with that sensuality."

In his influential book *Queer Anatomies*, Michael Sappol argues that Maclise’s images are part of a "lost archive of queer expression." He places Maclise alongside other historical figures who, through their artistic and anatomical work, may have subtly conveyed queer desire or identity in times when overt expression was suppressed. Among these, Sappol includes the French anatomist and painter Jacques Fabien Gautier d’Agoty and the English surgeon William Cheselden, highlighting a hidden lineage of artistic and scientific engagement with the body that transcends purely clinical objectives.

A Shifting Landscape: The Evolution of Anatomical Atlases

Despite Maclise's groundbreaking contributions, his work was eventually eclipsed by the meteoric rise in popularity of *Gray’s Anatomy*. Published in 1858, just seven years after Maclise’s atlas, *Gray’s Anatomy* quickly became the definitive anatomical textbook, largely due to its more accessible language, systematic organization, and often more affordable price point. While Maclise’s artistic brilliance was undeniable, *Gray’s Anatomy* offered a practical, comprehensive, and user-friendly guide that resonated more broadly with medical students and practitioners, securing its place as a cornerstone of medical education for generations.

However, the history of anatomical illustration stretches back centuries, with each era bringing new insights and artistic techniques. The exhibition also features earlier foundational works that paved the way for Maclise:

• Andreas Vesalius (1543): His monumental work, *De Humani Corporis Fabrica* (On the Fabric of the Human Body), published in 1543, revolutionized the study of anatomy. Vesalius was the first major figure to base his anatomical descriptions directly on human dissection, correcting centuries of errors perpetuated by relying on ancient texts, particularly those of Galen. His stunning woodcut illustrations, believed to be by Jan van Calcar, depicted the human body with unprecedented accuracy and artistry, often showing figures in dynamic, lifelike poses.
• Charles Estienne (1545): Estienne's *De Dissectione Partium Corporis Humani Libri Tres* (Three Books on the Dissection of the Parts of the Human Body), published in 1545, offered a different artistic approach. His images were often described as "collages" or "body parts stitched together like Frankenstein’s creation from sketches of many dissections." This method, while perhaps less cohesive than Vesalius's, reflects the challenges and experimental nature of early anatomical illustration, where artists often pieced together observations from multiple subjects to create a composite understanding.

Ethical Dimensions: The Female Form and the Male Gaze

The exhibition also delves into the representation of female bodies in anatomical art, raising critical questions about ethics, class, and power dynamics. A poignant case highlighted is that of Mary Paterson, whose body became an object of medical study under tragic circumstances. Paterson was a victim of Burke and Hare, the notorious serial killers who terrorized Edinburgh in the early 19th century. These men murdered at least 16 people, selling their corpses to anatomists, most notably Dr. Robert Knox, for dissection at a time when legal cadaver supply was scarce.

The Thackray Museum describes Mary Paterson as "a posthumous object of anatomical fascination." Medical men of the era reportedly "marvelled at her preserved beauty," a detail that, as the exhibition points out, "raising troubling questions about class, violence and the male gaze." This aspect of the exhibition forces visitors to confront the uncomfortable truth that scientific advancement often came at the expense of the most vulnerable in society. The objectification of female bodies, particularly those from lower socio-economic strata, for medical study, highlights a dark chapter in medical history where ethical considerations were frequently overshadowed by scientific curiosity and societal hierarchies.

"Beneath the Sheets": An Exhibition Unveiling Hidden Histories

The "Beneath the Sheets: Anatomy, Art and Power" exhibition at the Thackray Museum of Medicine in Leeds is more than just a display of historical drawings; it is an invitation to explore the intricate relationships between art, science, and society. From the groundbreaking realism of Joseph Maclise, with his unique depiction of a Black man and his potential queer expressions, to the ethical dilemmas posed by figures like Mary Paterson, the exhibition challenges visitors to look beyond the surface of anatomical illustration.

Maclise's enduring artistic impact is evident even in contemporary culture; one of his striking illustrations was famously used to promote the National Theatre’s acclaimed production of *Frankenstein* in 2011, demonstrating the timeless power of his imagery. By showcasing these historical works, the exhibition encourages a deeper understanding of how bodies have been depicted, understood, and at times, exploited throughout history. It prompts reflection on issues of representation, prejudice, and the ever-evolving ethical responsibilities inherent in both art and medicine.

The exhibition opens its doors on February 7, 2026, and will run until June 27, 2026, offering ample opportunity for visitors to immerse themselves in these rich and complex narratives. It promises to be a thought-provoking journey through the hidden histories of anatomy, art, and the enduring power dynamics that shape our perception of the human form.