Abstract

Summary Around 1670 the French court painter and Academician Charles Le Brun produced a series of drawings featuring naturalistic animal heads, as well as imaginary heads in which he refashioned various nonhuman animal species to make humanoid physiognomies. What were the purpose and significance of these unusual works? I argue that they show Le Brun's interest in what we today would call animal psychology: focusing upon the sensory organs and their connections with the animal's brain, Le Brun studied his animals as conscious protagonists of the natural realm. One source that may have served him in this project was Marin Cureau de La Chambre's De la Connoissance des bestes of 1645, in which the physician argued that animals possess a conscious soul grounded in the senses. However, Le Brun's animal-humans have no clear place in the artist's taxonomy—nor, indeed, in any seventeenth-century understandings of species. It is rather John Locke, at his most skeptical, who offers the best parallel in the realm of natural philosophy to Le Brun's unsettling animal-humans. Probably without meaning to, Le Brun demonstrated through his eerie, boundary-crossing creatures the limits of visual classification.