Down to the smallest Detail

The graceful jaguar lounges majestically on its branch: Its front legs are crossed over each other, its back legs dangling down, its head turned slightly to one side. The viewer’s gaze becomes lost in the spots and colors of its seductively beautiful coat for which so many of its kind were hunted. The jaguar exudes calmness – but who can really say, after all, a big cat like this could take up the hunt again at any time when hunger and a suitable opportunity strikes.

Only then can Udo Becker get down to his actual work: Since the material becomes very much heavier later he shapes the figure on a metal structure. Then without resorting to casts or prefabricated shapes, like a sculptor he forms the body, which he had studied precisely earlier so as to exactly replicate muscles, ribs and proportions. His most important task: “to create an expression!” Naturally, every exhibit must be scientifically correct, “…we don’t make imaginary creatures here.” Biology provides the framework, but the taxidermists do also have some artistic freedom. What the animal is to do, in what pose and setting it is depicted is the result of discussions, current requirements and finally the vision of the taxidermists and their concept.

Responsibility and respect

As there are no jaguars in Frankfurt Zoo, Becker consulted film footage, books and photos. He liked an image taken by Yves-Jaques Rey-Millet for WWF, the world wildlife fund, so much that he chose the animal’s pose as a model. This pose has to be precisely transferred to the actual animal, only then does the finished coat fit perfectly. Fresh back from the tanner, Udo Becker then had to place the still damp skin onto the finished sculpture. He shows pictures: On one photo the jaguar’s coat is bristling with pegs no more than a few millimeters apart. They stop the coat from bunching up or developing creases during the drying process. This shell must fit the animal in its new position like a glove.

We pass by a work by Herman ter Meer, the world-famous father of mounting animals as sculptures: He developed the procedure that is gold standard today at the end of the 19th century. Thanks to his invention, mammals from the fox to the jaguar can be preserved and mounted true to life, rather than simply being stuffed in the truest sense of the word. Udo Becker is still enthusiastic about ter Meer’s exhibit today: “Look here,” he points to the ensemble of two orangutans between branches, “that is a truly artistic arrangement – and yet realistic!” The orangutan lying in a lower position looks at the other one, and the pose of his bent arm is reflected in the line of the upper tree trunk.

Artistic freedom

Apart from ter Meer’s famous exhibit the museum’s dioramas are also sure to attract visitors. For Udo Becker it has to be “the supreme discipline” – although he is an experienced zoological taxidermist he has not been able to design one himself yet. There is not a huge demand for new versions of these illusionist display cases, which suggest endless spaces. An ibex in front of mountain scenery, a couple of deer in a field: there is a rather outdated melancholy about these orchestrated images. Although, or perhaps precisely because animal and setting are man-made, the spaciousness so simple and fashioned by hand, the illusion traceable they still have a certain appeal.

In fact, preparing objects for exhibiting or doing museum research is just one part of the every work of the taxidermist. Needless to say, in a museum open to the public there are not only large projects like the majestic jaguar. A colleague from geological preparation comes by, he and Becker share a laugh: Sometimes their everyday work is much less exciting when an exhibition is being set up or paper work has to be done. The work that falls to a taxidermist covers everything from the very delicate painting and silver painting of a fish model through to metal working: “I can also weld!”

Hunted by a predator

There is no official division of work, but every taxidermist has his main areas of works and favorite tasks. Becker points to a group of animals that looks over the shoulders of himself and his colleague in the workshop: “Just look at these foxes – each one is well done, but they all look different. Each taxidermist has his own style.” In the details lies their artistic freedom. In order to depict a kangaroo caught jumping he used an ultralight polyurethane foam for modeling. Otherwise, taxidermists do not depict movements quite so dramatically: Around the turn-of-the century the so-called “dramatic ensembles” were in fashion – a herd of antelopes, hunted by a predator, the more sensational the better. Today, such portrayals are more peaceful, but not boring: The exhibit standing still on four legs is just as much the exception as the motif frozen in movement.

And the dodo? It has meanwhile been given plumage of pheasant’s feathers. Enting has had samples sent, cream-colored, chestnut colored and dark brown feathers, which she attaches, tries out, compares with images. The result of Hildegard Enting’s research, which has included historical drawings and paintings, written descriptions of animal observations and many of her own sketches and experiments will probably move into the Senckenberg Museum in the spring: and with its head tipped slightly to one side it will gaze at visitors with “great curiosity”.