Our recent Saunterings through the Carnegie Museum of Art in Pittsburgh brought us to a large oil-on-canvas painting showing a woman being transfused by a doctor, the blood being drawn out of a goat, heartlessly killed in the attempt. It angered our anti-vivisectionist and feminist sides, supporting the shame we carry of our sex.
By their constitution, as we were told by the explanation next to painting, white males at one time believed that women, children, and members of the nonwhite races were closer to animals than to white males. Painted by Jules Adler in 1890, Transfusion of a Goat’s Blood was explained as follows:
A French physician, Simon Bernheim, commissioned this painting of himself transfusing blood from a goat into a young woman. His attractive female “guinea pig” draws our attention to the unfolding medical drama, but scientific theory preferred women for such procedures. It was widely thought that males represented the height of human development, while women were biologically closer to animals. By this logic, the procedure would be more effective if carried out on a woman. Human-animal transfusions had been attempted since the 15th century, and ended only after blood types were discovered in 1901.
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To see an image of the painting, and to listen to two short audios about it, click here. The audios are titled “The choice of a woman to receive the transfusion in Adler’s painting tells us a lot about Victorian science and values,” and “The painting is a barometer of the change in how humans view their relationship to the animal kingdom.”
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