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As Thomas Jefferson said, “The moment a person forms a theory, his imagination sees in every object only the traits that favor that idea.” Titian Peale, the youngest son of the renowned Philadelphia painter and naturalist, Charles Willson Peale, was born only a year after the death of his eighteenyear-old half brother and namesake. The first Titian had great promise as an artist-naturalist and was apparently his father’s favorite, a fact that hovered over the second Titian and adversely affected his filial relationship; he felt constrained under parental authority, an influence which Haltman deftly uncovers in Peale’s art. There is excellent integration of Haltman’s descriptions with the illustrations. In an otherwise fascinating and in-depth look at two important early artists of the American West, two errors stand out. William Bartram, a bachelor, was Say’s great uncle, not his grandfather; and in the Account, Say, as Haltman incorrectly and surprisingly asserts, did not inspect “one native woman’s ‘clitoris and labia.’” Instead, in a footnote in the Philadelphia edition, Say quotes a written source concerning ethnographic practices among certain tribes.

Race to the Polar Sea: The Heroic Adventures of Elisha Kent Kane, by Ken McGoogan