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Reproducing the color of natural phenomena, especially in the context of expeditions like Merian’s, challenged naturalists to develop means to systematize their terms and observations and demanded expertise in art, craft and science, making the valence and materiality of early modern color a rich and active area of research for historians of art and science. Whether color could be used as reliable and reproducible descriptive feature of natural history specimens was hotly contested amongst early modern botanists, naturalists, and artists. Although Metamorphosis contains inaccuracies, embellishments, and mistranslations, the images in the volume as a whole are unique for the depth of information that they provide about the flora and fauna of Suriname, for their vivid yet concise compositions, and, notably for this study, for the fact that they number among few early modern natural history prints to survive with original coloring. They contain detailed portrayals of the different stages of metamorphosis of insects native to Suriname and they set these depictions of transformation in the insects’ botanical habitats. The product of two years of research conducted on site in Suriname, the images in Metamorphosis constitute a landmark in the history of scientific imagery. The original volume was published in Dutch and Latin editions and was sold either containing unadorned engravings or, for an added fee, hand-colored by Merian or her daughters, Dorothea Maria and Johanna Helena.
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The volume consists of 60 copperplate engravings, designed by Merian, engraved by professional engravers, Pieter Sluyter, Joseph Mulder, and Daniel Stopendael, and printed in Merian’s Amsterdam workshop. Metamorphosis Insectorum Surinamensium, first published by Maria Sibylla Merian (1647–1717) in Amsterdam in 1705, is among the most famous examples of early modern insect imagery.