Herbs, Plants, and Botanical Illustrations

Abstract The study of botanical illustration and colonial botany has emerged as a critical interdisciplinary field, shedding light on the entangled histories of science, art, and imperialism. The life and work of Estonian American artist Emilie Rosalie Saal allows us to interrogate the role of botanical gardens, scientific expeditions, and visual documentation in shaping colonial power. As a botanical artist who worked in the Dutch East Indies (now Indonesia), Saal created works that served aesthetic and scientific purposes while reflecting the underlying structures of colonial knowledge production. Her work is situated within broader networks of botanical exchange, exploring how institutions, like the Bogor Botanical Gardens, facilitated the extraction and classification of tropical flora. These practices were integral to European economic expansion, reinforcing the plantation economies that underpinned colonial rule. Present-day artists engaging with these histories, such as those in the Orchidelirium: An Appetite for Abundance exhibition at the Venice Biennale (2022), critically examine the legacy of colonial botanical exploration and its intersections with gender, labor, and environmental transformation. Building on feminist and decolonial perspectives, this research interrogates visual cultures of the empire, particularly in its depictions of tropical landscapes and Indigenous botanical knowledge. The discussion extends beyond historical analysis to contemporary artistic interventions that challenge colonial epistemologies, emphasizing the resilience of Indigenous and subjugated communities in preserving botanical traditions. Present-day exhibitions such as Flora Fantastic (2022) and Milk and Honey (2024) provide critical spaces for reinterpreting botanical imagery, drawing attention to plants as both instruments of colonial control and symbols of resistance. By incorporating perspectives from Southeast Asia, the Caribbean, and former European imperial centers, the study highlights the global ramifications of colonial botany. Ultimately, this work contributes to broader discussions on environmental humanities, postcolonial studies, and the politics of representation, demonstrating the ongoing relevance of botanical histories in shaping contemporary understandings of ecology, art, and political power.