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While Blumenbach incorporated basic differences in skin pigmentation and hair color in his study, he also relied heavily on facial features, shape of teeth, and skull morphology to identify five human races consisting of Caucasian, Malaysian, Ethiopian, American, and Mongolian.
The Anthropological Treatises of Johann Friedrich Blumenbach, trans. and ed. Thomas Bendyshe, London: Anthropological Society, 1865, 312.) However, his appraisal of the aesthetic of whites as Caucasians was (ab)used to legitimize and inspire racist interpretations of his human racial taxonomy.
Johann Friedrich Blumenbach (11 May 1752 – 22 January 1840) was a German physician, naturalist, physiologist, and anthropologist. He is considered to be a main founder of zoology and anthropology as comparative, scientific disciplines. He has been called the "founder of racial classifications."
- Christian Wilhelm Büttner
- Göttingen
The most influential of the eighteenth century formulations was that of the Göttingen anatomist, Johann Friedrich Blumenbach (1752-1840) in the third edition (1795) of his doctoral dissertation, De generis humani varietate native, translated as On the Native Varieties of the Human Species by Thomas Bendyshe (1865).
Expanding on the work of Carolus Linnaeus, German professor of medicine Johann Friedrich Blumenbach introduced one of the race-based classifications in On the Natural Variety of Mankind. In the second edition Blumenbach changed his original geographically based four-race arrangement to a five-group one that emphasized physical morphology (the ...
May 9, 2024 · Johann Friedrich Blumenbach was a German anthropologist, physiologist, and comparative anatomist, frequently called the father of physical anthropology, who proposed one of the earliest classifications of the races of mankind. He joined the faculty of the University of Göttingen in 1776, publishing.
ethnographic understandings of racial difference. Among Blumenbach's many public positionings on the race question, the Abbildungen is arguably the most interesting, because it is so radical in its form. Within this atlas, Blumenbach replaces evidence and argument, his customary discursive tools, with visual and linguistic portraiture; and he
