Showing posts with label climate change. Show all posts
Showing posts with label climate change. Show all posts

Friday, December 26, 2025

Eunice Newton Foote and the Greenhouse Effect

Eunice Newton Foote, linocut, 9.25" x 12.5" by Ele Willoughby, 2025
Eunice Newton Foote, linocut, 9.25" x 12.5" by Ele Willoughby, 2025

Once again, I am taking part in the Printer Solstice collection of printmaking prompts, starting at the winter solstice (here in the northern hemisphere). The prompts this year are mathematical in scheme, which works well for me, and my on-going series of portraits of women in STEM. The first prompt, "addition" made me think of the greenhouse effect, excess additional atmospheric CO2 and the resulting excess terrestrial temperatures. It made me think of a scientist who has been on my to do list for years: Eunice Newton Foote. The reason I have not tackled her portrait is that there are no known photographs of Eunice Newton Foote. I had hoped, since I knew that climate scientist Katherine Hayhoe and historians of science and others were seeking her portrait, that perhaps I should just wait patiently. As time wore on, we have learned more about Foote's life, but her portrait has not been found. However the waters have been muddied, as more and more people illustrate their posts and even published newspaper articles with images incorrectly labelled as Eunice Newton Foote. So I decided it was my time to add my image of her, to offer another imagined illustration, based on what we do know, rather than misinformation. It's quite easy to get the wrong photograph associated with a little-known historical woman in science, so I can understand how this has happened, but it frustrates me. Eunice Newton Foote deserves to be remembered as a scientist, inventor and activist, and she deserves not to be conflated with her daughters, or worse, random historical women and AI-generated nonsense.

My lino block print portrait shows the amateur pioneering American scientist, inventor and women's rights advocate Eunice Newton Foote (1819-1888) who did the earliest experiments to show the insulating effect of certain gases and correctly concluded that increasing carbon dioxide levels would affect atmospheric temperature and climate, which we now call the Greenhouse Effect. Each print is burnished by hand on lovely cream-coloured Japanese paper, 9.25" x 12.5" in a gradient of cyan, pale blue and bronze.

This is Mary Foote Henderson, again. She is not her mother.
This is specifically a detail of a photo by the Brady Studio. 
Record Unit 7075 - The Henderson Family Papers, 
1868-1923, Smithsonian Institution Archives. 
You can check for yourself.


Eunice Newton was born in Connecticut to Thirza and farmer and entrepreneur Isaac Newton Jr., a distant relative of famed physicist Sir Isaac Newton, who had six sons and five other daughters (though girl died at two years of age). They moved the family to Ontario County in western New York, which was a centre of social activism for abolitionists, dress reform activists, mystics, temperance advocates, and women's rights campaigners. She attended the Troy Female Seminary, a women's preparatory school established by feminist Emma Willard, which offered a much broader curriculum than the typical women's finishing school and where students were actually encouraged to attend science courses at the nearby Rensselaer School, run by a scientist, education innovator and proponent of women's education Amos Eaton. Eaton introduced practical experimentation in the lab alongside teaching theory.

In 1841 Eunice married lawyer Elisha Foote, who trained in Johnstown, New York, under Judge Daniel Cady, the father of women's rights activist Elizabeth Cady Stanton. Elisha bought a house, then deeded it to Cady who gave it to his daughter. Elisha became a judge in Seneca County, but resigned in 1846. Eunice was friends with Elizabeth Cady Stanton and attended the 1848 Seneca Falls Convention, the first women's rights convention. She and Elisha both signed the Declaration of Sentiments, described by Frederick Douglas as the "grand movement for attaining the civil, social, political, and religious rights of women." Eunice was one of the five women who prepared the convention proceedings for publication.

Eunice and Elisha both worked as inventors. Elisha filed a patent in 1842 on a thermostatically controlled cooking stove invented by Eunice presumably because as a married woman, Eunice would have been unable to defend her patent in court. Eunice told Elizabeth Cady Stanton she thought half of all patents filled were in fact inventions by women with the patents taken out by men. In fact, in 1857, Elisha defended the patent and got a substantial settlement for infringement.

Mary Foote Henderson, not her mother.

Elisha went back to working as a lawyer, and Eunice built a lab in their home. The pair had two daughters: writer, developer, suffragette and social activist Mary who became known as "The Empress of Sixteenth Street" and writer and naturalist Augusta, who wrote The Sea-Beach at Ebb-Tide, regarded as a seminal work on the intertidal biology of the United States. The family moved to Saratoga Springs, NY, where Elisha specialized in patent law, then became the Commissioner of Patents, then served on the Board of Examiners-in-Chief for several years.

In her lab Eunice investigated the effect of sunlight on various gases. Using two glass cylinders, each equipped with two mercury-in-glass thermometers, she used an air pump to evacuate the air from one cylinder and compress it in the other cylinder. When their temperatures equalized she placed them both in the sunlight and looked for temperature variances. She contrasted this with when the cylinders were placed in the shade and also tested the temperature results by dehydrating one cylinder and adding water to the other, to measure the effect of dry versus moist air. She noted that the amount of water in the air did affect the temperature. She tried this experiment using air, carbon dioxide (then known as carbonic acid gas) and hydrogen. The cylinder of carbon dioxide in sunlight became hotter than the others. She wrote: "The receiver containing this gas became itself much heated—very sensibly more so than the other—and on being removed [from the Sun], it was many times as long in cooling". Considering the history of Earth, she wrote, "An atmosphere of that gas would give to our earth a high temperature; and if, as some suppose, at one period of its history, the air had mixed with it a larger proportion than at present, an increased temperature from its own action, as well as from increased weight, must have necessarily resulted." She clearly understood and expressed the impact of increased atmospheric carbon dioxide and what we now call the Greenhouse Effect. She submitted these findings as a paper entitled "Circumstances Affecting the Heat of the Sun's Rays", that she submitted for the tenth annual AAAS meeting, held on August 23, 1856, in Albany, New York, where it was presented by physicist Joseph Henry on her behalf. While not published in the proceedings of the AAAS meeting, it was published in the 1856 edition of the American Journal of Science and Arts; it was the first known physics publication in a scientific journal by an American woman. Summaries were also included in several international scientific journals and periodicals. Eunice was praised in the September 13, 1856, issue of Scientific American for backing up her theories with experiments, noting "she was deeply acquainted with almost every branch of physical science"

C'mon people. This one is literally labelled
Mrs. Henderson. It's a photo by Ida
Hindman in 1895, for the Washington
Sketch Book.

Eunice's experiment was not without precedent.  In the 1770s, Horace Bénédict de Saussure found that altitude impacted solar heat in an enclosed cylinder and the 1820s Joseph Fourier theorized that atmospheric gases trapped solar heat. But only Eunice Foote had drawn the conclusion that solar heat would be increased by the presence and proportion of C02 or water vapour in the atmosphere. Three years after Foote's publication, in 1859, physicist John Tyndall performed a more sophisticated experiment which showed several gases both trapped and emitted infrared thermal radiation rather than simply investigating the effect of sunlight. He published "Note on the Transmission of Radiant Heat through Gaseous Bodies" in the Proceedings of the Royal Society, where he cited Claude Pouillet's work on solar radiation through the atmosphere, but did not cite Foote's work. It's unclear if he failed to note her results or did not see their relevance. He did not mention water vapour, carbon dioxide, or climate until several publications later. A very skilled and well-trained (though regrettably quite chauvinistic) physicist, Tyndall is often credited with the earliest evidence of the Greenhouse Effect. Alternatively, the Greenhouse Effect is sometimes credited to physical chemist Svante Arrhenius, who in 1896, used physical chemistry to estimate how much atmospheric CO2 would increase the Earth's surface temperature. There is no denying though that Eunice Newton Foote was the first to specifically argue that our climate would warm with increasing atmospheric CO2.

Foote went on to investigate moisture content and which gases in the air could generate static electricity. She hypothesized that electric charges and fluctuations in atmospheric pressure might explain the Earth's magnetic field and polarity, which we now know is not the case. Her paper "On a New Source of Electrical Excitation" was read by Henry at the 1857 AAAS meeting in Montreal, and published in the Proceedings of the American Association for the Advancement of Science, the first physics publication there by an American woman. 

August Foote Arnold
In 1860 Eunice filed a patent in her own name for a shoe and boot insert made of a single piece of vulcanized rubber to "prevent the squeaking of boots and shoes". In 1864 she developed a new cylinder-type of paper-making machine. In 1868 she invented skates without straps. 

She died in 1888 in Lenox, Massachusetts. She fell into obscurity until historians began researching early women scientists in the 1970s and more recently, climate scientists have revisited and worked to highlight her early contributions to their science.

As her story has been rediscovered people have made a concerted effort to find images of her. Though there are many photographs of her two daughters, especially Mary Foote Henderson, and Augusta Newton Foote Arnold, and her husband Elisha Foote Jr, there are no known photographs, or painted portraits of Eunice. Many stories, including in published newspaper stories, are illustrated with photographs of Mary misidentified as Eunice, or worse, with AI-generated slop images based on completely unrelated women. All we have, so far, is her 21 July 1862 passport application, where she is described as having an oval face, dark brown hair, blue-grey eyes, a small ordinary chin, an ordinary nose, a full forehead and a rather large mouth. Having looked at these photos carefully, I have convinced myself that Mary resembles her father, so I don't even think we can rely on family resemblance and let Mary's image give us an idea of what Eunice looked like. So I chose to illustrate her, without showing her full face, at work in her lab, in Victorian clothing like what other women doing similar work. Her paper describes her experiments with air pump, and two large cylinders with two thermometers each, so I could illustrate these as described.

References

Augusta Foote Arnold, Wikipedia, accessed December, 2025

Elisha Foote, Wikipedia, accessed December, 2025

Eunice Newton Foote, Wikipedia, accessed December, 2025

Foote, Eunice. "Circumstances Affecting the Heat of the Sun's Rays". The American Journal of Science and Arts. 22 (66). New York, New York: G. P. Putnam & Company: 382–383. ISSN 0099-5363. OCLC 1280516952. September, 1856.

Foote, Eunice. "On a New Source of Electrical Excitation". Proceedings of the American Association for the Advancement of Science: Eleventh Meeting. Cambridge, Massachusetts: Joseph Lovering: 123–126. OCLC 923936325.  August, 1857.

Huddleson, Amara. Happy 200th birthday to Eunice Foote, hidden climate science pioneer,  Climate.gov, July 17, 2019.

Josse, Tess. August 1856: Eunice Foote Concludes that Carbon Dioxide Could Warm The Atmosphere, Three Years Before John Tydall Did, APS News, July 12, 2023. 

Kurland, Zoe, Katie Hafner, Elah Feder and The Lost Women of Science Initiative, The Woman Who Demonstrated the Greenhouse Effect, Scientific American,  November 9, 2023.

Mary Foote Henderson, Wikipedia, accessed December, 2025

McNeill, Leila  "This Lady Scientist Defined the Greenhouse Effect But Didn't Get the Credit, Because Sexism". Smithsonian. Washington, D.C.: Smithsonian Institution. ISSN 0037-733December 5, 2016.

Tuesday, August 29, 2023

Water is Life: Interconnection

 Local non-profit Water Docs Film Festival asked me if I would share their #ARTivist challenge for science art about issues of water and climate change. I shared some existing work which fit their themes and I wanted to create new work for the final theme: "Water is Life: Interconnection." 

At first I was a bit stumped. It's such a big topic. Water is central to all life on Earth. How can I represent that centrality, all life, the water cycle in one image? I think this is an instance where less is more. When I was in New Brunswick, I made a point to take a number of photos of lake water, as a reference for future art. I put this to work, creating a cyanotype with a negative of one of my photos and the theme itself as text, "WATER IS LIFE".


Water Is Life, cyanotype, 11" x 14" by Ele Willoughby, 2023
Water Is Life, cyanotype, 11" x 14" by Ele Willoughby, 2023

Then, as I was thinking about the inescapable this summer: the way so much of this country is and has been literally on fire, I began to conceive of this as one half of a diptych. All 13 provinces and territories have seen forest fires in this, the worst forest fire season we have ever experienced. So far 150,504 km squared, or as much as 4% of the forested area of Canada, a huge country with much greater proportion forested areas than most countries. This is an area larger than the entire country of Greece. This is about 5 times the average yearly area affected by forest fires and much of the continent has been bathed in smoke through the summer. 

Climate change causes warmer and drier weather and has radically increased the risk of forest fire. We can expect extreme weather events with increased frequency and severity. Many regions have been left praying for rain.

I made this linocut to express the flip side of "water is life"; "No water no life." I used my lino block centered on the Arctic, including much of Canada, and painted it with flames, then printed the text on top.

No Water No Life, linocut, 11" x 14", by Ele Willoughby, 2023
No Water No Life, linocut, 11" x 14", by Ele Willoughby, 2023


So, as a diptych:

Water diptych, cyanotype and linocut by Ele Willoughby, 2023
Water diptych, cyanotype and linocut by Ele Willoughby, 2023




Wednesday, February 2, 2022

As we warm the Arctic

As we warm the Arctic, thermochromic linocut, 9.25" x 12.5" by Ele Willoughby, 2022



I was a bit flummoxed by he #printersolstice prompt conceptual art. Then I remembered an idea I had toyed with for some time.


"This is the Arctic with the range of the polar bear: its habitat. And this is what happens when we heat it.”


This is an interactive lino block print which changes colour! A map of the Arctic looking down on the North pole is handprinted in a delicate cream colour on white Japanese kozo (or mulberry) washi paper. On top of the map, I have printed the range of the polar bear in blue complete with a polar bear and the aurora (or Northern Lights) and the word habitat in fuchsia. I have mixed the blue and fuchsia inks myself: they are made with thermochromic temperature sensitive pigments. If these inks rise about 30 degrees Celsius (70 degrees Fahrenheit) they turn colourless, so if you heat the print, for instance with a hair dryer, the range, polar bear and word habitat all disappear. The print is called “As we warm the Arctic” and is about habitat loss due to climate change.

Tuesday, September 22, 2015

Storms and coffee, raccoons and books

Oh, poor neglected blog! I'm sorry I've been so busy. I spent much of August travelling through New England and the Maritime provinces and I'd love to share some photos (as soon as I have some more time and can get them from my husband's computer, where we dumped the data while on the road). After that, it's been non-stop Etsy: Made in Canada planning! We've been working on it since January and now it's practically here. Please do come out and see the show this Saturday, September 26th, 10 am to 6 pm, at the MaRS Centre Atrium at Collge and University if you're in Toronto. If you're not, you can find 33 other shows at cities across the country.

Keeling and the Keeling Curve I've even failed to mention other shows. My portrait of Charles Keeling was in Art.Science.Gallery's show about climate change, 'From the Mountains To the Sea'.

I have a coffee-themed linocut which will be exhibited as part of the Coffee Art Project at The New York Coffee Festival from September 25th – 27th 2015. The Coffee Art Project is a competition and sale, with proceeds going to Project Waterfall which brings clean water to coffee growing regions in the developping world. (If you're in NYC and want free tickets, drop me a line. I can't use mine.)

Last weekend, I participated in my first outdoor show, the DECAF show in East Lynn Park (bit of a coffee theme here...). Saturday was, frankly, terrifying. RJH encounted some difficulty as the advance party, sent to set up my borrowed 10' tent


(thanks to some unsolicited but well-intentioned "help" we ended up with a broken frame).  I was managing okay with our jerry-rigged set-up until after lunch, when the light rain turned to violent, gusting wind and a sudden storm. It was the sort of weather where all sane people go inside. I was there by myself and called RJH for help. I didn't even have proper walls; we had suspended tarps. We ended up with the two of us holding the tent down, so it didn't fly away with the baby in the stroller in the middle of the tent to stay dry and safe. When the rain let up a little, I ran home with the baby and called my mother for help. She was able to babysit, so I could return... but by that point everyone was closing for the day and all I could do was mop up the mess. While I had to go through all of my prints and dry them off, damage was minimal because they are sealed in plastic envelops. It was just nerve-wracking. My friend Queenie said it was her first and last outdoor show. Maybe the risk of weather just isn't worth it for those of us who make paper goods. Luckily, the Sunday was beautiful. RJH re-jigged the tent with new and more thorough tarps. Hilariously, I had a raccoon visitor in my tent, presumably there to check out my raccoon high five prints.

After Etsy: Made in Canada I have one more thing to do before I can relax, and take a break. Next Monday, Elizabeth Gilbert (author of Eat, Pray, Love) will be in Toronto at the Elizabeth Bader Theatre to discuss her highly-anticipated new book, Big Magic: Creative Living Beyond Fear. I'm going to be there as part of the Toronto Etsy Street Team pop-up market before and after the event! Penguin Random House Canada sent me an advance copy and it's really great. I enjoyed it much more than I imagined I would. I'm always a bit dubious of the bestsellers or blockbusters, because sometimes wildly popular means less than challenging, or middle-of-the-road and I haven't read Eat, Pray, Love. I also didn't think I needed a pep talk about welcoming creativity, but I think now that even those of us driven to create can learn to be more gentle with ourselves and open to creativity. We're also likely to enjoy thinking about the very concept. Big Magic reads like having a frank, free-wheeling discussion about creativity and what's she's learned about being an artist (both before and after acheiving fame and financial success). It's also a sort of caring, empathetic manifesto for why and how you should do everything to welcome creativity into your life. Her experience with creativity is as a writer, so she writes a lot about writing, though she defines creativity quite broadly and includes examples of everything from ice skating to ecology. I love the idea of celebrating a book about creativity by hosting a hand-made market at the book reading. It promises to be a interesting night. The reading is sold out, I'm afraid... but she's got some great things to say. You can catch some of her take on the creative life today on the Etsy Blog.

Wednesday, June 17, 2015

The Keeling Curve, Keeling and the atmospheric CO2 trend linocut

Keeling and the Keeling Curve
Charles David Keeling and the Keeling Curve, linocut 12" x12", 2015 by Ele Willoughby

Sometimes, I take suggestions for prints subjects, especially the scientists series. This is a portrait of American geochemist Charles David Keeling (1928 - 2005) whose decades long observations of carbon dioxide (CO2) in air samples at the Mauna Loa Observatory were some of the first direct data to show the human contribution to the greenhouse effect and global warming. He was suggested for an upcoming Art.Science.Gallery show about climate change. The 'Keeling Curve' shown in copper and red shows both the seasonal variations (the wiggles) and the strong upward trend with time as CO2, a known greenhouse gas (which traps solar radiation), built up in the atmosphere. It turns out this is topical, not only because climate change is always topical, but this week, the American Chemical Society honoured the Keeling Curve as a National Historic Chemical Landmark at a ceremony at Scripps.

After completing his PhD in chemistry at Northwestern in 1954, he did a postdoc in geochemistry at the California Institute of Technology where he developed the first instrument to measure carbon dioxide in atmospheric samples. He then joined the Scripps Institute of Oceanography at UCSD, where he remained for his career, as a professor of oceanography. He had good timing; 1957 - 1958 marked the International Geophysical Year and he was able to get IGY funding to set up a base 3000 m above sea level at the Mauna Loa Observatory in Hawai'i, where he put his CO2 measuring methods to work. He also gathered similar data series at Big Sur, California and in Antarctica. Prior to his studies, scientists believed that CO2 levels were simply variable, without the sort of clear patterns he observed. Between 1958 to 1960, we was able to show the daily pattern of change due to respiration from local plants and soils as well as the seasonal variations in CO2 levels; by 1961 it was clear there was also a strong upward trend in the 'Keeling Curve' which roughly matched the amounts of CO2 released by our own burning of fossil fuels.

The National Science Foundation cut off his funding, arguing that the results were "routine" though they nonetheless used his data to warn of the risk of global warming. He was forced to abandon his studies in Antarctica, but managed to keep the Mauna Loa experiment going. These measurements at Mauna Loa continue to this day and are the longest continuous record of atmospheric CO2. They show a rise of 315 parts per million by volume (ppmv) in 1958 to 401 ppmv as of April 2014 and this increase has been accelerating in recent years with serious implications for climate change.

Due to the seriousness of these data, the National Oceanic and Atmospheric Administration (NOAA) lanunched their own worldwide CO2 monitoring program in the 1970s, including at Mauna Loa, alongside the Scripps experiment. After CD Keeling's death in 2005, the Scripps measuring experiment was taken over by his son, Ralph Keeling, professor of geochemistry.

Keeling received many accolades during his lifetime. In 1986, he was elected a fellow of the American Academy of Arts and Sciences and a member of the National Academy of Sciences in 1994. In 2002 Keeling was awarded the National Medal of Science, the highest award for lifetime achievements in science granted by the US. He received the Tyler Prize for Environmental Achievement for his data collection and interpretation in 2005.