FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 123 Will Provine, Evolution defender and debater Part A (Featured artist is Desmond Morris )

I was sad to learn of Dr. Provine’s death. William Ball “Will” Provine (February 19, 1942 – September 1, 2015) He grew up an evangelical in Tennessee which is the state that I grew up in, but when confronted by evolution he gave up his former beliefs in the Bible and embraced his new secular worldview. I was introduced to his work by the book WHATEVER HAPPENED TO THE HUMAN RACE? by Francis Schaeffer and C. Everett Koop in 1979. I contacted Dr. Provine twice and one time I included a link to this post below that I did on him on June 12, 2014.

Dr Provine is a very honest believer in Darwinism. He rightly draws the right conclusions about the implications of Darwinism. I have attacked optimistic humanism many times in the past and it seems that he has confirmed all I have said about it. Notice the film clip below and the quote that Francis Schaeffer comments on below too.

Atheist William B Provine from the movie Expelled

Dr. Francis Schaeffer: Whatever Happened to the Human Race Episode 1 ABORTION

Published on Jan 10, 2015

Whatever Happened to the Human Race?
Dr. Francis Schaeffer

Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L’ Abri in 1955 in Switzerland.

In the book WHATEVER HAPPENED TO THE HUMAN RACE? written by Francis Schaeffer and Dr. C. Everett Koop, Schaeffer asserts:

The media today is humanistic and relativistic…A good example of this lack of objectivity is public television. One of the public television program directors we approached in Washington, D.C., refused to watch the film WHATEVER HAPPENED TO THE HUMAN RACE?, or even to consider it. As soon as she heard of the position it took concerning abortion, she made the excuse, “We can’t program anything that presents only one point of view.”

At the same time public television was running HARD CHOICES, a program totally slanted in favor of abortion. The study guide which accompanied the series HARD CHOICES speaks clearly for the total view of a materialistic final reality:

The vast majority of people believe there is a design or force in the universe; that it works outside the ordinary mechanics of cause and effect; that it is somehow responsible for both the visible and the moral order of the world. Modern biology has undermined this assumption. Even though it is often asserted that science is fully compatible with our Judeo-Christian tradition, in fact it is not… To be sure, even in antiquity, the mechanistic view of life–that chance was responsible for the shape of the world– had a few adherents. But belief in overarching order was dominant; it can be seen as easily in such scientists as Newton, Harvey, and Einstein as in the theologians Augustine, Luther, and Tillich. But beginning with Darwin, biology has undermined that tradition. Darwin in effect asserted that all living organisms had been created by a combination of chance and necessity–natural selection.

In the twentieth century, this view of life has been reinforced by a whole series of discoveries…

Mind is the only remaining frontier, but it would be shortsighted to doubt that it can, one day, be duplicated in the form of thinking robots or analyzed in terms of the chemistry and electricity of the brain. 

The extreme mechanic view of life, which every new discovery in biology tends to confirm, has certain implications. First, God has no role in the physical world…

Second, except for the laws of probability and cause and effect, there is no organizing principle in the world, and no purpose. Thus, there are no moral or ethical laws that belong to the nature of things, no absolute guiding principles for human society…

The mechanistic view of life has perhaps only one tangible implication for ethics: we should feel freer to adapt our morality to new social situations. But we are already fairly adept at that…As a result, ethical choices are likely to become more difficult, not because people are less moral but because they will be unable to justify their choices with fairy tales. (William B. Provine, “The End of Ethics?” in HARD CHOICES ( a magazine companion to the television series HARD CHOICES, Seattle: KCTS-TV, channel 9, University of Washington, 1980, pp. 2-3).

Here is public tax money being used not only in favor of abortion but to teach the whole view of a materialistic, mechanistic universe, shaped only by chance, with no final purpose and with morals  (and law) purely a matter of social choice. The Judeo-Christian view is pushed into the catagory of “fairy tales.”

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

Will Provine

From Wikipedia, the free encyclopedia
William Ball Provine
William B. Provine, HSS 2008.jpg

William B. Provine in 2008
Born February 19, 1942
Nashville, Tennessee, U.S.
Died September 1, 2015 (aged 73)
Horseheads, New York, U.S.

William BallWillProvine (February 19, 1942 – September 1, 2015) was an American historian of science and of evolutionary biology and population genetics. He was the Andrew H. and James S. Tisch Distinguished University Professor at Cornell University and was a professor in the Departments of History, Science and Technology Studies, and Ecology and Evolutionary Biology.


Provine was born in Tennessee. He held a B.S. in Mathematics (1962), and an M.A. (1965) and Ph.D (1970) in History of Science from the University of Chicago.[1] He joined the Cornell faculty in 1969. He suffered seizures in 1995 due to a brain tumour.[2] Provine died on September 1, 2015, due to complications from the tumor.[3]

History of theoretical population genetics[edit]

Provine’s Ph.D. thesis, later published as a book,[4] documented the early origins of theoretical population genetics in the conflicts between the biostatistics and Mendelianschools of thought. He documented later developments in theoretical population genetics in his biography of Sewall Wright,[5] who was still alive and available for interviews. In this book, Provine criticizes Wright for confounding three different concepts of adaptive landscape: genotype to fitness landscapes, allele frequency to fitness landscapes, and phenotype to fitness landscapes. Provine later grew critical of Wright’s views on genetic drift, instead attributing observed effects to the consequences of inbreeding and consequent selection at linked sites. John H. Gillespie credits Provine with stimulating his interest in the topic of hitchhiking or “genetic draft” as an alternative to genetic drift.[6] Provine later published his critique of genetic drift in a book.[7] Provine defended the importance of mathematics’ contribution to the modern evolutionary synthesis.[8]

Education reform[edit]

In 1970, Provine was instrumental in the founding of Cornell’s Risley Residential College. He was the first faculty member in residence.


Provine was a philosopher, atheist, and critic of intelligent design. He engaged in prominent debates with theist philosophers and scientists about the existence of God and the viability of intelligent design. He debated the founder of the intelligent design movement, Phillip E. Johnson, and the two had a friendly relationship. Provine said that his course on evolutionary biology began by having his students read Johnson’s book, Darwin on Trial.[9]

Provine was a determinist in biology, but not a determinist in physics or chemistry; he rejected the idea that humans exercise free will.[2][10] Provine believed that there is no evidence for the existence of God, is no life after death, no absolute foundation for moral right and wrong, and no ultimate meaning or purpose for life.[11]

In popular culture[edit]

Professor Provine appeared in Ben Stein‘s movie Expelled: No Intelligence Allowed. Provine supervised the thesis written by Bad Religion member Greg Graffin. Graffin was a student of paleobiology at Cornell. Provine also supervised the sociology thesis of Steve Leveen in 1982.

Selected bibliography[edit]

  • The Origins of Theoretical Population Genetics, 1971, ISBN 0-226-68465-2
  • Mayr, E., and W. B. Provine, eds., The Evolutionary Synthesis: Perspectives on the Unification of Biology, 1980, ISBN 0-674-27225-0
  • Sewall Wright and Evolutionary Biology, 1986, ISBN 0-226-68473-3
  • Provine, W. B., ed., Evolution: Selected Papers by Sewall Wright, 1986, ISBN 0-226-91053-9
  • “Geneticists and Race”, American Zoologist, 1986, 26:857–87.
  • “Progress in Evolution and Meaning in Life”, in M. Nitecki, ed., Evolutionary Progress, 1989, ISBN 0-226-58692-8
  • Cain, A. J., and W. B. Provine, “Genes and Ecology in History”, in Berry, R. J., et al., eds., Genes in Ecology: 33rd Symposium of the British Ecological Society, 1992, ISBN 0-521-54936-1
  • The “Random Genetic Drift” Fallacy, 2014, ISBN 9781500924126


  1. Jump up^ “Provine, William Ball”. VIVO.
  2. ^ Jump up to:a b Provine, Will (1999). “No Free Will”. Isis. University of Chicago Press, History of Science Society. 90: S117–32. doi:10.1086/384611. ISSN 0021-1753. JSTOR 238010.
  3. Jump up^ Ramanujan, Krishna (September 9, 2015). “William Provine, History of Science Scholar, Dies at 73”. Cornell Chronicle.
  4. Jump up^ Provine, William B. (1971). The Origins of Theoretical Population Genetics. University of Chicago Press. ISBN 0-226-68465-2.
  5. Jump up^ Provine, William B. (1989). Sewall Wright and Evolutionary Biology (Pbk. ed.). University of Chicago Press. ISBN 0-226-68473-3.
  6. Jump up^ Gillespie, J. H. (11 November 2001). “Is the Population Size of a Species Relevant to its Evolution?”. Evolution: International Journal of Organic Evolution. 55 (11): 2161–69. doi:10.1554/0014-3820(2001)055[2161:itpsoa];2.PMID 11794777.
  7. Jump up^ Provine, William B. (2014). The “Random Genetic Drift” Fallacy. CreateSpace. ISBN 9781500924126.
  8. Jump up^ Provine, William B. (1978). “The Role of Mathematical Population Geneticists in the Evolutionary Synthesis of the 1930s and 1940s”. Studies in the History of Biology. 2: 167–92.
  9. Jump up^ Reynolds, John Mark (June 2, 1995). “Que Res Vitas?: Phil Johnson Takes His Case to the East”. Origins Research. Access Research Network. 16 (1).
  10. Jump up^ Provine, William (February 12, 1998). “Evolution: Free Will and Punishment and Meaning in Life”. Second Annual Darwin Day Celebration. University of Tennessee, Knoxville. Archived from the original on August 29, 2007. RetrievedOctober 30, 2015.
  11. Jump up^ Provine, William B.; Johnson, Phillip E. (June 2, 1995). “Darwinism: Science or Naturalistic Philosophy?, A Debate Between William B. Provine and Phillip E. Johnson at Stanford University, April 30, 1994”. Origins Research. Access Research Network. 16 (1). Video at

External links[edit]

Desmond Morris is featured artist today

The Sentinel

Date: 1976
Style: Surrealism
Genre: figurative

The Sentinel - Desmond Morris

My haven: Anthropologist, artist and TV presenter, Desmond Morris, 83, in the studio at his Oxfordshire home

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Desmond Morris at his house in Oxford surrounded by some of his favourite things including his great-grandfather's brass microscope and a painting he completed a few months ago

Desmond Morris at his house in Oxford surrounded by some of his favourite things including his great-grandfather’s brass microscope and a painting he completed a few months ago


Desmond Morris at his house in Oxford surrounded by some of his favourite things including his great-grandfather's brass microscope

The most precious object I own is my great-grandfather’s brass microscope. I found it in the attic when I was a child, and using it led to the two pursuits that have dominated my entire life – zoology and art. I began drawing the organisms I saw under the lens and exhibited my first collection of work in 1948. Although I use modern microscopes today, I would never part with this one.


Desmond Morris

When my wife Ramona and I visited a mineral fair a few years ago I fell in love with this amazing object, so she secretly bought it for me. It’s a piece of cave wall dotted with dozens of pyrite cubes with such precise edges and smooth faces it’s hard to believe they’re natural. My old friend David Attenborough came to see it and said, ‘You may have more cubes than I have, but mine are bigger!’


Desmond Morris at his house in Oxford surrounded by some of his favourite things including his great-grandfather's brass microscope

Seven years ago my son Jason bought this huge fossil from a gallery in Ireland for my birthday. It’s so heavy I can hardly lift it. It’s called Cladocyclus and I discovered that 110 million years ago itwas a very fast and ferocious marine predator. I value it highly, partly because it’s a relief to find something older than me, but even more so because my son went to so much trouble to get it to my studio.


Desmond Morris at his house in Oxford surrounded by some of his favourite things including his great-grandfather's brass microscope

This is a favourite painting of mine, completed only a few months ago. It’s number 2365 out of the 2392 I’ve done since I began in 1944. I have no idea what drives me on, but it certainly makes my haven a place of work as well as a place of rest. I’m fascinated by the totem poles of American Indians and allowed my Biomorphs, the strange beings that have inhabited my work since the 40s, to grow out of the tops of them.

5 100 NOT OUT!

Desmond Morris

It was a schoolboy ambition of mine to visit 100 countries before I die and I did it in February 2010 when I set foot on Christmas Island in the Pacific. The islanders are a delightful people who live in small villages, three of which are quaintly called Banana, London and Poland. The women make these ornaments out of cowrie shells and this is very special to me because it symbolises my lifetime of travel.


Desmond Morris at his house in Oxford surrounded by some of his favourite things including his great-grandfather's brass microscope

Many years ago I found this tailor’s dummy in a junk shop and I’ve added bits to it from faraway lands so it’s developed its own bizarre character. There’s an antique scythe I found in Cyprus and a doctor’s birdmask from Croatia (the long beak kept the doctor at a distance from infectious patients). On its head I placed a wig I found on Pier 39 in San Francisco and a coolie hat from Java.

Recent paintings by Desmond Morris are on show at the Taurus Gallery, North Parade, Oxford, tel: 01865 514870.

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Desmond Morris

From Wikipedia, the free encyclopedia
For the Australian rugby league footballer, coach and administrator, see Des Morris.
Desmond Morris
Desmond Morris (1969).jpg

Desmond Morris (1969)
Born Desmond John Morris
24 January 1928 (age 88)
Purton, Wiltshire, England
Occupation Zoologist and ethologist
Known for The Naked Ape (1967)

Desmond John Morris (born 24 January 1928) is an English zoologist, ethologist and surrealist painter, as well as a popular author in human sociobiology.

Early life[edit]

Born on 24 January 1928 in Purton, Wiltshire, Desmond John Morris is the son of Marjorie (née Hunt) and the children’s fiction author Harry Morris. In 1933, the Morrises moved to the nearby town of Swindon, which remained his primary home until 1951. During this time in Swindon, Morris began to develop a strong interest in both natural history and writing. In 1941 Morris attended Dauntsey’s School, a co-educational boarding school for 11- to 18-year-olds on the northern edge of Salisbury Plain in Wiltshire. It was during this time away at school that Morris’s passion for both zoology and the modern visual arts began to intensify and come to the surface.[1]

In 1946, Morris was conscripted into the army for two years of national service. During this time, he became a lecturer in fine arts at the Chiseldon Army College, and also began to take painting seriously. In 1948 he was demobilised from the army, and that same year held his first one-man show of his own paintings at the Swindon Arts Centre. Pursuing his interests immediately, that autumn he enrolled as an undergraduate in the Zoology Department of the University of Birmingham. Morris graduated with a First Class Honours Degree in zoology. He moved on in 1951 to the Oxford University Zoology Department to begin his research into animal behaviour for his doctorate degree, mainly basing his studies on reproductive communication systems.[1] In 1954 he earned a Doctor of Philosophy for his research and works leading to his doctoral thesis regarding reproductive behaviour of the ten-spined stickleback.


After receiving his doctoral degree from Oxford University, Morris continued at the university, conducting research on the reproductive behaviour of birds. After some time elapsed, including Morris’s move to London in 1956, he thence began a research project into the picture-making abilities of apes.[1] The following year of 1957 he organised an exhibition at the Institute of Contemporary Arts in London, all of paintings and drawings composed by chimpanzees. Later, in 1958 he co-organised an exhibition which compared pictures made by the likes of infants, human adults, and apes. The event was called The Lost Image and was held at the Royal Festival Hall in London. After assuming the position of Curator in 1959, Morris’ upcoming years begin to fill with strings and strings of books to be released on the topics of animal behaviour, art, many centring on the topic of human behaviour, as well as comparisons to primates, viewing humanity as revolutionised from the hunter-gatherer to the city dweller.[1] Morris also published books covering infant behaviour watching, as well as man watching, and watchings of various types of animals such as cats and dogs.[2]

Morris’ works have been published worldwide. His first book that concerned human behaviour was The Naked Ape: A Zoologist’s Study of the Human Animal,[3] published in 1967. The book gained much popularity. Following its success, in 1968 Morris moved to the Mediterranean island of Malta in order to focus on preparing a sequel as well as freely painting and other activities. Shortly thereafter, with books still continuously being published, in 1971 he opened his research headquarters in Malta, in order to conduct research towards producing an encyclopedia of all human actions, more specifically, to classify all human action-patterns. However, in 1973 Morris left Malta to work for the Nobel Prize winner Niko Tinbergen in his research group studying animal behaviour, with the Department of Zoology at Oxford University.[4]

In 1982 Morris began to study archaeological research for a new, slightly different book, The Art of Ancient Cyprus. The following year Morris published Book of Ages, a year-by-year account of human life from birth to death. Morris finished writing The Art of Ancient Cyprus the next year, 1984, and published it in 1985. His next research project, conducted in 1988, focused on the colors used in decorating human homes.[1] The findings and data were brought together that same year within a report called Nestbuilders. Throughout his entire career Desmond Morris has produced a steady stream of books on the observations of life, humans, animals and even paintings as well as children’s books on the matters. Despite all of his other interests, the majority of his books took place under the category of sociobiology.[2]


In 1948 Morris had his first one-man showing of his paintings, at Swindon Art Centre. Two years later, he emerged into the surrealist art scene at the London Gallery. For the first time at an event held by the Belgiansurrealist Edouard Mesen’s.[clarification needed] The event was held with Joan Miró. The following year (1951), Morris travelled to Belgium to exhibit his paintings at an international art festival. His next art showing wasn’t until 1957 when he organised a chimpanzee paintings and drawings exhibition at the Institute of Contemporary Arts, London (a result of his research study into the drawing abilities of apes). In the spring of 1967, upon release of Morris’s first human behavioural book, he resigned from his post of Curator held at the London Zoo, and thence became executive director of the London Institute of Contemporary Arts for only a year, until 1968 with the release of The Naked Ape, thus sending Morris on an absence from the arts world of over twenty years, while his sociobiology career took the front seat.[1]

In 1974, shortly after returning from his time painting, studying and writing in Malta, Morris held his first exhibition of his surrealist paintings since before the takeoff of his career in other areas. The showing was held at the Stooshnoff Fine Art Gallery in London. Two years Morris held four more exhibitions of paintings, including an exhibition holding 61 works of his from over thirty years – held at the Public Art Gallery in his former home of Swindon. In 1987 Morris combined his two passions of writing and art, to create and publish his first book about his surrealist paintings called The Secret Surrealist, with introduction by Phillip Oakes.[1] His first showing of paintings after the book’s release was held the following year in New York at the Shippee Gallery. Morris continues his showings to this day, with his works being documented and recognised officially by his biographer Silvano Levy in Desmond Morris: 50 Years of Surrealism in 1997. Morris has since travelled showing his art exhibits around the world, from his home in Britain branching throughout Europe. In 2005 a solo exhibit, Ape Artists of the 1950s, of paintings by apes from his earlier studies in the 1950s, was held at the Mayor Gallery in London.

Solo art showings
Swindon Art Centre Swindon 1948
London Gallery London 1950
Ashmolean Museum Oxford 1952
Stooshnoff Fine Art London 1974
Quasrangle Gallery Oxford 1976
Wolfson College Oxford 1976
Lasson Gallery London 1976
Public Art Gallery Swindon 1977
Galerie d’Eendt Amsterdam 1978
Mayor Gallery London 1987
Shipee Gallery New York 1988
Keats Gallery Knokkle-le-Zoute 1988
Mayor Gallery London 1989
Mayor Gallery London 1991
Galerie Michele Heyraud Paris 1991
Public Art Galley Swindon 1993
Mayor Gallery London 1994
Public art galleries Stoke and Nottingham 1996
Mayor Gallery London 1997
Charleston Gallery Sussex 1997
Public Art Gallery Buxton 1997
Clayton Gallery Newcastle 1998
Keitelman Gallery Brussels 1998
Rossaert Gallery Antwerp 1998
Witteveen Gallery Amsterdam 1999

Television and film[edit]

In 1950 Desmond Morris made his entrance into film and television,[1] writing and directing two surrealist films entitled Time Flower and The Butterfly and the Pin. In 1956 he moved to London in order to assume the position at the Zoological Society of London as Head of the Granada TV and Film Unit. Morris’s job thus included creating programmes for both film and television on the topic of animal behaviour and other various zoology-orientated topics. His job remained as a host for Granada TV’s weekly Zoo Time programme for the following three years up until 1959. During his time in this position, a total of eight years, Morris scripted and hosted a total of 500 Zoo Time programmes, along with 100 episodes of the show Life in the Animal World for BBC2.[1] During this time he also dabbled in radio for the BBC on topics of natural history. However, he left the Film & TV unit at the London Zoo in order to become the Zoological Society’s Curator of Mammals (1959).[1]

After a long break from the world of television, Morris re-entered the game in 1979, undertaking a new television series for Thames TV. The series was called The Human Race, focusing on human behaviour. The show’s filming ran on schedule and was presented on television in 1982. Later the series was shown in many other countries as well. That same year, Morris travelled to Japan for another television expedition to make a production titled Man Watching in Japan, which was shown on Japan Television in that autumn of 1982. In 1986 Morris started working on a new TV series (co-presented by British TV Broadcaster Sarah Kennedy) which was called The Animals Road Show. The show totalled 40 programmes over the next three years, as well as a book published on the series within that time frame.[1] After the show’s second year airing, Morris began filming another TV series that was called The Animal Contract. The show aired for Australian television, wrapping up in 1989. Although The Animal Road Show ended in 1989 also, Morris and Kennedy reunited in 1992 to show a second series of exactly fourteen half-hour episodes. This was followed by a third series the following year in 1993, with thirteen half-hour programmes. This was followed by a fourth series in 1994, and finally a fifth in 1995, all with Sarah Kennedy. In 1994, Morris also wrote then presented a series of six one-hour TV episodes for BBC1, called The Human Animal. This series went on to win the Cable Ace Award in Los Angeles for best documentary series in 1995. The following year Morris began to work on The Human Sexes, a new TV sequel to The Human Animal, which was completed in 1997.


  • Zootime (Weekly, 1956–67)
  • Life (1965–67)
  • The Human Race (1982)
  • The Animals Roadshow (1987–89)
  • The Animal Contract (1989)
  • Animal Country (1991–96)
  • The Human Animal (1994)
  • The Human Sexes (1997)


In 1964 he was invited to deliver the Royal Institution Christmas Lecture on Animal Behaviour.


  • The Biology of Art (1963) – a look at the paintings of primates and their relation to human art
  • The Big Cats (1965) – part of The Bodley Head Natural Science Picture Books, looking at the habits of the five Big Cats, the lion, tiger, leopard, jaguar, snow leopard, and the cheetah.[5]
  • The Mammals: A Guide to the Living Species (1965) — a comprehensive and compelling listing of all mammal genera, all non-rodent non-bat species, and additional information on select species.
  • The Naked Ape (1967) — an unabashed look at the human species. The book is notable for its focus on humanity’s animalistic qualities and our similarity with other apes. Reprinted many times and in many languages, it continues to be a best-seller.
  • The Human Zoo (1969) — a continuation of the previous book, analysing human behaviour in big modern societies and their resemblance to animal behaviour in captivity.
  • Intimate Behaviour (1971) — In “Intimate Behaviour” Morris studies the human side of intimate behaviour from clapping to cutting hair, from the embrace to copulation. Morris examines how natural selection shaped human physical contact in and how intimate behaviours are expressed and/or repressed in modern culture. Morris explains the origins of complex and mundane human signaling and body contact relating much of it to the pre-natal condition in the womb and the experience of the protection and attention that children receive when young and helpless. Morris infers that most intimate contact is a variation or repetition of such comforting and secure contact which is expressed in thinly disguised forms from pats on the back to massage “therapy”. Morris describes an increasingly rigid modern society empty of typical physical interaction in public and how people compensate by enacting intimate behaviour in other forms in private or through deviant behaviour in public.
  • Manwatching: A Field Guide to Human Behaviour (1978)
  • Gestures: Their Origin and Distribution (1979)
  • Animal Days (1979) — Autobiographical
  • The Soccer Tribe (1981)
  • Pocket Guide to Manwatching (1982)
  • Inrock (1983)
  • Bodywatching – A Field Guide to the Human Species (1985) — Hundreds of photos analyzing the human body from hair down to the feet.
  • Catwatching: & Cat Lore (1986) — a study of one of the most popular of household pets across the centuries.
  • Dogwatching (1986) — an in-depth study of “man’s best friend”.
  • Horsewatching (1989) — subtitled “Why does a horse whinny and everything else you ever wanted to know”
  • Animalwatching (1990)
  • Babywatching (1991)
  • Bodytalk (1994)
  • The Human Animal (1994) — book and BBC documentary TV series
  • The Human Sexes (1997) — Discovery/BBC documentary TV series
  • Cat World: A Feline Encyclopedia (1997)
  • The Naked Eye (2001)
  • Dogs: The Ultimate Dictionary of over 1,000 Dog Breeds (2001)
  • Peoplewatching: The Desmond Morris Guide to Body Language (2002)
  • The Naked Woman: A Study of the Female Body (2004)
  • Linguaggio muto (Dumb language) (2004)
  • The Nature of Happiness (2004)
  • Watching (2006)
  • The Naked Man: A Study of the Male Body (2008)
  • Baby: A Portrait of the First Two Years of Life (2008)
  • Planet Ape (2009)
  • Owl (2009) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the owl.
  • Monkey (20013) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the monkey.
  • Leopard (2014) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the leopard.
  • Bison (2015) – Part of the Reaktion Books Animal series, Desmond Morris covers the natural history, conservation and place in human culture, history, art and pop culture, of the bison.

Major events[edit]

  • In 1951 upon moving his studies to Oxford University, Desmond studied under Dr. Nikolaas Tinbergen, a Dutch ethologist and ornithologist, who in 1973 shared the Nobel Prize in Physiology or Medicine with two other scientists for their discoveries.
  • Holds one man art show at the world’s first university museum (Ashmolean Museum of Art and Archaeology) in 1952, in Oxford.
  • In 1952 the journal Behavior, published Morris’s first scientific paper on animal behavior. He produced 47 more over the next fifteen years.[1][6]
  • Awarded Doctor of Philosophy (D.Phil) in 1954 by Oxford University, his thesis on the “Reproductive Behaviour of the Ten-spined Stickleback“.
  • First scientific book published in 1958: The Reproductive Behaviour of the Ten-spined Stickleback as well as a children’s book titled The Story of Congo.
  • In 1983, Desmond published his first fiction novel, called Inrock (science fiction, fantasy), reflective of the surrealist world he created within his paintings. Said to be primarily aimed towards children, but not entirely.
  • In 1992 Desmond held his first one-man showing of his paintings in Paris.
  • In 1996 an exhibition titled “Desmond Morris 50 Years of Surrealism” was held at both Stoke Gallery, and then second Nottingham Public Gallery. Followed by a solo exhibit at Mayor Gallery in 1997 to coincide with Desmond’s official biographer Silvano Levy’s book entitled Desmond Morris: 50 Years of Surrealism.
  • In 1998 Desmond Morris is awarded the honour of becoming a Doctor of Science by the University of Reading in Reading, Berkshire.

Personal life[edit]

When Morris was 14, his father was killed whilst serving in the armed forces. In a 2008 interview Morris said, “it was the beginning of a life-long hatred of the establishment. The church, the government and the military were all on my hate list and have remained there ever since.”[7] As said in another interview, Morris’s reasoning behind drifting towards the surrealist subculture is rather profound. In a time living as a child in the Second World War and then losing his father to the repercussions of that violence, an inner urge for rebellion against authority struck Morris.

Surrealism started in the 1920s as a rebellion against the horrendous natures of the Great War, these ideas fitted Desmond’s current mindset quite perfectly. Enabling him to create his own world for himself within his paintings. Painting he proclaims is his own personal pleasure, not business. So his rebellion ended up coming forth in other ways, more positive ways, not just within his paintings but within his desire to share knowledge throughout over 79 publications with the world. Not wanting to cause grief for anyone in other aspects (due to his prior grief), he decided to aim his energies in these more positive directions such as writing evolutionarily beneficial works. And so he did, as seen through his life accomplishments, or entire lists of works. Desmond’s grandfather William Morris, a very enthusiastic Victorian naturalist is noted to have played a great influence on Desmond during his time living in Swindon. Interesting to note, William Morris founded the Swindon local newspaper.[1]

In July 1952, Morris married Ramona Baulch, a history graduate from Oxford. The two conceived their only son Jason in Malta. This occurred in 1968 following the success of The Naked Ape.[1] In 1978 Desmond was elected Vice-Chairman of Oxford United F.C..

Desmond reflected in an interview[8] with the following quote : “I also carried my message – about how fascinating animal behaviour and human behaviour can be – to an even wider audience by making television programmes, and presented a total of about 700 programmes over a period of half a century. I have now stopped that work and I am devoting my final years to the three things I enjoy most; writing books, painting pictures and travelling the world. I have so far managed to visit 95 countries and I have a schoolboy ambition to make that 100 countries before I die.”

See also[edit]


  1. ^ Jump up to:a b c d e f g h i j k l m n Williams, D. “Desmond Morris Biography”. Retrieved 2012-11-28.
  2. ^ Jump up to:a b Williams, D. “Desmond Morris – Bibliography”. Retrieved 2012-11-28.
  3. Jump up^ Morris, D. (1967). The Naked Ape: A Zoologist’s Study of the Human Animal (1st American ed.). New York: McGraw-Hill.
  4. Jump up^ Harré, R. (2006). “Chapter 5: The Biopsychologists”. Key Thinkers in Psychology, pp. 125-132. London: Sage.
  5. Jump up^ “The Big Cats … Illustrated by Barry Driscoll.”. The British Library Board. Retrieved 23 May 2015. External link in |website= (help)
  6. Jump up^ Williams, D. “Desmond Morris – Research”. Retrieved 2012-11-28.
  7. Jump up^ Douglas, Alice (1 November 2008). “My family values: Desmond Morris interview”. London: The Guardian. Retrieved 2012-11-28.
  8. Jump up^ [1]

External links[edit]



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