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"Natural history Drawings."
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Drawing as a way of knowing in art and science
In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson's Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics, and art. Inspired and informed by collaboration with contemporary scientists and Goethe's studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral, and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.--Google Books.
Book
Drawing as a way of knowing in art and science
In recent history, the arts and sciences have often considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics and art. Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, mineral and four-dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of knowledge in science as well as in the arts.
eBook
The eye of the Lynx
Some years ago, David Freedberg opened a dusty cupboard at Windsor Castle and discovered hundreds of vividly colored, masterfully precise drawings of all sorts of plants and animals from the Old and New Worlds. Coming upon thousands more drawings like them across Europe, Freedberg finally traced them all back to a little-known scientific organization from seventeenth-century Italy called the Academy of Linceans (or Lynxes). Founded by Prince Federico Cesi in 1603, the Linceans took as their task nothing less than the documentation and classification of all of nature in pictorial form. In this first book-length study of the Linceans to appear in English, Freedberg focuses especially on their unprecedented use of drawings based on microscopic observation and other new techniques of visualization. Where previous thinkers had classified objects based mainly on similarities of external appearance, the Linceans instead turned increasingly to sectioning, dissection, and observation of internal structures. They applied their new research techniques to an incredible variety of subjects, from the objects in the heavens studied by their most famous (and infamous) member Galileo Galilei—whom they supported at the most critical moments of his career—to the flora and fauna of Mexico, bees, fossils, and the reproduction of plants and fungi. But by demonstrating the inadequacy of surface structures for ordering the world, the Linceans unwittingly planted the seeds for the demise of their own favorite method—visual description-as a mode of scientific classification. Profusely illustrated and engagingly written, Eye of the Lynx uncovers a crucial episode in the development of visual representation and natural history. And perhaps as important, it offers readers a dazzling array of early modern drawings, from magnificently depicted birds and flowers to frogs in amber, monstrously misshapen citrus fruits, and more.
eBook
Nature portrayed in images in Dutch Brazil: Tracing the sources of the plant woodcuts in the Historia Naturalis Brasiliae (1648)
By the mid-seventeenth century, images of natural elements that originated in Dutch Brazil circulated in Europe. These were often included in art collections (the Libri Picturati ) and natural history treatises (the Historia Naturalis Brasiliae and the India Utriesque re Naturale et Medica , 1658). The plant woodcut images in these books constituted (icono) type specimens and played a significant role in disseminating scientific botanical knowledge. We present a systematic analysis of their origins by cross-referencing the visual and textual sources related to Dutch Brazil. To do so, we used our previous botanical identifications of the portrayed plants, published sources, and digital archival material. The plant woodcuts accounted for 529 images, which corresponded to 426 taxa. We created a PDF booklet to visualize the (dis-) similarities of the woodcuts with the Libri Picturati and other visual sources. Substantial differences in the visual-making methodology exist between the two treatises (1648, 1658). In the first book, most of the images were available from Dutch Brazil and carved into the woodcuts, while most of these woodcuts were reused in the second one. The Indigenous Tupi-based plant names accompanying the images were crucial when arranging the sources, and portraying as much botanical information as possible was commonly the goal. Freshly picked, living plants, dried branches, fruits, and seeds were used to represent the megadiverse Brazilian flora, even when these belonged to species originating from other regions. Despite not being recognized for their contribution, Indigenous Brazilians and enslaved Africans were essential in the visual knowledge-making processes that later resulted in these natural history collections. As several sources remain lost and many histories yet untold, further archival studies and collaborative projects are pertinent to reveal the missing pieces of this conundrum.
Journal Article
The Beauty of the Flower
Blooming with rare archival images, the story of scientific botanical illustrations over nearly seven hundred years. In a world flooded with images designed to create memories, validate perceptions, and influence others, botanical illustration is about something much more focused: creating technically accurate depictions of plants. Reproductions of centuries-old botanical illustrations frequently adorn greeting cards, pottery, and advertising, to promote heritage or generate income, yet their art is scientific: intended to record, display, and transmit scientific data. The Beauty of the Flower tells the backstory of these images, showing us how scientific botanical illustrations are collaborations among artists, scientists, and publishers. It explores the evolution and interchanges of these illustrations since the mid-fifteenth century, how they have been used to communicate scientific ideas about plants, and how views of botanical imagery change. Featuring unique images rarely seen outside of specialist literature, this book reveals the fascinating stories behind these remarkable illustrations.
eBook
Making Expert Knowledge through the Image: Connections between Antiquarian and Early Modern Scientific Illustration
This essay examines drawings of antiquities in the context of the history of early modern scientific illustration. The role of illustrations in the establishment of archaeology as a discipline is assessed, and the emergence of a graphic style for representing artifacts is shown to be closely connected to the development of scientific illustration in the seventeenth and early eighteenth centuries. The essay argues that the production of conventionalized drawings of antiquities during this period represents a fundamental shift in the approach to ancient material culture, signifying the recognition of objects as evidence. As has been demonstrated in other scientific fields, the creation of a visual system for recording objects was central to the acceptance of artifacts as “data” that could be organized into groups, classified as types, and analyzed to gain knowledge of the past.
Journal Article
Sitting Bull, Four Horns, and Fort Buford
New research on a set of drawings known as “Four Horns copies of Sitting Bull’s drawings” reveals that both the name and ethnic identity of the artist are unsupported. Those identifications derive from research and records of an earlier era built upon Western understanding of cultural materials. Rather than seeking to provide definitive new answers to these questions, this paper explores other aspects of the drawings that are now better aligned with anthropological and ethnohistorical interest, seeking to recover the context of production and circulation and what the drawings may have meant to Native people.
Journal Article
Skeletal Morphology of Opius dissitus and Biosteres carbonarius (Hymenoptera: Braconidae), with a Discussion of Terminology
The Braconidae, a family of parasitic wasps, constitute a major taxonomic challenge with an estimated diversity of 40,000 to 120,000 species worldwide, only 18,000 of which have been described to date. The skeletal morphology of braconids is still not adequately understood and the terminology is partly idiosyncratic, despite the fact that anatomical features form the basis for most taxonomic work on the group. To help address this problem, we describe the external skeletal morphology of Opius dissitus Muesebeck 1963 and Biosteres carbonarius Nees 1834, two diverse representatives of one of the least known and most diverse braconid subfamilies, the Opiinae. We review the terminology used to describe skeletal features in the Ichneumonoidea in general and the Opiinae in particular, and identify a list of recommend terms, which are linked to the online Hymenoptera Anatomy Ontology. The morphology of the studied species is illustrated with SEM-micrographs, photos and line drawings. Based on the examined species, we discuss intraspecific and interspecific morphological variation in the Opiinae and point out character complexes that merit further study.
Journal Article
High mitochondrial diversity of domesticated goats persisted among Bronze and Iron Age pastoralists in the Inner Asian Mountain Corridor
Goats were initially managed in the Near East approximately 10,000 years ago and spread across Eurasia as economically productive and environmentally resilient herd animals. While the geographic origins of domesticated goats (Capra hircus) in the Near East have been long-established in the zooarchaeological record and, more recently, further revealed in ancient genomes, the precise pathways by which goats spread across Asia during the early Bronze Age (ca. 3000 to 2500 cal BC) and later remain unclear. We analyzed sequences of hypervariable region 1 and cytochrome b gene in the mitochondrial genome (mtDNA) of goats from archaeological sites along two proposed transmission pathways as well as geographically intermediary sites. Unexpectedly high genetic diversity was present in the Inner Asian Mountain Corridor (IAMC), indicated by mtDNA haplotypes representing common A lineages and rarer C and D lineages. High mtDNA diversity was also present in central Kazakhstan, while only mtDNA haplotypes of lineage A were observed from sites in the Northern Eurasian Steppe (NES). These findings suggest that herding communities living in montane ecosystems were drawing from genetically diverse goat populations, likely sourced from communities in the Iranian Plateau, that were sustained by repeated interaction and exchange. Notably, the mitochondrial genetic diversity associated with goats of the IAMC also extended into the semi-arid region of central Kazakhstan, while NES communities had goats reflecting an isolated founder population, possibly sourced via eastern Europe or the Caucasus region.
Journal Article