Natural history art of europe

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Natural History art of Europe - Pliny the Elder compiled his vast work "Natural History" in the 1st century CE, the only one of his works to survive. He was killed in the eruption of Mount Vesuvius in 79 CE while studying it. - Robert Hooke was a 17th century English scientist best known for his work with microscopy and observations published in "Micrographia". - Carl Linnaeus developed binomial nomenclature for classifying organisms in the 18th century.

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William Curtis. Flora Londiniensis: Containing a History of the Plants Indigenous to Great Britain ... London: Printed by R. and H. Taylor, 1817-1828. ,[object Object],[object Object],[object Object]

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British Entomology by John Curtis (1791 - 1862)

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British Mammals Archibald Thorburn (1860-1935)

1 Week 1 Visual Culture in the Western World The Idea of Cinema -Fascination with images can be traced back to Plato (The Republic) in the parable of “The Cave” Plato raises the danger of being complacent with the illusion of the image The dangers of an uncritical understanding of the image -The period of Enlightenment: scientific studies and machinations are developed to “capture, project and record images. -17th century: Athanasius Kircher (1601-1680) developed the “catoptric lamp.” German-born Jesuit priest and scientist whose book Ars magna lucis et umbrae diagramed the outlines for his reflecting optic machine. Did not invent the “magic lantern” He projected and reflected images on the wall Encouraged scientific explanation to his spectators so as to demythify images as some sort of magic or ghostly apparition. He emphasised that these images were not magic, but “art.” The Magic Lantern—17th Century 2 1659—Christiaan Huygens develops the “lanterne magique” 1664—Thomas Walgensten developed a similar apparatus in Paris Unlike Kircher who used sunlight to reflect the image Huygens and Walgensten used an artificial light source Walgensten traveled through Europe with the “lanterne magique” (Lyons, Rome, and Copenhagen) The people who saw the lanterne magique were initially royalty in these cities By the end of the century the lantern shows were exhibited in more popular culture venues such as fairs and carnivals 18th and 19th CENTURIES 1740— X. Theodore Barber demonstrates the “Magick Lanthorn” in Philadelphia, New York, and Boston. Venues such as private homes and coffee houses were the favored sites for these exhibitions. France, however, was where these lantern shows first gained commercial popularity at the beginning of the 19th century. 3 Etienne Gaspars Robertson “Fantasmagorie” capitalized on superstitions and religious fears Invoked the “spirits” of Rousseau and Voltaire It was a theater of apparitions. Unlike Kirhcer, Robertson did not tell his audiences that the “Fantasmagorie” was a technological spectacle Like contemporary theater and film, Robertson maintained the illusion of the image -It was an extremely complicated production to put on - images size and intensity of light had to be continuously managed The Fantasmagorie was internationally popular. Each traveling show was uniquely packaged usually attended by an adult urban middle-class audience. 1803—Barber presented the French Fantasmagoria in New York 1803—Showmen Bologna and Thomlinson exhibited the Fantasmagoria in London Americans saw the ghost of Benjamin Franklin and exotic figures like the “Egyptian Pygmy Doll” 4 There was sound with these presentations— ghost’s voices, music Ticket prices were approximately US$1. 1830 Photography and the Stereopticon The difference between t ...

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Lecture6April15.pptx Johann Wolfgang von Goethe, 1749-1832 1 Living nature exhibits fundamental organic types: archetypes, Urtypen, Haupttypen,… Organisms as if produced by the ideal they embodied Metamorphosis of organisms: development out of a basic kind of structure (parts of plants from leaves, skulls from vertebrae) Organic conception of Nature opposed to the mechanical ideal: Naturphilosophie against Newtonianism Art and Science: “All art should become science, and all science should become art” Nature as Resource for the creation of the self 2 Alexander von Humboldt und Aimé Bonpland in der Urwaldhütte, 1850 3 Cosmos, A Sketch of a Physical Description of the Universe (1845-62) Overview of all past and present knowledge of the earth and the heavens Universe as law-bound, unified whole while respecting the freedom of each individual part Chronometers, telescopes, quadrants, magnetic compasses, thermometers, barometers, electrometers… Data from his voyages and from international networks Widest audience possible (Language and images) Aesthetics and Precision Humboldt and Bonpland share a theodolite with an Ecuadoran, 1806 4 Humboldt (1850): All formations are, therefore, common to every quarter of the globe and assume the like forms. Everywhere basalt rises in twin mountains and truncated cones… Thus, too, similar vegetable forms, as pines and oaks, alike crown the mountain declivities of Sweden and those of the most southern portion of Mexico” “The azure of the sky, the effects of light and shade, the haze floating on the distant horizon, the forms of animals, the succulence of plants, the bright glossy surface of the leaves, the outlines of mountains, all combine to produce the elements on which depends the impression of any one region.” “Swiss scenery… Italian sky” “”Observation of individual parts of trees or grass is by no means to be considered plant geography… rather, plant geography traces the connections and relations by which all plants are bound together.“ “Everywhere the mind is penetrated by the same sense of the grandeur and the vast expense of nature, revealing to the soul, by a mysterious inspiration, the existence of laws that regulate the forces of the universe.” 5 6 The Heart of the Andes, 1859 Frederic Edwin Church 8 "women felt faint. Both men and women succumb[ed] to the dizzying combination of terror and vertigo that they recognize[d] as the sublime. Many of them will later describe a sensation of becoming immersed in, or absorbed by, this painting, whose dimensions, presentation, and subject matter speak of the divine power of nature." 9 Mark Twain: “You will never get tired of looking at the picture, but your reflections—your efforts to grasp an intelligible Something—you hardly know what—will grow so painful that you will have to go away from the thing, in order to obtain relief. You may find relief, but you cannot banish the picture—it remains with you still. It ...

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