Academic literature on the topic 'Artists' books – Europe – Exhibitions'
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Journal articles on the topic "Artists' books – Europe – Exhibitions"
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Skarupsky, Petra. "“The War Brought Us Close and the Peace Will Not Divide Us”: Exhibitions of Art from Czechoslovakia in Warsaw in the Late 1940s." Ikonotheka 26 (June 26, 2017): 95–110. http://dx.doi.org/10.5604/01.3001.0010.1674.
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In his book Awangarda w cieniu Jałty (In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989), Piotr Piotrowski mentioned that Polish and Czechoslovakian artists were not working in mutual isolation and that they had opportunities to meet, for instance at the Arguments 1962 exhibition in Warsaw in 1962. The extent, nature and intensity of artistic contacts between Poland and Czechoslovakia during their coexistence within the Eastern bloc still remain valid research problems. The archives of the National Museum in Warsaw and the Zachęta – National Gallery of Art which I have investigated yield information on thirty-fi ve exhibitions of art produced in Czechoslovakia that took place in Warsaw in the period of the People’s Republic of Poland. The current essay focuses on exhibitions organised in the late 1940s. The issue of offi cial cultural cooperation between Poland and Czechoslovakia was regulated as early as in the fi rst years after the war. Institutions intended to promote the culture of one country in the other one and associations for international cooperation were established soon after. As early as in 1946, the National Museum in Warsaw hosted an exhibition entitled Czechoslovakia 1939–1945. In 1947 the same museum showed Contemporary Czechoslovakian Graphic Art. A few months after “Victorious February”, i.e. the coup d’état carried out by the Communists in Czechoslovakia in early 1948, the Young Czechoslovakian Art exhibition opened at the Young Artists and Scientists’ Club, a Warsaw gallery supervised by Marian Bogusz. It showed the works of leading artists of the post-war avant-garde, and their authors were invited to the vernissage. Nine artists participated in both exhibitions, i.e. at the National Museum and at the Young Artists and Scientists’ Club. A critical analysis of art produced in one country of the Eastern bloc as exhibited in another country of that bloc enables an art historian to outline a section of the complex history of artistic life. Archival research yields new valuable materials that make it impossible to reduce the narration to a simple opposition contrasting the avant-garde with offi cial institutions.
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Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)." Muzealnictwo 58, no. 1 (February 13, 2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.
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Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
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Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.
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The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of dance at Sorbonne University, having developed his own system of ballet dancers’ training and authored more than 20 works on ballet. In the same year, he was recognized as the best dancer and choreographer in France and was awarded the ‘Golden Shoe’. In 1957, he became the founder and rector of the Paris University of Dance. The author emphasizes that Lifar’s creative heritage is huge. He choreographed more than 200 ballets and wrote 25 books on dance theory. Serge Lifar trained 11 ballet stars. Serge Lifar’s style, which he called choreographic neoromanticism, determined the ways of development of the European ballet art of the second half of the 20th century. At the age of 65, Lifar showed his talent as a visual artist. His heritage includes more than a hundred original paintings and drawings, the main plot of which is ballet, dance, and movement. In 1972–1975, exhibitions of his works were held in Cannes, Paris, Monte Carlo and Venice. His yet another passion was books. It all began with Serhii Diahiliev’s personal archive, which included a collection of theatrical paintings, scenery and a library. Lifar bought it from the French government for a one year’s salary at the Grand Opera. In the USSR, Lifar’s name was concealed. Only in 1961, did he and his wife visit it for the first time as the Soviet authorities did not allow him to stage any ballet in the USSR. He always felt he was Ukrainian and ardently promoted the history and culture of his people. In honour of the outstanding countryman, the Serge Lifar International Ballet Competition and the festival ‘Serge Lifar de La dance’ have been held since 1994 and 1995, accordingly. Keywords: cultural diplomacy, art of artistic vision of choreography, Serge Lifar International Ballet Competition.
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Purcell, Alexandra. "Artists’ Books, Digital Exhibitions, and the Copyright Issues that Surround Them." Art Documentation: Journal of the Art Libraries Society of North America 34, no. 2 (September 2015): 321–29. http://dx.doi.org/10.1086/683387.
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Newington, Linda. "Nostalgia and renewal: collections and collaborations." Art Libraries Journal 35, no. 1 (2010): 41–46. http://dx.doi.org/10.1017/s0307472200016278.
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This article describes some unusual ways of working with the special collections in the University of Southampton Library of Winchester School of Art. Two of these collections have proved particularly fruitful: numerous successful activities centred on the Knitting Reference Library have aroused great interest, and there is now a strategic aim of making it the primary research resource for knitting for artists, students, and researchers in the University, and also for the wider community locally, nationally and globally. The contents of the Artists’ Books Collection too are being shared with a new audience, through exhibitions, events and participation at artists’ books fairs.
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Popper, Frank. "Art, Science, Technology: Six Exhibitions 1966–1998." Leonardo 52, no. 2 (April 2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
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From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
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Rimmaudo, Annalisa. "Acquisition and exploitation in the Bibliotheque Kandinsky’s artists’ books collection." Art Libraries Journal 32, no. 2 (2007): 32–35. http://dx.doi.org/10.1017/s0307472200019179.
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The collection of artists’ books at the Musée National d’Art Moderne in the Centre Georges Pompidou grew spontaneously at first, once the museum had been created, but since the end of the 1980s its growth has been much more deliberate. A formal acquisition policy has been introduced that ensures that gaps resulting from the early collecting history are filled; this also encourages the exploration of new directions in consultation with the Museum curators. Many activities are now undertaken to make the most of the holdings, such as exhibitions and seminars encouraging exploitation of the collection and ensuring continued analysis and debate.
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Nijhoff, Michiel. "Optimism and enthusiasm – and doubts: from UDC towards hybrid cataloguing in the library of the Stedelijk Museum Amsterdam." Art Libraries Journal 36, no. 4 (2011): 50–52. http://dx.doi.org/10.1017/s0307472200017211.
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UDC was used in the library of the Stedelijk Museum until 1994, but initially only for a small minority of the books: those that were neither monographs nor exhibition catalogues. With the introduction of an automated system UDC was thrown overboard, books were shelved by size, and the catalogue now works with a thesaurus (more like a keyword list) loosely based on the AAT. Most questions from customers are for artists’ names, so that is the focus of the indexing effort, even for group exhibitions involving up to 30 or 40 names, while for the Stedelijk’s own catalogues, all the artists are always indexed.
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Komorowski, Wiktor. "Hard Ground-Soft Politics: The Biennial of Graphic Arts in Ljubljana and Biting of the Iron Curtain." Humanities 7, no. 4 (October 9, 2018): 97. http://dx.doi.org/10.3390/h7040097.
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In 1955, the Ljubljana Biennial of Graphic Arts was founded. It was the first curatorial initiative that aimed to link graphic artists working around the world and with those divided by the Cold War. The Ljubljana Biennial became a major success and its model quickly spread worldwide, augmenting the international circulation of prints and exchanges of artistic concepts. Over the next twenty years similar exhibitions were established in Krakow, Tallinn, San Juan, Santiago de Chile, Cali, Tokyo, Cairo, Fredrikstad, Frechen, Sofia and Bradford. The Ljubljana Biennial of Graphic Arts offered an opportunity for artists from Yugoslavia, Eastern Europe and Latin America, such as Andrzej Lachowicz, Mauricio Leib Lasansky, Adolfo Quinteros and Aleš Veselý, to exhibit their works alongside the protagonists of the western contemporary graphic art circuit such as Robert Rauschenberg, Antonio Segui, Yozo Hamaguchi, Max Bill and Victor Vasarely. The network of exhibitions that followed the example set by Ljubljana Biennial of Graphic Arts became a window into the world not only for printmakers, but also for a number of artists who were affected by Cold War cultural exclusion. The network of dedicated international print exhibitions created favourable conditions for an emerging third space, which became a platform for communication between the cultures divided by the Iron Curtain. This article focuses on the curatorial assumptions that brought the Biennial of Graphic Arts in Ljubljana to life and questions its position as a cultural cornerstone for the Non-Aligned geopolitical order.
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Wendt, Selene. "Bringing Afropolitanism to the Arctic Circle." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 136–50. http://dx.doi.org/10.1215/10757163-8308258.
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This article provides a brief overview of a few thematic exhibitions that the author has curated, highlighting the importance of contemporary African art within a wider international context. The author highlights African and African diaspora artists whose careers continue to thrive internationally. Some might argue that their success has been dependent on their representation in powerful galleries, and to some extent this is certainly true. Nevertheless, it is a small step in the right direction that relocating to major cities in Europe or the United States is no longer an absolute prerequisite for African artists who wish to gain international success and recognition. As the exhibitions and artists addressed in this article convey, cosmopolitanism as a metaphor for mobility, and the ideal of co-existence, diversity, and tolerance as its unifying and defining factors, translates beautifully into the language of contemporary art. Most important, if we strip cosmopolitanism completely bare and look beneath its seductive veneer, its real potential and beauty becomes visible, revealing a commitment to ethics and a genuine engagement with the plight of others. When contemporary artists use their success and privilege to address sharp social criticism that questions the global, social, and cultural inequities that exclude most from the cosmopolitan party, something magical happens that gives cosmopolitanism a necessary dimension of hope and possibility that is truly worth celebrating.
Dissertations / Theses on the topic "Artists' books – Europe – Exhibitions"
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Richard, Sophie. "International Network of Conceptual Artists : dealer galleries, temporary exhibitions and museum collections (Europe 1967-1977)." Thesis, Anglia Ruskin University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436467.
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Vigli, Maria. "La participation des artistes grecs aux expositions universelles et internationales en Europe (1901-1939)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040094.
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Notre étude porte sur la présence des artistes grecs(peintres, sculpteurs, graveurs) aux manifestations universelles et internationales qui se sont déroulées dans de différentes villes européennes, durant les quarante premières années du XXe siècle.Effectuée principalement aux catalogues officiels des expositions traitées, notre recherche a essayé d’appréhender l’activité artistique des hellènes, en la situant dans un contexte culturel international(expositions universelles et/ou internationales) et dans un cadre chronologique précis (1901-1939) ; pour ce faire, nous avons tenu compte des divers paramètres sociaux, politiques et intellectuels, qui ont régi deux réalités historiques et géographiques : d’un côté la Grèce, un état jeune dans toutes ses manifestations, et de l’autre côté l’Europe de la Grande Guerre, du progrès industriel et des avant-gardesOur study focuses on the presence of Greek artists(painters, sculptors, engravers) in the universal and international exhibitions, that took place in various European cities during the first forty years of the 20th century.Our research, which was principally carried out in the official catalogues of the presentations in question, attempted the approach and in-depth comprehension of the artistic activity of the Greeks, placed in an international cultural context(universal and international exhibitions in Europe) and in a specific chronological frame(1901-1939). For this to be achieved, we took into consideration the diverse social, political and cultural parameters that ruled two different realities; on the one hand, Greece, a “young” country in all it’s manifestations and on the other hand, Europe of the Great War, industrial progress and the “avant-garde”
Books on the topic "Artists' books – Europe – Exhibitions"
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Partenheimer, Jürgen. Jürgen Partenheimer: Drucke und Bücher = prints and books. Bonn: Kunstmuseum Bonn, 1994.
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Muzeʼon Yiśraʼel (Jerusalem). Sifriyat Arṭuro Shṿarts. Ishah-ḥidah: Hedpesim ṿe-sifre-oman sureʼalisṭiyim mi-Sifriyat Arṭuro Shṿarts be-Muzeʼon Yiśraʼel. Yerushalayim: ha-Muzeʼon, 1995.
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Partenheimer, Jürgen. Jürgen Partenheimer: Die Verschickung der Orte = sending off places. Göttingen: Kunstverein, 1997.
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Partenheimer, Jürgen. Jürgen Partenheimer: Varia : Bilder einer Sammlung. Stuttgart: Edition Cantz, 1992.
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Longuet, Patrick. Quarante-trois artistes avec Michel Butor. Chambéry: Comp'act, 2001.
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Jean-Louis, Prat, ed. Peintres-illustrateurs du XXe siècle: Aimé Maeght bibliophile, 200 éditions originales : 22 mars-4 mai 1986. Saint-Paul [France]: Fondation Maeght, 1986.
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Art, Brooklyn Museum of. Artists books. [Brooklyn, N.Y: Brooklyn Museum of Art], 2000.
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Books by Artists (Exhibition) (1999 University of the West of England, Bristol). Books by artists. Bristol: Impact Press, 1999.
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Beck & Eggeling, ed. Heribert C. Ottersbach: Bilder aus dem Proberaum : Arbeiten der frühen 80er. Düsseldorf: Beck & Eggeling, 2013.
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Ottersbach, Heribert C. Heribert C. Ottersbach: In Erwartung der Ereignisse ; Werke 1995-2006 ; [Kunsthalle Tübingen, 13. Januar bis 25. März 2007]. Tübingen: Kunsthalle, 2007.
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Koopmans, Joop W. "Publishers, Editors and Artists in the Marketing of News in the Dutch Republic circa 1700: The Case of Jan Goeree and the Europische Mercurius." In Books in Motion in Early Modern Europe, 143–67. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53366-7_7.
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Ashton, Nick. "Steps from History." In Reading Prehistoric Human Tracks, 153–68. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-60406-6_9.
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AbstractHuman footprints were discovered at Happisburgh, UK, in 2013. This paper describes their discovery and the difficulties of recording such enigmatic remains in a coastal environment. The geological and environmental context in which they were found is given, together with the evidence of the dating of the site to either 850,000 or 950,000 years ago. The implications of how humans coped with long, cold winters of northern Europe is discussed; the evidence of a family group indicates that seasonal migration is highly unlikely, leaving the possibilities of either physiological adaptations, such as functional body hair, or the use of technologies such as shelter, clothing and fire. The second part of the paper shows the various ways in which the footprints have reached wide and diverse audiences through media reports, exhibitions and books. They show the powerful messages that footprints can generate through the ideas and emotions that they provoke and the immediacy of their connection with the deep past.
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Berndt, Jaqueline. "Deviating from “Art”: Japanese Manga Exhibitions, 1990–2015." In Comic Art in Museums, 178–91. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0020.
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As comics exhibits expanded and diversified in the US and in Europe, the Western way of exhibiting comic art became influential internationally. Up to the 1990’s, the Japanese considered manga to be a strictly literary genre, not a form of art. People went to the manga museum to read, not to look at displays of drawings. In this 2017 essay, manga scholar Jaqueline Berndt analyzes a series of influential Japanese exhibitions at institutions like the Kyoto International Manga Museum and the Kawasaki City Museum, as well as shows by individual artists to demonstrate how exhibits of manga evolved over a ten year period from a library-like environment to western style displays in museums and art exhibitions. Images: 3 exhibition photos
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"Foundations: Comic Art in Museums." In Comic Art in Museums, edited by Kim A. Munson, 11–13. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0002.
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This chapter includes a short introduction to the opening section of Comic Art in Museums by art historian Kim A. Munson, and it provides an overview of the evolution and challenges in comics exhibitions, why they are important, who the most influential artists were, and how comic art drawings function as an art object when framed on the gallery wall and in special artist’s edition books. This chapter also introduces contributors Denis Kitchen (image), Brian Walker, and Andrei Molotiu. This chapter discusses gallery comics and the work of artists Will Eisner, Mort Walker, and Mark Staff Brandl (image).
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Cernuda, Ramón. "The Cuban Avant-Garde and the International Art Community." In Picturing Cuba, 82–97. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0006.
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Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.
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Miholca, Amelia. "Between Zurich and Romania: A Dada Exchange." In Narratives Crossing Borders: The Dynamics of Cultural Interaction, 123–44. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.f.
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In 1916, a group of ambitious artists set out to dismantle traditional art and its accompanied bourgeois culture. Living in Zurich, these artists—among them the Romanians Marcel Janco and Tristan Tzara, and the Germans Emmy Hennings and Hugo Ball—formulated the new Dada movement that would awaken new artistic and literary forms through a fusion of sound, theater, and abstract art. With absurd performances at Cabaret Voltaire, they mocked rationality, morality, and beauty. Within the Dada movement in Zurich, I would like to focus on the artists whose Romanian and Jewish heritage played a central role in Cabaret Voltaire and other Dada related events. Art historical scholarship on Dada minimized this heritage in order to situate Dada within the Western avant-garde canon. However, I argue that the five young Romanians who were present on the first night of Cabaret Voltaire on February 5, 1916 brought with them from their home country certain Jewish and Romanian folk traditions, which helped form Dada’s acclaimed reputation. The five Romanians—Tristan Tzara, Marcel Janco and his brothers Georges Janco and Jules Janco, and Arthur Segal—moved to Zurich either to escape military conscription or to continue their college studies. By the start of the twentieth-century, Romania’s intellectual scene was already a transcultural venture, with writers and artists studying and exhibiting in countries like France and Germany. Yet, Zurich’s international climate of émigrés from all over Europe allowed the young Romanians to fully expand beyond nationalistic confines and collaborate together with other exiled intellectuals. Tom Sandqvist’s book Dada East from 2007 is the most recent and most comprehensive study of the Romanian aspect of Dada. Sandqvist traces Janco’s and Tzara’s prolific, pre-Dada time in Bucharest, along with the folk and Jewish sources that Sandqvist claims influenced their Dada performances. For instance, Tzara’s simultaneous poems, which he performed at Cabaret Voltaire, may derive from nineteenth century Jewish theater in Romania and from Hasidic song rituals. Moreover, the Dada performances with grotesque masks created by Janco relate to the colinde festival in Romania’s peasant folk culture. In my paper, I aim to analyze Sandqvist’s claim and answer the following questions: to what extent did Janco and Tzara incorporate the colinde festival and Jewish theater and ritual? Was their Jewish identity more important to them than their Romanian identity? And, lastly, how did they carry Dada back to Romania after the war ended and the Dadaists in Zurich moved on to other cities?
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Curtis, Cathy. "Love and Work." In Alive Still, 89–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0007.
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In her new elevator-equipped apartment, Nell dedicated herself to regaining her painting skills. She was still very much a part of the art world, included in gallery exhibitions and in a magazine article about successful women artists. However, decades before the passage of the Americans with Disabilities Act, it was extremely difficult for her to travel around New York to see art and visit friends. An invitation to Yaddo for another stay involved the practical difficulties facing an artist in a wheelchair. On the bright side, Dilys Evans (considered to be an aide) was allowed to stay in her room, despite rules forbidding artists to bring intimates with them. But she had overstayed her visa extension and was obliged to leave the country. Although a well-placed friend had caused a bill to be circulated in Congress stipulating that she be granted permanent residence, the women decided to leave for Europe.
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McGhie, Henry A. "Making The Birds of Europe." In Henry Dresser and Victorian Ornithology. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994136.003.0009.
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This chapter explores the range of work and practices involved in producing A History of the Birds of Europe, one of the most ambitious bird books of the late nineteenth century. Richard Bowdler Sharpe worked with Dresser on the first twelve parts and then withdrew from the project as he was overworked; Dresser completed the book alone. The book was issued in eighty-four parts and took eleven years to complete (1871–82). Dresser’s methods of producing the articles are outlined. Plates were illustrated by J. G. Keulemans (smaller numbers of plates were illustrated by other artists). The book was based on the latest discoveries, many of them made by Henry’s collaborators and those who provided him with bird skins. The book was a major step in synthesising the widely disparate information on the birds of Europe into a globalised, reliable set of knowledge.
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Turner, Susan, and Annalisa Berta. "Illustrating the unknowable: Women paleoartists who drew ancient vertebrates." In The Evolution of Paleontological Art. Geological Society of America, 2021. http://dx.doi.org/10.1130/2021.1218(21).
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ABSTRACT Women have contributed to “paleoart” working in collaboration with scientists, using vertebrate fossils to reconstruct vanished worlds, and directly shaping the way humans imagine the distant past. “Backboned” animals of former times have been portrayed singly or in groups and were often set in landscape scenes. Women paleoartists in America and Europe began working in the nineteenth century often through family association, such as pioneers Orra White Hitchcock, Graceanna Lewis, and Mary Morland Buckland. Mainly using traditional two-dimensional styles, they portrayed ancient vertebrate fossils in graphite and ink drawings. Paleoartist Alice Bolingbroke Woodward introduced vibrant pen and watercolor reconstructions. Although female paleoartists were initially largely unrecognized, in the twentieth cen tury they gained notice by illustrating important books on prehistoric vertebrate life. Paid employment and college and university training increased by the late nineteenth to early twentieth centuries, with larger institutions providing stable jobs. The “Dinosaur Renaissance” of the late 1960s gave a boost to new paleo-artistry. Women paleo artists became more prominent in the later twentieth to twenty-first centuries with the development of new art techniques, computer-based art, and use of the internet. Increasingly, there is encouragement and support for women paleoartists through the Science, Technology, Engineering, the Arts, and Mathematics (STEAM) movement.