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Journal articles on the topic 'Botanical illustration'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Pamuklu, Aysegul Gurdal. "Botanical illustration techniques." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 298–302. http://dx.doi.org/10.18844/gjhss.v2i1.311.

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2

Hickman, Ellen J., Colin J. Yates, and Stephen D. Hopper. "Botanical illustration and photography: a southern hemisphere perspective." Australian Systematic Botany 30, no. 4 (2017): 291. http://dx.doi.org/10.1071/sb16059.

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To examine claims that the role of botanical art in systematic botany is diminishing because of advances in photography, this review considers relevant literature and includes a quantitative analysis of trends in modern journals, monographs and floras. Our focus is on southern hemisphere systematic botany because, relative to the northern hemisphere, this is poorly represented in modern reviews of botanical art and photography. An analysis of all digitally available papers in Nuytsia, the Journal of the Adelaide Botanic Garden, Muelleria, Telopea, Austrobaileya and Systematic Botany established that, although photographic illustrations have increased since 2000, botanical illustrations have not always diminished. The cause of these trends is unknown, but it is likely to be due to several factors, including sourcing funding for production of botanical illustration, editorial preference for the use of illustrations or photographs, author preference for either illustrations or photographs, and moving to online publication, with no charges for colour reproduction. Moreover, the inclusion of botanical artists as co-authors in some scientific publications signals an ongoing and important role. Botanical illustration brings sharp focus and meticulous attention to detail regarding form and structure of plants. Photography is useful at the macro-scale for habitat and whole-plant traits, as well as at the micro-scale for anatomical textures and ultrastructure. These complementary approaches can be important components of taxonomic discovery, with the potential for a new role in modern trait analysis in molecular phylogenies.
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Pamuklu, Aysegul Gurdal, and Arzu Dursin. "Botanical illustration techniques." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 298–302. http://dx.doi.org/10.18844/prosoc.v2i1.311.

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In this study, basic techniques which are used in botanical illustration are examined. Undoubtedly the most basic and accessible technique for the illustration artists is pencil and ink. Artists who have been drawing for years have used this technique with the decorations on the books and although technological developments present us unlimited opportunities today, basic illustration techniques; pencil, ink and watercolour technique has kept its place. It is necessary for this basic illustration technique to contain main features such as line, tone, colour, texture, shape, size. Just as all the artists who are dealing with illustration, artists-scientists who are dealing with botanic have also benefited from these techniques. as a result, no matter if it serves for art or for science, these techniques have always had an important place in creation of visual data for the development of humanity.    Keywords: Botanical Illustration, botanical illustration techniques, watercolour techniques, charcoal drawing technique, ink technique, gouache painting technique, ekolin.
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Pardoe, Heather, and Maureen Lazarus. "Images of Botany: Celebrating the Contribution of Women to the History of Botanical Illustration." Collections: A Journal for Museum and Archives Professionals 14, no. 4 (December 2018): 547–67. http://dx.doi.org/10.1177/155019061801400409.

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The superb botanical illustration collection of Amgueddfa Cymru– National Museum Wales in Cardiff, Wales, has developed through bequests, donations, and selective purchases. Numbering more than 7,000 works, 15% of these are by women, including the work of well-known Victorian artists and leading contemporary artists such as Gillian Griffiths, Pauline Dean, and Dale Evans. In particular, the Cymmrodorion Collection is the most prestigious collection, containing illustrations dating from the 18th century and featuring works by Elizabeth Blackwell, Jane Loudon, and Sarah Drake. Using this and other collections from the museum, this article examines the contribution that women artists have made to the field of botanical illustration by referring to the lives of these women and considering their motives, whether they pursued botanical illustration out of financial necessity, out of scientific curiosity, or to allay boredom. The article further examines the social restrictions and prejudice that many of these women had to overcome.
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5

Porter, Dahlia. "Specimen Poetics." Representations 139, no. 1 (2017): 60–94. http://dx.doi.org/10.1525/rep.2017.139.1.60.

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This essay argues that the modern literary anthology—and specifically its aspiration to delimit both aesthetic merit and historical representativeness—emerged as a response to changes in eighteenth-century botanical collecting, description, and illustration. A dramatic upsurge in botanical metaphors for poetic collections around 1800 was triggered by shifts in the geographies, aims, and representational practices of botany in the previous century. Yoking Linnaean taxonomy and Buffonian vitalism to Hogarth’s line of beauty, late eighteenth-century botanical illustrations imbued plucked, pressed specimens with a new vitality. Erasmus Darwin’s Botanic Garden (1789, 1791) translated the aesthetic reanimations of visual art into a collection of poetic specimens, spurring compilations that promote a vitalist standard of literary value. By rejecting aesthetic reanimation as the figurative ground for poetic collecting, Charlotte Smith and Robert Southey forward an alternative historical model of literary merit, one grounded in the succession and continuity of representative literary types. These competing metrics for selection and valuation underwrite the anthology as we know it today.
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6

King, Daniel Q. "A checklist of sources of the botanical illustrations in the Leo Grindon Herbarium, The Manchester Museum." Archives of Natural History 34, no. 1 (April 2007): 129–39. http://dx.doi.org/10.3366/anh.2007.34.1.129.

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The Grindon Herbarium is unusual in having a very high proportion of botanical illustrations and articles integrated into its systematic arrangement of the specimens. Hitherto unpublished extracts from Grindon's own history and description of his herbarium reveal his intentions in regard to the herbarium's combined specimen and documentary content. An appendix based on new work in the herbarium, listing virtually all significant source publications, example illustrations and their locations, provides a guide to this aspect of the Grindon Herbarium, and gives some indication of the scope of botanical illustration and literature available to such botanists at the time.
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7

Tobin, Beth Fowkes. "Imperial Designs: Botanical Illustration and the British Botanic Empire." Studies in Eighteenth Century Culture 25, no. 1 (1996): 265–92. http://dx.doi.org/10.1353/sec.2010.0188.

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8

Magid, Eleanor A., Noel H. Holmgren, and Bobbi Angell. "Botanical Illustration: Preparation for Publication." Bulletin of the Torrey Botanical Club 113, no. 4 (October 1986): 446. http://dx.doi.org/10.2307/2996441.

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9

Simpson, Niki, and Peter G. Barnes. "PHOTOGRAPHY AND CONTEMPORARY BOTANICAL ILLUSTRATION." Curtis's Botanical Magazine 25, no. 3 (August 2008): 258–80. http://dx.doi.org/10.1111/j.1467-8748.2008.00628.x.

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10

Kim, Soo Yeon. "Effect of the Botanical Art and Illustration Coloring Program on the Emotional Development of Students with Developmental Disabilities." Journal of People, Plants, and Environment 25, no. 1 (February 28, 2022): 67–75. http://dx.doi.org/10.11628/ksppe.2022.25.1.67.

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Background and objective The purpose of this study was to examine the effects of the botanical art and illustration coloring program on the emotional development of students with developmental disabilities in the COVID-19 pandemic. To this end, this study analyzed the changes in the subfactors of emotional development of students with developmental disabilities. Methods In the first stage, the botanical art and illustration coloring program was defined by a focus group comprised of specialists in the industry and academia. The second stage was to perform 8 sessions of the botanical art and illustration coloring program. The third stage was to examine the effects of the botanical art and illustration coloring program on the emotional development of students with developmental disabilities. The participants of this study were 26 students with developmental disabilities attending N University, and 10 students (excluding 2 students who dropped out) were placed in the experiment group and 14 in the control group. Results The control group showed no statistically significant difference in the four subdomains of emotional development, while the experimental group showed a statistically significant difference in all four subdomains such as non-dependence (p = .033), interaction (p = .029), internal control (p = .017), and stability (p = .000). The botanical art and illustration coloring program was thereby designed to have a positive effect on the emotional development of students with developmental disabilities in the current situation limited by COVID-19. Conclusion These results suggest that the botanical art and illustration coloring program could improve the ability of students with developmental disabilities to promote emotional development. These positive changes are related to the mental stability of students with developmental disabilities in the current situation limited by COVID-19.
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11

Rix, Martyn. "Botanical Illustration in China and India." American Scientist 101, no. 4 (2013): 300. http://dx.doi.org/10.1511/2013.103.300.

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12

Simpson, Niki. "Colour and contemporary digital botanical illustration." Optics & Laser Technology 43, no. 2 (March 2011): 330–36. http://dx.doi.org/10.1016/j.optlastec.2008.12.014.

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13

Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (June 12, 2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.

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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.
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14

Marnin-Distelfeld, Shahar, and Edna Gorney. "Why Draw Flowers?" Anthropology of the Middle East 14, no. 1 (June 1, 2019): 45–69. http://dx.doi.org/10.3167/ame.2019.140104.

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Botanical art and illustration, presented alongside scientific descriptions, were at the heart of Jewish national projects during the British Mandate in Palestine-Israel and following the establishment of the state of Israel in 1948. Looking back, we recognised three prominent women artists who contributed widely to many such botanical projects: Ruth Koppel, Esther Huber and Bracha Avigad. This study aims to investigate the plant images these three artists have created. We will do so by using the approach of visual anthropology while focusing on two main aspects: the connection between botanical illustration and national identity, and the link between botanical art and gender. This study is the first to demonstrate that botanical art in Israeli culture has been gendered, with women doing most of the work, in agreement with findings from Western culture.
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15

Sterckx, Roel. "The Limits of Illustration: Animalia and Pharmacopeia from Guo Pu to Bencao Gangmu." Asian Medicine 4, no. 2 (2008): 357–94. http://dx.doi.org/10.1163/157342009x12526658783619.

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AbstractThis paper examines the relationship between text and illustration in Chinese pharmacopeia in the bencao tradition by focusing on depictions of animals. It explores to what extent such illustrations served a practical—read medical or pharmaceutical—purpose. The first part of the paper discusses the contexts in which animal species have been depicted in traditional China leading up to the emergence of bencao literature. The second part analyses the use of illustrations in Bencao Gangmu. The author questions whether such illustrations were aimed to reflect zoological, botanical, or pharmaceutical information not already present in the text and argues that, instead, their composition is best understood within the context of Ming visual culture, the print economy, and naturalist collectanea produced at the time.
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16

Zhu, Qingxia, Yongbing Cao, Dan Li, Fang Fang, Feng Lu, and Yongfang Yuan. "A fast response TLC-SERS substrate for on-site detection of hydrophilic and hydrophobic adulterants in botanical dietary supplements." New Journal of Chemistry 43, no. 35 (2019): 13873–80. http://dx.doi.org/10.1039/c9nj02489a.

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17

Gates, Barbara. "NATURAL HISTORY ILLUSTRATION." Victorian Literature and Culture 33, no. 1 (March 2005): 314–18. http://dx.doi.org/10.1017/s1060150305220867.

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INTEREST IN VICTORIAN natural history illustration has burgeoned in recent years. Along with handsome, informative shows at the Pierpont Morgan Library in New York (“Picturing Natural History”), at the American Philosophical Society (“Natural History in North America, 1730–1860”), and at the Royal Botanical Gardens in Melbourne (“Nature's Art Revealed”), the year 2003 saw an entire conference devoted to the subject in Florence, Italy. In 2004, the eastern United States was treated to two more fauna- and flora-inspired shows, both dealing specifically with nineteenth-century British science and illustration.
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18

TOMASI, LUCIA TONGIORGI. "The study of the natural sciences and botanical and zoological illustration in Tuscany under the Medicis from the sixteenth to the eighteenth centuries." Archives of Natural History 28, no. 2 (June 2001): 179–93. http://dx.doi.org/10.3366/anh.2001.28.2.179.

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A vast body of botanical and zoological illustrations was produced in Tuscany between the sixteenth and the eighteenth century. This artistic activity was made possible by the humanistic-scientific tradition which had been established in Florence during the late fifteenth century, and was further encouraged by the Medici dynasty. The contributions made by three uniquely talented and original artists are discussed. Jacopo Ligozzi produced paintings of plants and animals whose scientific accuracy and artistic quality far surpassed anything achieved by his predecessors. The miniaturist Giovanna Garzoni produced floral paintings for the Medici family. Bartolomeo Bimbi combined the genre of botanical and zoological illustration with that of the still life to create works of striking originality. The crucial role played by the new scientific institutions created during the Renaissance is also discussed. A permanent artists' studio was set up in the mid-sixteenth century at Pisa Botanic Garden. Members of Accademia del Cimento in Florence engaged in pioneering studies with the microscope, a newly invented instrument which gave scientists and artists an entirely new perspective on the natural world. The scientist Francesco Redi carried out important work with the help of the artist Filizio Pizzichi who prepared stunning microscopic studies of insects.
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19

Rubtsova, Elena, and Nataliia Chuvikina. "Valentina Konstantinovna Markova – a master of botanical illustration." HORTUS BOTANICUS 14, no. 14 (January 2019): 5–19. http://dx.doi.org/10.15393/j4.art.2019.6044.

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20

Trapnell, Dorset W. "11th International Exhibition of Botanical Art & Illustration." Journal of the Torrey Botanical Society 132, no. 3 (July 2005): 533. http://dx.doi.org/10.3159/1095-5674(2005)132[533a:tieoba]2.0.co;2.

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21

Rafidah, Abdul Rahman, Abdul Rahman Ummul Nazrah, and Poh Teck Ong. "Gymnostachyum calcicola (Acanthaceae), a new species from limestone karst of Peninsular Malaysia." PhytoKeys 242 (June 3, 2024): 273–80. http://dx.doi.org/10.3897/phytokeys.242.122869.

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A new species, Gymnostachyum calcicola Rafidah, sp. nov. (Acanthaceae) is described from limestone karst in Peninsular Malaysia. Characters distinguishing it from related species, colour photographs, botanical illustration and provisional conservation status are provided.
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Angell, Bobbi, James J. White, and Donald E. Wendell. "6th International Exhibition of Botanical Art & Illustration: Catalog." Bulletin of the Torrey Botanical Club 115, no. 3 (July 1988): 233. http://dx.doi.org/10.2307/2995966.

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23

Pellegrini, Marco O. O., Ellen J. Hickman, Jorge E. Guttiérrez, Rhian J. Smith, and Stephen D. Hopper. "Revisiting the taxonomy of the Neotropical Haemodoraceae (Commelinales)." PhytoKeys 169 (December 4, 2020): 1–59. http://dx.doi.org/10.3897/phytokeys.169.57996.

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Based on extensive herbarium, field, botanical illustration, and molecular phylogenetic research, five genera and eight species are recognised for the Neotropical Haemodoraceae. New taxa include Cubanicula Hopper et al., Xiphidium pontederiiflorum M.Pell. et al. and Schiekia timida M.Pell. et al. Two new combinations are made, Cubanicula xanthorrhizos (C.Wright ex Griseb.) Hopper et al. and Schiekia silvestris (Maas & Stoel) Hopper et al. We also correct the author citation for Xiphidium, provide the necessary typifications for several names and present an updated identification key, comments, and photo plates for all species. Finally, we provide high-quality illustrations for most of the recognised species and their diagnostic characters.
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Malainho, Eva, Fernando Jorge Simões Correia, and Cristiana Vieira. "Iconografia Selecta da Flora Portuguesa – A ilustração científica no dealbar do séc. XX e o seu contributo na divulgação da botânica." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 497–511. http://dx.doi.org/10.23925/178-2911.2019v20espp497-511.

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Resumo A obra “Iconografia Selecta da Flora Portuguesa”, de Gonçalo Sampaio (botânico) e Sara Cabral Ferreira (ilustradora), foi editada pela primeira vez em 1949. Contendo cento e cinquenta estampas de espécies da flora portuguesa, este livro destacou-se na literatura botânica nacional, embora fosse uma edição póstuma e incompleta. Os seus desenhos originais, realizados em técnica monotonal (tinta-da-china), integram atualmente a coleção de ilustração científica do Museu de História Natural e da Ciência da Universidade do Porto (MHNC-UP). Uma vez que nenhum texto, além do prefácio e dos nomes científicos das plantas, acompanha as imagens no livro, as razões que sustentaram a seleção das espécies a ilustrar, assim como a sua relevância botânica, permaneceram desconhecidas. Neste artigo, tentamos reconstruir a história desta iconografia, com base na análise de documentos epistolares e manuscritos. Focamo-nos também na importância da ilustração científica e no seu uso como ferramenta para a representação visual de espécies botânicas e para a comunicação de ciência. Assim, analisamos a metodologia empregue, quer na tipologia do arquétipo, quer na técnica de execução, bem como as eventuais restrições que conduziram a essas opções. Ao analisar estas ilustrações botânicas da primeira metade do séc. XX, procurou-se ainda explorar a pertinência destas iconografias em estudos botânicos anteriores e contemporâneos, bem como o seu potencial enquanto instrumentos de difusão de ciência. Palavras-chave: Ilustração Científica; Flora Portuguesa; História da Botânica. Abstract The book “Iconografia Selecta da Flora Portuguesa”, by Gonçalo Sampaio (botanist) and Sara Cabral Ferreira (illustrator), was first published in 1949. Containing one hundred and fifty prints of Portuguese flora species, this book stood out in the national botanical literature, although it was a posthumous and incomplete edition. The original book drawings, made in a monotonic technique, are part of the scientific illustration collection of the Museum of Natural History and Science of the University of Porto (MHNC- UP). Since no text, besides preface and the scientific names of the plants, accompanies the images in the book, the reasons which supported the selection of the species to be illustrated, as well as their botanical relevance, remained unknown. In this article, we attempted to reconstruct the history of this iconography, based on the analysis of epistolary documents and manuscripts. We also focus on the importance of scientific illustration and on its usage as a tool for the visual representation of botanical species and for science communication. Therefore, we analyzed the methodology used both in the typology of the archetype as in the execution techniques, as well as the restrictions that led to those options. By analyzing these botanical drawings of the first half of the twentieth century, it was also sought to explore the relevance of these iconographies in earlier and modern botanical studies, as well as their potential as instruments of diffusion of science. Keywords: Scientific Illustration; Portuguese Flora; History of Botany.
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Reeds, Karen. "Book Review: Picturing Plants: An Analytical History of Botanical Illustration." Bulletin of the History of Medicine 70, no. 4 (1996): 753–54. http://dx.doi.org/10.1353/bhm.1996.0166.

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26

Griebeler, Andrew. "Botanical Illustration and Byzantine Visual Inquiry in the Morgan Dioscorides." Art Bulletin 105, no. 1 (January 2, 2023): 93–116. http://dx.doi.org/10.1080/00043079.2022.2109389.

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27

Ward, Marilyn, and John Flanagan. "Portraying plants: illustrations collections at the Royal Botanic Gardens, Kew." Art Libraries Journal 28, no. 2 (2003): 22–28. http://dx.doi.org/10.1017/s0307472200013080.

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The Library & Archives at Kew hold one of the world’s greatest collections of botanical illustration, assembled over the last 200 years. A resource well-known to the natural history community, it contains much to interest art historians. Using this historically rich heritage our forward thinking includes acquisition of more contemporary items and the formulation of a digital strategy for 21st-century access and exploitation.
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28

Шипицына, Ю. С. "Botanical Illustration in Britain in the Late 18th Century — Early 19th Century in the Context of the Formation of a Taxonomic Approach to Exploration." Вестник Рязанского государственного университета имени С.А. Есенина, no. 4(69) (February 16, 2021): 59–65. http://dx.doi.org/10.37724/rsu.2020.69.4.007.

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В статье исследуется «эра Бэнкса» (1778–1820) как особый период в истории британской науки, когда в центре интеллектуальной жизни империи оказалась ботаника, а ботаническая иллюстрация выступала как ведущий практический инструмент познания. Исследование контекстов и смыслов, возникающих вокруг ботанической иллюстрации, связано с рассмотрением практик научного наблюдения за природой, легитимированных и вместе с тем скованных определенными административными нормами, общекультурными стандартами и ценностными ориентирами своей эпохи. Наиболее влиятельной фигурой по отношению к вышеперечисленным факторам развития ботанической иллюстрации в Британии являлся ботаник Джозеф Бэнкс (1743–1820), президент Лондонского королевского общества с 1778 по 1820 год. Биография Дж. Бэнкса рассматривается нами в контексте его имперских амбиций и интеллектуального окружения. Результаты проведенного исследования позволяют углубить понимание властного дискурса подчинения человеком природы, зарождение которого связано с развитием таксономического подхода и совершенствованием способов визуализации ботанического знания. The article investigates the so called Banks era (1778–1820), a period of the history of British science when botany played a key role in the intellectual life of the British Empire and botanical illustrations were a practical tool in the exploration of the world. The investigation of meanings evoked by botanical illustrations is associated with the investigation of observations which are both legitimatized and limited by certain administrative norms, cultural standards, and values characteristic of an epoch. Joseph Banks (1743–1820), an English botanist and president of the Royal Society (1778–1820), was the most prominent figure to promote botanical illustrations in Britain. The article views the biography of Joseph Banks in the context of his imperial ambitions and his intellectual environment. The results of the research provide insight into the understanding of humanity’s domination of nature, whose origin is associated with the development of a taxonomic approach and the improvement of botanical art techniques.
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Esmeral Henriquez, Maria Angelica. "To Press, Dry, Organise, and Represent." Nuncius 39, no. 1 (March 1, 2024): 11–34. http://dx.doi.org/10.1163/18253911-bja10090.

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Abstract This paper examines the epistemological relation between two types of scientific image produced during a botanical expedition to New Granada in the late eighteenth and early nineteenth centuries: herbarium sheets and botanical illustration. Visual analysis of an exceptional collection of these two types of documents brings to light how scientific ideologies were transferred from Europe to New Granada, during the transformation of this latter from a colony to a republic. This study shows how features such as composition, proportion, and pictorial technique derive from both aesthetic choices and epistemological necessities. It reveals the development of a codified visual language resulting from a highly organised and structured outcome, complying with Carl Linnaeus’ principles of classification, and materialising a new way of looking at plants based on Isaac Newton’s universal mathematical principles.
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Графова, Е. О. "Influence of Botanical Research on the Development of the Art Nouveau Style in Western Europe and Russia (The Late 19th – Early 20th Centuries)." Nasledie Vekov, no. 4(28) (December 31, 2020): 103–15. http://dx.doi.org/10.36343/sb.2021.28.4.007.

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Автор определяет значение ботанических исследований и связанного с ними жанра ботанической иллюстрации для эволюции отечественного и зарубежного декоративно-прикладного искусства (ДПИ) эпохи модерна. Материалами выступают мемуарная литература, альбомы ботанической иллюстрации, ряд научных разработок, отраженных в обзорных монографиях по истории и стилистике ар-нуво, а также результаты прикладных исследований. Изучены зарубежные выставки садоводства рубежа XIX–XX вв., охарактеризованы своды произведений ботанической иллюстрации и издания по дизайну, относящиеся к этому периоду. Выявлены флоральные мотивы в творчестве отечественных и зарубежных мастеров ДПИ. Установлено, что флоральные сюжеты ар-нуво возникли во многом на фундаменте открытий ученых-ботаников и ботаническая иллюстрация явилась основой для соответствующих художественных мотивов. Использование в произведениях ДПИ эпохи модерна растений служило своеобразным средством популяризации и сохранения природного наследия. The author reveals the importance of scientific research in the field of botany and plant acclimatization, as well as related works of botanical illustration, for the development of certain branches of arts and crafts of the Art Nouveau Era in Russia and abroad. A wide range of materials is used: memoirs, albums of botanical illustration, a number of scientific developments reflected in overview monographs on the history and style of Art Nouveau, the results of applied research by art historians, philosophers and specialists in the history of architecture and arts and crafts. The author proceeds from the thesis about the synergy of science and art, which presupposes the consideration of these two forms of understanding objective reality (and the corresponding methods and types of activity) as closely related objects. The author employs diachronic, systemic-historical and historical-genetic methods, as well as iconographic techniques and methods of researching the symbolic content of works. The main idea of the research is to trace and reconstruct the links between developments in the field of scientific gardening at the turn of the 20th century and the development of floral themes in the arts and crafts of the Art Nouveau Era. An exhibition of horticulture, which took place during this period in Western Europe, is considered; and plant species that were popular among specialists engaged in their acclimatization and cultivation are established. Collections of works of botanical illustration and publications on design, published during the period under study, were analyzed to identify the sources of creative searches of European Art Nouveau artists. Attention is paid to the Paris World Exhibition of 1900, which took place at the dawn of the Art Nouveau Era and was a platform for demonstrating the main trends in the development of European art. Floral motives in the works of Russian and foreign jewelers, ceramists, glassblowers and architects are revealed; the degree of their realism is determined, which serves as an indicator of the connection between artistic embodiment and natural prototype. It has been established that the floral plots of Art Nouveau arose largely on the foundation of the discoveries of botanists, and botanical illustration was the basis for the corresponding artistic motives. Knowledge in the field of plant morphology opened new contexts in the iconography of the artistic heritage of Europe and Russia. The use of plants in the works of decorative and applied art in the Art Nouveau Era served as a kind of means for popularizing and preserving natural heritage.
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Soares dos Santos, Igor, and Marcos José da Silva. "New record of Scaphyglottis livida (Lindl.) Schltr. (Orchidaceae, Epidendroideae) in Goiás, and a key to Scaphyglottis species in the Central-West Region of Brazil." Check List 16, no. 1 (January 10, 2020): 9–15. http://dx.doi.org/10.15560/16.1.9.

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Botanical studies and exploration of Orchidaceae in Chapada dos Veadeiros National Park, Goiás state, Brazil, found a unreported species in the state. The presence of Scaphyglottis livida (Lindl.) Schltr. is reported, an illustration and distribution map are provided, and the morphological relationships of S. livida to other similar species, as well as its phenology, are discussed. A key to the species of the genus Scaphyglottis occurring in the Central-West Region of Brazil; images of these species are also provided.
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ITURRALDE, GABRIEL A., MARCO M. JIMÉNEZ, CARLOS MARTEL, LUIS BAQUERO, EUGENIO RESTREPO, ANGIE RODRÍGUEZ-PRIETO, MARCO F. MONTEROS, and LOU JOST. "Telipogon nigropurpureus (Orchidaceae: Oncidiinae): new insights on its morphology and distribution in Colombia and Ecuador." Phytotaxa 647, no. 2 (May 9, 2024): 189–98. http://dx.doi.org/10.11646/phytotaxa.647.2.5.

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Over the past 20 years, Telipogon nigropurpureus had been known from only one specimen from the type locality near Arcabuco, Boyacá, in central Colombia. During botanical explorations in Colombia and Ecuador we have encountered more populations which are reported here. The new records found in Ecuador extend the known geographic range of T. nigropurpureus by 950 km south from the type locality. We provide an updated description, illustration, and photographs of the species, together with information on its ecology and distribution.
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33

Brodo, Fenja. "Botanical Illustration: Preparation for Publication, by Noel H. Holmgren and Bobi Angell [Review]." Canadian field-naturalist 102, no. 3 (1988): 601. http://dx.doi.org/10.5962/p.356633.

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34

Cull, Brendan. "Early Canadian Botanical Photography at the Exposition universelle, Paris 1867." Scientia Canadensis 39, no. 1 (October 12, 2017): 27–50. http://dx.doi.org/10.7202/1041377ar.

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Sites et végétaux du Canada was an early photographic experiment in botanical illustration. Presented at the 1867 Paris exposition, the album’s 35 albumen prints were part of the Canadian displays. The photographs were a collaborative effort between Joseph-Charles Taché, Canada’s Executive-Secretary at the exposition; Louis-Ovide Brunet, a Catholic priest and botany professor at the Université Laval; and Livernois & Cie, a Québec City photography studio. Previous work has considered the album as the aesthetic accomplishment of Jules-Isaïe Benoît dit Livernois, excluding Taché and Brunet from the art historical narrative. In this paper, I consider the album’s political and botanical contexts, and viewership, to more clearly situate the album in the visual culture of early Canadian science. In its representation of Canadian landscapes and native-plant specimens, the album effectively employed photography to present Canada as a centre of cutting-edge scientific investigation.
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35

Dey, Sangita, and Parigi Venkateswara Prasanna. "On the distribution and status of Scleria sumatrensis Retz. (Cyperaceae), in India." Journal of Non-Timber Forest Products 12, no. 4 (December 1, 2005): 231–33. http://dx.doi.org/10.54207/bsmps2000-2005-48489p.

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Scleria sumatrensis Retz. (Cyperaceae), collected from different regions of India during 19th Century is reported to be endangered/extinct in recent publications. However, recent collections of this species from coastal Districts of Kerala along with its present collection from Tropical Botanical Garden and Research Institute campus, Thiruvananthapuram, Kerala reveals that it is quite common in this Southernmost State of India and belies the theory of being ‘extinct’. A detailed description of the sedge along with the distribution and illustration is provided to facilitate easy identification.
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36

Irfan, Muhammad, and Seruni Dinitri. "Analysis Visitor Satisfaction Level of Outdoor Recreation in Bogor Botanical Gardens." Global Research on Tourism Development and Advancement 3, no. 2 (August 21, 2021): 103–22. http://dx.doi.org/10.21632/garuda.3.2.103-122.

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Bogor Botanical Gardens is a conservation area that has long been used by the wider community as a tourist attraction and has become one of the most popular tourist destinations because it presents a panoramic view of natural landscape architecture. This research was conducted to find out how Outdoor Recreation in Bogor Botanical Gardens can provide tourist satisfaction and how the influence of Outdoor Recreation on tourist satisfaction. The purpose of this study is to analyze Outdoor Recreation in the level of tourist satisfaction, and how much influence Outdoor Recreation has on tourist satisfaction. The research method used is the Importance Performance Analysis (IPA) Method with the aim to provide an illustration and illustrate the gap between the interests and satisfaction of individual attributes both of which are easy to understand and understand well through these measurements. Quantitative methods, to obtain more comprehensive data, do valid and reliable testing. The results of the merging of the performance of Bogor Botanical Gardens (performance) and the level of tourist expectations (Importance). divided into 4 quadrants as an indicator of overall tourist satisfaction through 100 respondents. The determination of the position of the 11 research attributes is determined based on the average value of both the level of importance and performance. Determination of the X (performance) of 3.62 and Y (Importance) of 3.63, obtained from the total average of all 11 average values for both the performance of the Bogor Botanical Garden (performance) and the level of tourist expectations (Importance).Through this research phase, it is expected that there will be an increase in tourist facilities by the Bogor Botanical Gardens, so that it can provide satisfaction in accordance with the expectations of tourists during the tour and create sustainable tourism in every tourist attraction in the Botanical Gardens
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37

IRIMIA, RAMONA-ELENA, and Marc Gottschling. "A new species of Rochefortia (Ehretiaceae, Boraginales) from the Lesser Antilles." Phytotaxa 236, no. 1 (November 25, 2015): 62. http://dx.doi.org/10.11646/phytotaxa.236.1.5.

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Taxonomic diversity of Neotropical Rochefortia is not completely assessed at present. We report the existence of a new species: Rochefortia barloventensis sp. nov., distributed across multiple islands of the Lesser Antilles. We provide a morphological description, a molecular diagnosis and a botanical illustration. Specimens belonging to the new species were previously assigned to Caribbean R. cuneata or to South American R. spinosa because of morphological similarity. Molecular sequence data shows a clear delimitation of the new species from all other species of Rochefortia justifying the recognition of a novel taxon.
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Schmid, Rudolf, and H. Walter Lack. "Ein Garten Eden: Meisterwerkeder botanischen Illustration = Garden [Of] Eden: Masterpieces of Botanical Illustration = Un jardín d'Eden: Chefs-d'œuvre de l'illustration botanique." Taxon 50, no. 3 (August 2001): 969. http://dx.doi.org/10.2307/1223745.

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Schmid, Rudolf, Wilfrid Blunt, William T. Stearn, and Lys De Bray. "A New Edition of a Classic, "The Art of Botanical Illustration," with Bibliographic Clarifications." Taxon 43, no. 4 (November 1994): 680. http://dx.doi.org/10.2307/1223571.

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40

Learner, Mary. "Embroidering the New Science." Nuncius 35, no. 3 (December 14, 2020): 685–717. http://dx.doi.org/10.1163/18253911-03503002.

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Abstract An unruly object of seventeenth-century experimental science is the metal needle, an instrument that begins Robert Hooke’s Micrographia (1665) but also was the essential tool used in women’s embroidery work. This article follows traces of the needle through the historical record and florilegia – a genre that bridged botanical and artistic studies – to argue that needlework provided a way of seeing that facilitated the development of empiricism. Using evidence from the works of Isabella Parasole, Elizabeth Isham, and Maria Sibylla Merian, I show how the needle surfaces in scenes of scientific illustration, thereby resituating natural histories and the scientific process of ordering minute organisms.
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41

YAPRAK, Ahmet Emre, Selçuk Tuğrul KÖRÜKLÜ, and Gül Nilhan TUĞ. "A NEW RARE MACROPHYTE RECORD FROM SW ASIA AND ECOLOGICAL CONDITIONS AT ITS HABITAT." Communications Faculty of Science University of Ankara Series C Biology Geological Engineering and Geophysical Engineering 30, no. 2 (December 31, 2021): 148–56. http://dx.doi.org/10.53447/communc.1023578.

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Aldrovanda vesiculosa L. is a cosmopolitan but very rare carnivorous aquatic angiosperm species from the family Droseraceae. The species was widespread and more common few decades ago but unfortunately it is being extinct in so many former distribution areas due to aquatic pollution and eutrophication. During the field trip to Karakuyu Lake we recognized a remarkable free-floating plant, after detailed investigation we identified the specimens as Aldrovanda vesiculosa which is a new record from Turkey and also SW Asia. In this publication, we provided detailed description of the species based on Turkish specimens, its habitat description, water physiochemical attributes, co-occurring macrophyte species list and botanical illustration of the species.
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Dassou, Gbèwonmèdéa Hospice, Aristide Cossi Adomou, Chabi Ghyslain Kpétikou, and Peter Neuenschwander. "Diospyros barteri Hiern (Ebenaceae): new records for the vascular flora of Benin." Check List 20, no. 3 (May 22, 2024): 636–40. http://dx.doi.org/10.15560/20.3.636.

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Diospyros barteri was recorded for the first time from Dodja, a sacred forest in the Commune of Abomey-Calavi, Benin. We provide a detailed description, illustration, habitat, ecology, flowering period, and population size of this species. These occurrences fill a gap in the distribution of the species in the Dahomey-Gap territory. Our new records show the importance of botanical surveys in sacred forests which are hotspots of biodiversity in the country. However, sacred forests are unfortunately poorly maintained and managed and are difficult to access because they serve as central sites for ceremonies of local divinities in vodun celebrations.
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43

Smith, Janine. "Winner of the Margaret Flockton Award for Excellence in Scientific Botanical Illustration Announced at the Royal Botanic Gardens and Domain Trust, Sydney." Taxon 62, no. 4 (August 21, 2013): 851–52. http://dx.doi.org/10.12705/624.25.

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44

Lack, H. Walter. "The botanical illustrations of Franz Scheidl (fl. 1770–1795)." Archives of Natural History 47, no. 1 (April 2020): 51–62. http://dx.doi.org/10.3366/anh.2020.0621.

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Franz Scheidl created approximately 800 botanical illustrations published in Vienna as coloured copperplate engravings in Nikolaus Joseph von Jacquin's Hortus botanicus Vindobonensis and Florae Austriacae icones between 1770 and 1778. Johann Jacob von Well's unpublished “Phytanthologia eikonike”, an illustrated manuscript intended as a kind of florilegium and produced between 1768 and 1780, consists in part of plant illustrations based on living specimens, in part of incomplete copies of pre-existing images; these are also by Scheidl's hand. Another manuscript, “Pflanzen Blumen und Früchte”, held by the Oak Spring Garden Foundation Library in Upperville, Virginia, to date incompletely known and possessing similar characteristics, has also been ascribed to Scheidl; its contents are analysed here. These materials help to understand the work of a botanical illustrator and copyist working in the late eighteenth century.
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Harris, Stephen. "LACK, Hans Walter. The Bauers: Joseph, Franz & Ferdinand, masters of botanical illustration. An illustrated biography." Archives of Natural History 44, no. 1 (April 2017): 189–90. http://dx.doi.org/10.3366/anh.2017.0438.

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Drinnan, A. "Hewson H. 1999. Australia—300 years of botanical illustration. 228pp. Melbourne: CSIRO Publishing. AU$59.95 (hardback)." Annals of Botany 87, no. 5 (May 2001): 699–700. http://dx.doi.org/10.1006/anbo.2001.1366.

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47

Rebman, Jon P. "Kallstroemia hageri (Zygophyllaceae), a new caltrop from Baja California, Mexico." Journal of the Botanical Research Institute of Texas 16, no. 1 (July 15, 2022): 335–41. http://dx.doi.org/10.17348/jbrit.v16.i1.1236.

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A new species in the genus Kallstroemia (Zygophyllaceae), K. hageri Rebman, endemic to the Baja California peninsula is described here for the first time. It is similar to K. peninsularis D.M. Porter in having retrorse pubescence on its stems and pedicels, but differs in its smaller flowers, shorter fruit beak, shorter pedicels, and fewer leaflet pairs per leaf. This new species occurs mostly in the midpeninsular region and ranges from the Sierra de La Libertad in the southern part of the state of Baja California south to the vicinity of Cerro Mechudo in the southern Sierra de La Giganta of Baja California Sur. A botanical illustration and a key to the species in the genus Kallstroemia from the Baja California peninsula are also presented.
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48

CIOBANU, Marcel, and Liviu FILIPAȘ. ""PROPOSAL FOR ESTABLISHING THE FRITILLARIA ORIENTALIS BOTANICAL RESERVE IN BERCHIEȘU, FRATA COMMUNE, CLUJ COUNTY "." Contribuţii Botanice 58 (January 30, 2024): 47–60. http://dx.doi.org/10.24193/contrib.bot.58.4.

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Fritillaria orientalis Adams is an endangered central Balkan and Illyrian species with sporadic presence in Romania, declared "Natural Monument". A new protected area of 22.18 ha located southwards to the village Berchieșu (Frata commune) is proposed for conserving the most important and abundant population of F. orientalis in the Cluj county, assessment based on available literature and personal observations in the field. For this reason, the area has special botanical value and needs to be legally protected in order to preserve this isolated population. This paper presents floristic data and vegetation characteristics along with relevant illustration of the proposed protected area. In order to easily distinguish F. orientalis from F. meleagris L., reported as well in the Cluj county, morphological, biometric and ecological differentiation characters are presented. Plant individuals of F. orientalis from Berchieșu are characterized by a pronounced diversity regarding the height of flower stems and colour of perianth. Collection of flowers or whole plants, extension of cultivated lands, improvised fire places near the forest edge, logging, fertilization of agricultural fields and motorized access threatens this population. Therefore, we propose a set of measures to assure its sustainable conservation and monitoring of the phytocoenoses to assess the effectiveness of protective actions.
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GONZÁLEZ-GALLEGOS, JESÚS GUADALUPE, CARLOS MARTORELL, and DIEGO GARCÍA-MEZA. "Clinopodium eplingianum (Lamiaceae), a new species from Oaxaca, Mexico." Phytotaxa 653, no. 3 (June 19, 2024): 197–207. http://dx.doi.org/10.11646/phytotaxa.653.3.1.

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Recent botanical exploration in grasslands in northwestern Oaxaca have revealed a Clinopodium (Lamiaceae) taxon that cannot be referred to any of the current described species. This plant is most similar to C. hintoniorum from northeastern Mexico, in Nuevo Léon, in general habit and architecture; however, it can be easily distinguished by leaf blade shape and width, calyx teeth shape and length, lack of tufts of hairs between them and a distinction in the relative proportion between calyx and corolla tube. This new species represents an addition to the flora of Oaxaca and to the biogeographic province of Sierra Madre del Sur, being endemic to these two areas. The taxon is here presented as C. eplingianum in honor to Carl Epling, the most prominent scholar in the study of American Lamiaceae. Morphological description, distribution map and illustration of the species are provided.
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Wolski, Grzegorz J., Anna Faltyn-Parzymska, and Jarosław Proćków. "Lectotypification of the name Stereodon nemoralis Mitt. (Plagiotheciaceae), a basionym of Plagiothecium nemorale (Mitt.) A. Jaeger." PhytoKeys 155 (August 7, 2020): 141–53. http://dx.doi.org/10.3897/phytokeys.155.51469.

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In 1859, William Mitten described Stereodon nemoralis (≡ Plagiothecium nemorale) based on the gathering of Sir J.D. Hooker from India. However, the protologue did not indicate any specific specimen or illustration. For the past 50 years, the original material (NY 913349) deposited at the NY Herbarium has been considered as the holotype. However, this assumption has since been found to be incorrect, because in the Herbarium of The Natural History Museum exists other original material of this species (BM 1030713), collected by Hooker. In addition, the specimen from NY Herbarium is in poor condition and its most important diagnostic characters are not visible. In contrast, the material from BM Herbarium is in very good condition, and therefore it is herein designated as the lectotype. Also, the paper describes the resolution of this type, a process complicated by changes that had occurred in the provisions of subsequent botanical Codes.
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