Relevant bibliographies by topics / Botanical illustration History

Academic literature on the topic 'Botanical illustration History'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Botanical illustration History"

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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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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Botanical illustration History"

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Hanna, Kathleen Ann. "The art and science of botanical illustration and identification: developing an illustrated handbook to the iconic wildflowers of Muogamarra Nature Reserve." Thesis, 2019. http://hdl.handle.net/1959.13/1403437.

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Research Doctorate - Doctor of Philosophy (PhD)
‘The Art and Science of Botanical Illustration and Identification: Developing a Handbook to the Iconic Wildflowers of Muogamarra Nature Reserve’, is an exploration into the visual nature of plant identification. The purpose of this project is to produce detailed and scientifically accurate coloured botanical plates that represent a carefully selected variety of iconic understory plant species found in Muogamarra Nature Reserve. Each plate features the flower, leaves, fruit and seed from a single species, and is illustrated using traditional methods of painting with watercolour on paper. The aim is to capture the essence of each plant for quick identification without the need for dissections, or excessively detailed textual descriptions. After thorough investigation, I have concluded that there is very little illustrative information available to the public that describes the native flora growing in bushland within Muogamarra Nature Reserve and this project aims to correct this gap in knowledge.
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Hoolihan, Tanya Louise. "Beyond exploration: illustrating the botanical legacy of the German/Australian explorer Friedrich Wilhelm Ludwig Leichhardt based on his written observations, letters and herbarium specimens 1842-1844." Thesis, 2018. http://hdl.handle.net/1959.13/1395086.

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Research Doctorate - Doctor of Philosophy (PhD)
Ludwig Leichhardt is synonymous with Australian exploration, yet his achievements extend well beyond the success of his overland expeditions. Beyond exploration, Leichhardt was a passionate observer of Australian natural history, who left a significant legacy of collected and written material, especially in the field of botany. The recent translations of his diaries recorded between 1842 and 1844 have exposed a lesser known period of Leichhardt’s life and helped to evidence him as a capable and diligent scientist. The published materials combined with Leichhardt’s collected plant specimens establish the foundation for my research and have subsequently informed my outcomes. From my research I have painted a series of botanical illustrations depicting specimens that were observed, recorded and collected by Leichhardt more than 170 years ago. The documentation of this research and creative methodology from field observations through to the final illustrations visually depicts Leichhardt’s historical contribution to Australian botanical science while providing information on creative process to botanical illustrators.
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Books on the topic "Botanical illustration History"

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Blunt, Wilfrid. The art of botanical illustration. Woodbridge, Suffolk, [England]: Antique Collectors' Club in association with the Royal Botanical Gardens, Kew, 2000.

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The art of botanical illustration. Royston [England]: Eagle Editions, 2001.

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Blunt, Wilfrid. The art of botanical illustration. Woodbridge, Suffolk: Antique Collectors' Club in association with the Royal Botanic Gardens, 1994.

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Hewson, Helen. Australia: 300 years of botanical illustration. Collingwood, VIC, Australia: CSIRO Pub., 1999.

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Blunt, Wilfrid. The art of botanical illustration: An illustrated history. New York: Dover Publications, 1994.

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Saunders, Gill. Picturing plants: An analytical history of botanical illustration. [London]: Zwemmer in association with the Victoria and Albert Museum, 1995.

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Museum, Victoria and Albert, ed. Picturing plants: An analytical history of botanical illustration. Berkeley: University of California Press in association with the Victoria and Albert Museum, London, 1995.

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1779-1839, Schouten Gerrit, ed. Gerrit Schouten, 1779-1839: Botanische tekeningen en diorama's uit Suriname. Amsterdam: Koninklijk Instituut voor de Tropen, 1999.

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Sampson, F. Bruce. Early New Zealand botanical art. Auckland: Reed Methuen, 1985.

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Kew, Royal Botanic Gardens, ed. Flower artists of Kew: Botanical paintings by contemporary artists. London: Herbert Press in association with the Royal Botanic Gardens, Kew, 1990.

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Book chapters on the topic "Botanical illustration History"

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"Leonardo da Vinci and Botanical Illustration: Nature Prints, Drawings, and Woodcuts ca. 1500." In Visualizing Medieval Medicine and Natural History, 1200–1550, 227–60. Routledge, 2016. http://dx.doi.org/10.4324/9781315234946-17.

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Foster, Karen Polinger. "True and Proper Pictures." In Strange and Wonderful, 110–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190672539.003.0006.

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This chapter assesses the representation of exotica in European art. This depiction sheds considerable light on the constructs of veracity and the bounds of imagery, from the Middle Ages to the nineteenth century. In addition to their subsidiary but vital roles in historical landscape and commemorative narrative, exotica served as the principals in natural history illustration. Among the first works with detailed, if schematized, illuminations of flora and fauna were religious texts and medieval editions of ancient medical treatises. These largely didactic presentations of European plants and animals provided the pictorial structure for the earliest renderings of exotica. Whether artists drew them from life in the course of their travels, viewed them in menageries and botanical gardens, or based their illustrations on collections of dried or stuffed specimens, they placed their subjects against uniformly plain backgrounds. Land mammals, aquatic creatures, and plants were suspended in a pristine world, while birds were shown perched upon accessory branches.
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Gust, D. "An Illustrative History of Artificial Photosynthesis." In Advances in Botanical Research, 1–42. Elsevier, 2016. http://dx.doi.org/10.1016/bs.abr.2016.02.004.

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