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A passionate and imaginative exploration of wood – the material that shaped human history. As a material, wood has no equal in strength, resilience, adaptability and availability. It has been our partner in the cultural evolution from woodland foragers to engineers of our own destiny. Tracing that partnership through tools, devices, construction and artistic expression, Max Adams explores the role that wood has played in our own history as an imaginative, curious and resourceful species. Beginning with an investigation of the material properties of various species of wood, The Museum of the Wood Age investigates the influence of six basic devices – wedge, inclined plane, screw, lever, wheel, axle and pulley – and in so doing reveals the myriad ways in which wood has been worked throughout human history. From the simple bivouacs of hunter-gatherers to sophisticated wooden buildings such as stave churches; from the decorative arts to the humble woodworking of rustic furniture; Max Adams fashions a lattice of interconnected stories and objects that trace a path of human ingenuity across half a million years of history.
A “smart and surprising” (Booklist) “expansive history” (Publishers Weekly) detailing the role that wood and trees have played in our global ecosystem—including human evolution and the rise and fall of empires—in the bestselling tradition of Yuval Harari’s Sapiens and Mark Kurlansky’s Salt. As the dominant species on Earth, humans have made astonishing progress since our ancestors came down from the trees. But how did the descendants of small primates manage to walk upright, become top predators, and populate the world? How were humans able to develop civilizations and produce a globalized economy? Now, in The Age of Wood, Roland Ennos shows for the first time that the key to our success has been our relationship with wood. “A lively history of biology, mechanics, and culture that stretches back 60 million years” (Nature) The Age of Wood reinterprets human history and shows how our ability to exploit wood’s unique properties has profoundly shaped our bodies and minds, societies, and lives. Ennos takes us on a sweeping journey from Southeast Asia and West Africa where great apes swing among the trees, build nests, and fashion tools; to East Africa where hunter gatherers collected their food; to the structural design of wooden temples in China and Japan; and to Northern England, where archaeologists trace how coal enabled humans to build an industrial world. Addressing the effects of industrialization—including the use of fossil fuels and other energy-intensive materials to replace timber—The Age of Wood not only shows the essential role that trees play in the history and evolution of human existence, but also argues that for the benefit of our planet we must return to more traditional ways of growing, using, and understanding trees. A brilliant blend of recent research and existing scientific knowledge, this is an “excellent, thorough history in an age of our increasingly fraught relationships with natural resources” (Kirkus Reviews, starred review).
Ötzi the iceman could not do without wood when he was climbing his Alpine glacier, nor could medieval cathedral-builders or today's construction companies. From time immemorial, the skill of the human hand has developed by working wood, so much so that we might say that the handling of wood is a basic element in the history of the human body. The fear of a future wood famine became a panic in the 18th century and sparked the beginnings of modern environmentalism. This book traces the cultural history of wood and offers a highly original account of the connection between the raw material and the human beings who benefit from it. Even more, it shows that wood can provide a key for a better understanding of history, of the pecularities as well as the varieties of cultures, of a co-evolution of nature and culture, and even of the rise and fall of great powers. Beginning with Stone Age hunters, it follows the twists and turns of the story through the Middle Ages and the Industrial Revolution to the global society of the twenty-first century, in which wood is undergoing a varied and unexpected renaissance. Radkau is sceptical of claims that wood is about to disappear, arguing that such claims are self-serving arguments promoted by interest groups to secure cheaper access to, and control over, wood resources. The whole forest and timber industry often strikes the outsider as a world unto itself, a hermetically sealed black box, but when we lift the lid on this box, as Radkau does here, we will be surprised by what we find within. Wide-ranging and accessible, this rich historical analysis of one of our most cherished natural resources will find a wide readership.
Written by one of early America's most eminent historians, this book masterfully discusses the debates over constitutionalism that took place in the Revolutionary era.
In 1970 the Museum of Fine Arts commissioned a two-volume Centennial history by its trustee, Walter Muir Whitehill. That was a time of turmoil as then director Perry T. Rathbone was forced to resign resulting from the questionable acquisition of a portrait by Raphael later returned to Italy.Instability followed with the quick succession of acting director, Cornelius Vermeule, the ill-fated Merrill Rueppel, then Asiatic curator, Jan Fontein promoted from acting to full time director. Museum of Fine Arts Boston, 1870 to 2020: An Oral History is only the second publication chronicling 150 years of a great museum with aspects of its collection second to none. The book summarizes events of the first century with a vivid update of what has occurred since then.The fascinating story of a world-class museum is updated in the words of each of its directors from Perry T. Rathbone to Matthew Teitelbaum. There are also interviews with curators, trustees, art historians, administrators, and arts journalists.The founders were individuals of class and privilege who gave generously. The tone of Brahmin elitism changed by the 1950s as the museum expanded and become more costly to maintain. There was a search for new money and expansion of the board to include Jews and people of color. By the 1960s the museum drew broad criticism for its elitism and indifference to modern/ contemporary art and Boston's contemporary artists, including the Jewish Boston Expressionists. Charges of racism have accelerated in the past few years as they have for all cultural institutions. The MFA has been charged with a transition from the "Our Museum" of its founders to a "Museum for all the people of Boston" under current director Matthew Teitelbaum.As an observer and writer, Charles Giuliano is a consummate insider. In 1963 upon graduation from Brandeis University he worked for two and a half years as a conservation intern for the Egyptian Department. He later became one of Boston's most influential art critics covering the museum for a range of publications. This book is the culmination of that coverage since the 1960s.
He claimed to be “the plainest kind of fellow you can find. There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work. Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”
This book is the culmination of significant multi-disciplinary work carried out by a variety of specialists, from conservators to woodworking and boatbuilding experts, exploring the history of the Poole Iron Age logboat (today imposingly displayed in the entrance to Poole Museum in Dorset) and also its functionality – or lack of – as a vessel.
This book focuses on highlights (species mentioned, locality, geological age, stratigraphic positions, etc.) of nearly 1000 items published between 1821 and 2000, dealing with the remains of vertebrates that lived from about 2 million to 5000 years ago.