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A celebration of anatomy, flesh and bone by more than 60 international artists, including contemporary stars (Damien Hirst, Mark Ryden), social network celebrities (Jason Freeny), street art icons (Nychos) and a whole new generation of illustrators. Since the first dissections of corpses, and the drawings which described the bodies, anatomy and art have always been connected. From the Leonardo da Vinci’s drawings to the Francis Bacon’s naked gures, artists have always been interested in the representation of the human as a biological being. Today, anatomy is back in contemporary art, following the rebirth of gothic and horror in the entertainment industry. This reference book includes at the same time the work of world renowned contemporary artists (Damien Hirst, KAWS, Mark Ryden), social networks stars (Jason Freeny), street art icons (Nyckos) and a whole new generation of illustrators.
An illuminating account of the interplay between science, religion, and nature in nineteenth-century landscape painting Geology was in vogue in nineteenth-century America. People crowded lecture halls to hear geologists speak, and parlor mineral cabinets signaled social respectability and intellectual engagement. This was also the heyday of the Hudson River School, and many prominent landscape painters avidly studied geology. Thomas Cole, Asher Durand, Frederic Church, John F. Kensett, William Stanley Haseltine, Thomas Moran, and other artists read scientific texts, participated in geological surveys, and carried rock hammers into the field to collect fossils and mineral specimens. As they crafted their paintings, these artists drew on their geological knowledge to shape new vocabularies of landscape elements resonant with moral, spiritual, and intellectual ideas. Rebecca Bedell contributes to current debates about the relationship among art, science, and religion by exploring this phenomenon. She shows that at a time when many geologists sought to disentangle their science from religion, American artists generally sidestepped the era's more materialist science, particularly Darwinism. They favored a conservative, Christianized geology that promoted scientific study as a way to understand God. Their art was both shaped by and sought to preserve this threatened version of the science. And, through their art, they advanced consequential social developments, including westward expansion, scenic tourism, the emergence of a therapeutic culture, and the creation of a coherent and cohesive national identity. This major study of the Hudson River School offers an unprecedented account of the role of geology in nineteenth-century landscape painting. It yields fresh insights into some of the most influential works of American art and enriches our understanding of the relationship between art and nature, and between science and religion, in the nineteenth century. It will draw a broad audience of art historians, Americanists, historians of science, and readers interested in the American natural landscape.
Reprint of the original, first published in 1861.