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“A sweeping history of the origins, development, and future of herbaria and their role in plant consternation.” —The American Gardener Since the 1500s, scientists have documented the plants and fungi that grew around them, organizing the specimens into collections. Known as herbaria, these archives helped give rise to botany as its own scientific endeavor. Herbarium is a fascinating enquiry into this unique field of plant biology, exploring how herbaria emerged and have changed over time, who promoted and contributed to them, and why they remain such an important source of data for their new role: understanding how the world’s flora is changing. Barbara Thiers, director of the William and Lynda Steere Herbarium at the New York Botanical Garden, also explains how recent innovations that allow us to see things at both the molecular level and on a global scale can be applied to herbaria specimens, helping us address some of the most critical problems facing the world today.
"What good is a dead plant? A lot! Herbaria, a picture book for grades one through eight, explains why, leading readers on an accessible, engaging exploration of who loves dead plants--and why. In these pages, we learn about famous historical plant collectors and the paths they established investigating plants. Readers join today's field botanists as they go far and wide to discover new species, and we get to look in the herbarium at how specimens are mounted and organized for everyone to use and enjoy. The book as a whole helps kids to visualize themselves as botanists gathering, preserving, and unlocking the mysteries of plants. In addition to beautiful watercolor illustrations and photos, the book includes interactive features such as lift-a-flaps, overlays, and a foldout." --Publisher's description.
Emily Hitchcock Terry (1838-1921) was the scientifically and aesthetically gifted daughter of a highly intellectual and artistic Massachusetts family. An early graduate of Mount Holyoke College, she began her formal study of art at The Cooper Union in New York City in 1865, where her training in drawing and watercolor painting was influenced by the Pre-Raphaelite movement. In 1872 Terry moved to Minnesota, where she was an avid plant collector and painted the flora she saw. Rather than creating a conventional herbarium of pressed specimens, she created instead a "painted herbarium". Terry's passion for botany - "As long as I live I shall work in botany, if I have any eyes to see" - was communicated to others through her artistic talent. Her collection of over 140 paintings, which scientifically document the flora of several areas of America, has remained almost totally unrecognized for more than one hundred years. Her watercolor images of the Minnesota flora, painted from nature, are the earliest known botanical illustrations in the state. Emily Hitchcock Terry's contribution to Minnesota's botanical history is unique. Her story, however, stands alongside those of countless women throughout history whose contributions have yet to be recognized. The beautiful reproductions of her work in this volume give us our first view of Terry's painted herbarium.
This stunningly beautiful book throws open the closed doors of the Sydney herbaria, and the history of Australia's flora.
Award-winning and beloved author Helen Humphreys discovers her local herbarium and realizes we need to look for beauty in whatever nature we have left — no matter how diminished Award-winning poet and novelist Helen Humphreys returns to her series of nature meditations in this gorgeously written and illustrated book that takes a deep look at the forgotten world of herbariums and the people who amassed collections of plant specimens in the 19th and 20th centuries. From Emily Dickinson’s and Henry David Thoreau’s collections to the amateur naturalists whose names are forgotten but whose collections still grace our world, herbariums are the records of the often-humble plants that are still with us and those that are lost. Over the course of a year, Humphreys considers life and loss and the importance of finding solace in nature. Illustrated throughout with images of herbarium specimens, Humphreys’s own botanical drawings, and archival photographs, this will be the perfect gift for Humphreys’s many fans, nature enthusiasts, and for all who loved Birds Art Life.
Despite their conceptual allergy to vegetal life, philosophers have used germination, growth, blossoming, fruition, reproduction, and decay as illustrations of abstract concepts; mentioned plants in passing as the natural backdrops for dialogues, letters, and other compositions; spun elaborate allegories out of flowers, trees, and even grass; and recommended appropriate medicinal, dietary, and aesthetic approaches to select species of plants. In this book, Michael Marder illuminates the elaborate vegetal centerpieces and hidden kernels that have powered theoretical discourse for centuries. Choosing twelve botanical specimens that correspond to twelve significant philosophers, he recasts the development of philosophy through the evolution of human and plant relations. A philosophical history for the postmetaphysical age, The PhilosopherÕs Plant reclaims the organic heritage of human thought. With the help of vegetal images, examples, and metaphors, the book clears a path through philosophyÕs tangled roots and dense undergrowth, opening up the discipline to all readers.
As intimate and meticulous as his revered portraits, Lucian Freud's magnificent paintings and drawings of plant life are gathered for the first time in book form. Lucian Freud's portraits are known for their spectacular detail and unflinching gaze. Although Freud brought the same qualities to his paintings and drawings of plants, flowers, and landscapes, these are largely unknown. This elegant book shows how working with plants emboldened Freud to experiment with style and composition. Reproduced in sumptuous plates that allow readers to indulge in exquisite detail, seventy-five works--including Two Plants, Bananas, Cyclamen, The Painter's Garden, and Interior at Paddington--reveal Freud's singular approach to plant life. Readers unfamiliar with this aspect of Freud's work will find many similarities to his portraits--earthy palettes, unconventional rawness, and assiduous attention to detail. From the delicate realism of the cyclamens' petals to the bold brushstrokes that immortalize his overgrown garden, readers will appreciate Freud's ability to portray plants in new and personal ways. Comparative illustrations from throughout art history accompany essays on the history of plants in art and an appreciation of Freud's oeuvre. This monograph is a tremendous contribution to Freud's legacy, one that will enrich his admirers' discernment while also introducing his thoroughly original depictions of plants to a new audience.
As poetic symbols or scientific models, flowers have often been invoked to explain nature's harmonizing of expression, attraction, and reproduction. Words can lie, but flowers seem to speak plainly nature's own language. Flowers thrive as both botanical and literary phenomena in the works of Goethe, Rousseau, and Ruskin and serve as essential points of reference for Rilke, Proust, Genet, Ponge, Cixous, Derrida, and many others. This book explores the links between the flowers of nature and the flowers of metaphor. No longer rooted in a system of symbols, as they have been in many times and cultures, the flowers of modern literature are ambiguous and changeable. As examples of nature's finery and plenitude they justify not only finery and plentitude, but also questions and contradictions. They are flagrantly colorful or delicate and secretive. Yet throughout the Western traditional flowers have most frequently been considered feminine by male and female writers alike. It is this attachment that Sartiliot pursues to the end, questioning the place of flowers in Cixous's writings and in contemporary feminism.
A joint project by The Society for Preservation of Natural History Collections & The Royal Ontario Museum.
Since 1999, I have collected pictures of plants. It has become a kind of photographic herbarium. The inspiration comes from Carl Linnaeus's writings about the reproduction of plants and I have tried to approach the subject with the same curiosity and eagerness as he clearly had. Linnaeus was free and poetic in both his speech and his text. He compared the sexuality of plants and humans as a pedagogic tool and he certainly was not shy. My aim has been to make pictures as Linnaeus himself would have done if he had access to our time's photographic techniques and to give Linnaeus insights into plant's sexuality a present-day shape.