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The William Farquhar Collection of Natural History Drawings consists of 477 watercolour botanical drawings of plants and animals of Malacca and Singapore by unknown Chinese (probably Cantonese) artists that were commissioned between 1819 and 1823 by William Farquhar (26 February 1774 – 13 May 1839). The paintings were meant to be of ...
In Europe, as John Ruskin said, [30] and Sir Kenneth Clark confirmed, landscape painting was the "chief artistic creation of the nineteenth century", and "the dominant art", with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part ...
Over the course of his career, over 1000 prints were produced based on Haeckel's sketches and watercolors; many of the best of these were chosen for Kunstformen der Natur, translated from sketch to print by lithographer Adolf Giltsch. [2] A second edition of Kunstformen, containing only 30 prints, was produced in 1914. The 8th print, Discomedusae.
When Eugène Delacroix painted flower pictures in 1848–49, he opposed his approach to that of botanical artists, regretting "the study of details, which [some painters] have carried to a very high point," and for his part decided to "subordinate details to the whole" and "try to make pieces of nature as they appear in gardens, only by ...
Juan Sánchez Cotán, Still Life with Game Fowl, Vegetables and Fruits (1602), Museo del Prado, Madrid. A still life (pl.: still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or human-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.).
Charles Turner, c.1840, Portrait of J. M. W. Turner, making his sketch for the celebrated picture of 'Mercury & Argus' (exhibited in 1836) Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice.
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Robert Morris, Observatorium, Netherlands. The growth of environmental art as a "movement" began in the late 1960s and early 1970s. In its early phases it was most associated with sculpture—especially Site-specific art, Land art and Arte povera—having arisen out of mounting criticism of traditional sculptural forms and practices that were increasingly seen as outmoded and potentially out ...