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In this first-ever examination of Charles Darwin's sketches, drawings, and illustrations, Julia Voss presents the history of evolutionary theory told in pictures. Darwin had a life-long interest in pictorial representations of nature, sketching out his evolutionary theory and related ideas for over forty years. Voss details the pictorial history of Darwin's theory of evolution, starting with his notebook sketches of 1837 and ending with the illustrations in The Expression of Emotions in Man and Animals (1872). These images were profoundly significant for Darwin's long-term argument for evolutionary theory; each characterizes a different aspect of his relationship with the visual information and constitutes what can be called an "icon" of evolution. Voss shows how Darwin "thought with his eyes" and how his pictorial representations and the development and popularization of the theory of evolution were vitally interconnected. Voss explores four of Darwin's images in depth, and weaves about them a story on the development and presentation of Darwin's theory, in which she also addresses the history of Victorian illustration, the role of images in science, the technologies of production, and the relationship between specimen, words, and images.
Evolution (Biology) --- Zoological illustration --- Art and science. --- Visual communication in science. --- Science --- Science and art --- Animal painting and illustration --- Illustration, Zoological --- Biological illustration --- Natural history illustration --- Animal evolution --- Animals --- Biological evolution --- Darwinism --- Evolutionary biology --- Evolutionary science --- Origin of species --- Biology --- Evolution --- Biological fitness --- Homoplasy --- Natural selection --- Phylogeny --- Philosophy --- History --- Darwin, Charles, --- Darwin, Charles, Robert --- Art collections.
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"A highly anticipated biography of the enigmatic and popular Swedish painter. The Swedish painter Hilma af Klint (1862-1944) was 44 years old when she broke with the academic tradition in which she had been trained. While her naturalistic landscapes and botanicals were shown during her lifetime, her body of radical, abstract works never received the same attention. Today, it is widely accepted that af Klint produced the earliest abstract paintings by a trained European artist. But this is only part of her story. Not only was she a successful woman artist, but she was also an avowed clairvoyant and mystic. Like many of the artists at the turn of the twentieth century who developed some version of abstract painting, af Klint studied Theosophy, which holds that science, art, and religion are all reflections of an underlying life-form that can be harnessed through meditation, study, and experimentation. Well before Kandinsky, Mondrian and Malevich declared themselves the inventors of abstraction, af Klint was working in a non-representational mode, producing a powerful visual language that continues to speak to audiences today. The exhibition of her work in 2018 at the Guggenheim Museum in New York City attracted more than 600,000 visitors, making it the most-attended show in the history of the museum/institution. Despite her enormous popularity, there has not yet been a biography of af Klint-until now. Inspired by her first encounter with the artist's work in 2008, Julia Voss set out to learn Swedish and research af Klint's life-not only who the artist was but what drove and inspired her. The result is a fascinating biography of an artist who is as great as she is enigmatic."
Painters --- Women painters --- 75.071 --- kunst --- Zweden --- negentiende eeuw --- twintigste eeuw --- schilderkunst --- abstractie --- abstracte schilderkunst --- spiritisme --- theosofie --- af Klint Hilma --- tekenkunst --- Women artists --- Klint, Hilma af, --- Af Klint, Hilma, --- 737.8 --- af Klint, Hilma --- antroposofie --- conceptuele kunst --- biografie --- schilder- en tekenkunst, 20e eeuw, overige landen, kunstenaars afzonderlijk --- BIOGRAPHY & AUTOBIOGRAPHY / Artists, Architects, Photographers --- ART / European --- Painting, Swedish
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Art --- design [discipline] --- Plantae [kingdom] --- scientific illustrations [images] --- Häckel, Ernst
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roofkunst --- geschiedenis --- nazisme --- restitutie --- entartete Kunst --- kunsthandel --- Frankrijk --- Duitsland
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Every few years since 1955, the creators of documenta set themselves the task of providing an insight into current trends in art and of capturing the zeitgeist of recent art production.Despite its name, documenta's primary concerns are neither with the simple documentation of individual artists and their work nor with developments in art history, but instead with providing a historical space where art reflects and comments on social constellations and political or social change, or demands it through art interventions. documenta is not only a historical testimony and event, but also a show at which?throu the medium of art?self-interpretation becomes the catalyst for debate and historical change. For the first time, this book places the history of documenta in the context of the political, cultural and societal development of Germany during the second half of the twentieth century, illustrating how art and history can be explored in terms of a mutually dependent relationship.
Exhibitions --- Art --- Art, Modern --- Art and society --- Political aspects --- kunst --- Oost-Duitsland --- West-Duitsland --- Duitsland --- museologie --- tentoonstellingen --- 069 --- 7.038 --- koude oorlog --- Documenta Kassel --- kunst en politiek --- twintigste eeuw --- Kassel --- Kulturgeschichte --- Deutsches Historisches Museum --- Kalter Krieg --- DDR --- Werner Haftmann --- Joseph Beuys
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By the end of World War II an estimated one million artworks and three million books were seized from their owners by Nazi forces; many were destroyed. The artworks and cultural artifacts that survived have traumatic, layered histories. This book traces the biographies of these objects-including paintings, sculpture, and Judaica-their rescue in the aftermath of the war, and their afterlives in museums and private collections and in our cultural understanding. In examining how this history affects the way we view these works, scholars discuss the moral and aesthetic implications of maintaining the association between the works and their place within the brutality of the Holocaust-or, conversely, the implications of ignoring this history. Afterlives offers a thought-provoking investigation of the unique ability of art and artifacts to bear witness to historical events. With rarely seen archival photographs and with contributions by the contemporary artists Maria Eichhorn, Hadar Gad, Dor Guez, and Lisa Oppenheim, this catalogue illuminates the study of a difficult and still-urgent subject, with many parallels to today's crises of art in war. Exhibition: Jewish Museum, New York, USA (opens August 2021).
Criminology. Victimology --- Polemology --- Art --- world wars --- restitution --- anno 1900-1999 --- Germany --- kunstroof --- repatriëring van kunst --- Art appreciation. --- World War, 1939-1945 --- Art thefts --- Art thefts. --- Confiscations. --- Confiscations and contributions. --- History --- 1900-1999
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Iconography --- Art --- art theory --- spiritualiteit --- Cragg, Tony --- Nicolai, Carsten --- Angioletti, Meris --- Finch, Spencer --- Graf, Manuel --- Lindena, Kalin --- Møller, Simon Dybbroe --- Beuys, Joseph --- Ribbeck, Bernd --- Wieser, Claudia --- Penone, Giuseppe --- Albers, Jan --- Merz, Mario --- Eliasson, Olafur --- Kapoor, Anish --- Federle, Helmut M. --- Grosse, Katharina
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