LEADER 04223nam 2200709 450 001 9910456171403321 005 20200520144314.0 010 $a1-282-02581-3 010 $a1-4426-7410-5 010 $a9786612025815 024 7 $a10.3138/9781442674103 035 $a(CKB)2430000000001237 035 $a(OCoLC)666911946 035 $a(CaPaEBR)ebrary10200789 035 $a(SSID)ssj0000294315 035 $a(PQKBManifestationID)11206502 035 $a(PQKBTitleCode)TC0000294315 035 $a(PQKBWorkID)10311905 035 $a(PQKB)11273143 035 $a(CaPaEBR)417847 035 $a(CaBNvSL)thg00600503 035 $a(MiAaPQ)EBC3251235 035 $a(MiAaPQ)EBC4671445 035 $a(DE-B1597)464414 035 $a(OCoLC)946711807 035 $a(DE-B1597)9781442674103 035 $a(Au-PeEL)EBL4671445 035 $a(CaPaEBR)ebr11257155 035 $a(OCoLC)958571946 035 $a(EXLCZ)992430000000001237 100 $a20160922h19981998 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDrawn from life $escience and art in the portrayal of the New World /$fVictoria Dickenson 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d1998. 210 4$dİ1998 215 $a1 online resource (341 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8020-8073-1 311 $a0-8020-4225-2 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tList of Plates -- $tPreface -- $tAcknowledgments -- $tIntroduction: The Bittern from Hudson s-Bay -- $tChapter 1: Emblematic Animals -- $tChapter 2: Naturalism and the Counterfeit of Nature -- $tChapter 3: The Living Image -- $tChapter 4: The Redefinition of Landscape -- $tChapter 5: The Classification of the Visible: Part One -- $tChapter 6: The Classification of the Visible: Part Two -- $tChapter 7: A Country Observed -- $tConclusion: Drawing and Nature -- $tNotes -- $tBibliography -- $tCredits -- $tIndex 330 $aThe use of images as evidence in historical writing has been largely neglected by historians, though recent interest in the importance of visualization in scientific literature has led to a reappraisal of their value. In Drawn from Life, Victoria Dickenson uncovers a vast pictorial tradition of 'scientific illustration' that reveals how artists and writers, from the late sixteenth to the early nineteenth century portrayed the natural history and landscape of North America to European readers.Dickenson undertakes a close reading of the images created by European artists, most of whom had never seen North America, and unravels the threads that linked the images to the curiosities and specimens that reached the Old World. Drawing on a wide range of illustrations - woodblock prints, engravings, watercolours, and maps - she examines several important issues regarding the nature of imagery: the tension between naturalistic representation and stylistic conventionalism; the role of the medium used in creating the image (especially the rise of printmaking); the historically changing function of images; and the need to consider historical context in 'reading' such pictures.While many contemporary artists claimed that their work was 'drawn from life,' their images were, in fact, also works of the imagination. Drawn from Life is an illustrated archaeology of the imagination that allows readers to see North America as Cartier, Champlain, and early naturalists perceived. 606 $aNatural history illustration$zEurope$xHistory 606 $aNatural history illustration$zNorth America$xHistory 606 $aArt and science$xHistory 608 $aElectronic books. 615 0$aNatural history illustration$xHistory. 615 0$aNatural history illustration$xHistory. 615 0$aArt and science$xHistory. 676 $a508/.022/2 700 $aDickenson$b Victoria$0949394 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456171403321 996 $aDrawn from life$92469792 997 $aUNINA