9780822946533 - Victorian Science and Imagery: Representation and Knowledge in Nineteenth-Century Visual Culture (Sci & Culture in the Nineteenth Century) (17 resultados)

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Hardcover. Condición: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Hardcover. Condición: new. Hardcover. The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualise their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories - such as Darwin's theory of evolution and sexual selection - deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science, and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media from photography to oil painting. They remind us that science and art are not tightly compartmentalised, separate influences. Rather, these are fields that share forms, manifest as waves, layers, lines, or geometries; that invest in the idea of the evolution of form; and that generate surprisingly kindred responses, such as pain, pleasure, empathy, and sympathy. AUTHOR: Nancy Rose Marshall is a professor in the Art History Department of the University of WisconsinMadison. 66 b/w illustrations, 7 colour plates An Argument for Art and Science as Practices and Knowledges that Emerge from Shared Epistemologies Rather than Compartmentalized Disciplines Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardback. Condición: New. The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories-such as Darwin's theory of evolution and sexual selection-deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges.Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science, and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media from photography to oil painting. They remind us that science and art are not tightly compartmentalized, separate influences. Rather, these are fields that share forms, manifest as waves, layers, lines, or geometries; that invest in the idea of the evolution of form; and that generate surprisingly kindred responses, such as pain, pleasure, empathy, and sympathy.

hardcover. Condición: New. 1st Edition. Special order direct from the distributor.

Condición: As New. Unread book in perfect condition.

Condición: New. 2021. Hardcover. . . . . .

Condición: New.

Hardcover. Condición: Brand New. 355 pages. 9.00x6.00x1.50 inches. In Stock.

Hardback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: New. 2021. Hardcover. . . . . . Books ship from the US and Ireland.

Condición: New. Examines the close relationship between art and science in British and American visual culture.&Uumlber den AutorNancy Rose Marshall is a professor in the Art History Department of the University of Wisconsin-Madison.

Hardback. Condición: New. The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories-such as Darwin's theory of evolution and sexual selection-deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges.Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science, and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media from photography to oil painting. They remind us that science and art are not tightly compartmentalized, separate influences. Rather, these are fields that share forms, manifest as waves, layers, lines, or geometries; that invest in the idea of the evolution of form; and that generate surprisingly kindred responses, such as pain, pleasure, empathy, and sympathy.

Buch. Condición: Neu. Neuware - The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories--such as Darwin's theory of evolution and sexual selection--deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges.

Hardcover. Condición: new. Hardcover. The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualise their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories - such as Darwin's theory of evolution and sexual selection - deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science, and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media from photography to oil painting. They remind us that science and art are not tightly compartmentalised, separate influences. Rather, these are fields that share forms, manifest as waves, layers, lines, or geometries; that invest in the idea of the evolution of form; and that generate surprisingly kindred responses, such as pain, pleasure, empathy, and sympathy. AUTHOR: Nancy Rose Marshall is a professor in the Art History Department of the University of WisconsinMadison. 66 b/w illustrations, 7 colour plates An Argument for Art and Science as Practices and Knowledges that Emerge from Shared Epistemologies Rather than Compartmentalized Disciplines Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.