Veteran botanist, scientific author, and professor Robert H. Mohlenbrock brings the full depth of his expertise and scholarship to his latest book, Acanthaceae to Myricaceae: Water Willows to Wax Myrtles, the third of four volumes in the Aquatic and Standing Water Plants of the Central Midwest series. This easy-to-use illustrated reference guide covers aquatic and standing water plants for the states of Iowa, Illinois, Indiana, Ohio, Kansas, Missouri, Nebraska, and Kentucky (excluding the biologically distinct Cumberland Mountain region of eastern Kentucky), from spearmint to wintergreen, from aster to waterwort.
The volume identifies, describes, and organizes species in three groups, including truly aquatic plants, which spend their entire life with their vegetative parts either completely submerged or floating on the water’s surface; emergents, which are usually rooted under water with their vegetative parts standing above the water’s surface; and wetland plants, which live most or all of their lives out of water, but which can live at least three months in water.
Mohlenbrock lists the taxa alphabetically, and within each taxon, he describes the species with the scientific names he deems most appropriate (indicating if his opinion differs from that of the U.S. Fish and Wildlife Service), common names, identification criteria, line drawings, geographical distribution, habitat description, and official U.S. Fish and Wildlife Service wetlands designation as described by the National Wetland Inventory Section in 1988.
Acanthaceae to Myricaceae is an essential reference for state and federal employees who deal with environmental conservation and mitigation issues in aquatic and wetland plants. It is also a useful guide for students and instructors in college and university courses focusing on the identification of aquatic and wetland plants.
Audubon was not the father of American ornithology. That honorific belongs to Alexander Wilson, whose encyclopedic American Ornithology established a distinctive approach that emphasized the observation of live birds. In the first full-length study to reproduce all of Wilson’s unpublished drawings for the nine-volume Ornithology, Edward Burtt and William Davis illustrate Wilson’s pioneering and, today, underappreciated achievement as the first ornithologist to describe the birds of the North American wilderness.Abandoning early ambitions to become a poet in the mold of his countryman Robert Burns, Wilson emigrated from Scotland to settle near Philadelphia, where the botanist William Bartram encouraged his proclivity for art and natural history. Wilson traveled 12,000 miles on foot, on horseback, in a rowboat, and by stage and ship, establishing a network of observers along the way. He wrote hundreds of accounts of indigenous birds, discovered many new species, and sketched the behavior and ecology of each species he encountered.Drawing on their expertise in both science and art, Burtt and Davis show how Wilson defied eighteenth-century conventions of biological illustration by striving for realistic depiction of birds in their native habitats. He drew them in poses meant to facilitate identification, making his work the model for modern field guides and an inspiration for Audubon, Spencer Fullerton Baird, and other naturalists who followed. On the bicentennial of his death, this beautifully illustrated volume is a fitting tribute to Alexander Wilson and his unique contributions to ornithology, ecology, and the study of animal behavior.
More than 100 powerful images by noted photographer Russell Lee that document the working conditions and lives of coal mining communities in the postwar United States; publication coincides with an exhibition at the National Archives in Washington, DC.
In 1946 the Truman administration made a promise to striking coal miners: as part of a deal to resume work, the government would sponsor a nationwide survey of health and labor conditions in mining camps. One instrumental member of the survey team was photographer Russell Lee. Lee had made his name during the Depression, when, alongside Dorothea Lange and Walker Evans, he used his camera to document agrarian life for the Farm Security Administration (FSA). Now he trained his lens on miners and their families to show their difficult circumstances despite their essential contributions to the nation's first wave of postwar growth.
American Coal draws from the thousands of photographs that Lee made for the survey—also on view in the US National Archives and Records Administration’s exhibition Power & Light—and includes his original, detailed captions as well as an essay by biographer Mary Jane Appel and historian Douglas Brinkley. They place his work in context and illuminate how Lee helped win improved conditions for his subjects through vivid images that captured an array of miners and their communities at work and at play, at church and in school, in moments of joy and struggle, ultimately revealing to their fellow Americans the humanity and resilience of these underrecognized workers.
This latest title in a strikingly beautiful series of collectable books turns our attention to the rich variety of art from the Ancient Americas. We gain fascinating insights into the design and production of a wide range of objects from Mexico and Central and South America. Enlarged details chosen to inspire, illuminate, and surprise bring us close to the world of the Olmecs, Mayans, Mixtecs, Aztecs, and Incans.Beginning by asking what constitutes Ancient American art, Colin McEwan contextualizes this art in its complexity of form and meaning. The close-ups provide the reader with insights that even a behind-the-scenes museum tour cannot offer. As we move across a range of cultures and media, we understand larger issues within which these works of art are embedded: What is the relationship between art and nature in the Ancient Americas? How were these objects used in ritual and religious practices? What is the role of masks? How do the practices of ancestor deification, sacrifice, and rituals related to fertility and procreation shape the visual and material culture of the Ancient Americas?Jade, turquoise, featherwork, metalwork, wood, stone, ceramics, textiles, and illustrations—each beautifully photographed object is part of the extraordinary Ancient American collection of the British Museum. The beauty of the smallest details is magnified and contextualized through accompanying essays written by experts in Ancient American art.
John Hirsch chronicles the research, scientists, and ephemera of the Harvard Forest—a 3,750-acre research forest in Petersham, Massachusetts. Essays by David Foster, Clarisse Hart, and Margot Anne Kelley expand the scope of this photographic exploration at the nexus of science and art.Hirsch is attentive to both the quixotic and the beautiful, and has created a body of work that is about a desire to understand, describe, and predict the evolution of our surroundings, while showing reverence for the possibility of sublime moments in a place. The forest is here a microcosm for the world in which we live, and this work helps us envision the future we may inhabit, making the book a useful and engaging vantage from which to consider pressing issues of climate change, ecosystem resilience, and land and water use.
A beautifully produced companion volume to the public television documentary The Appalachians fills the void in information about the region, offering a rich portrait of its history and its legacy in music, literature, and film. The text includes essays by some of Appalachia’s most respected scholars and journalists; excerpts from never-before-published diaries and journals; firsthand recollections from native Appalachians including Loretta Lynn, Ricky Skaggs, and Ralph Stanley; indigenous song lyrics and poetry; and oral histories from common folk whose roots run strong and deep. The book also includes more than one hundred illustrations, both archival and newly created. Here is a wondrous book celebrating a unique and valuable heritage.
Mies van der Rohe once commented, “Only skyscrapers under construction reveal their bold constructive thoughts, and then the impression made by their soaring skeletal frames is overwhelming.” Never has this statement resonated more than in recent years, when architectural design has undergone a radical transformation, and when powerful computers allow architects and engineers to design and construct buildings that were impossible just a few years ago. At the same time, what lies underneath these surfaces is more mysterious than ever before.
In Architecture under Construction, photographer Stanley Greenberg explores the anatomy and engineering of some of our most unusual new buildings, helping us to understand our own fascination with what makes buildings stand up, and what makes them fall down. As designs for new constructions are revealed and the public watches closely as architects and engineers challenge each other with provocative new forms and equally audacious ideas, Greenberg captures penetrating images that reveal the complex mystery—and beauty—found in the transitory moments before the skin of a building covers up the structures that hold it together.
Framed by a historical and critical essay by Joseph Rosa and including an afterword by the author, the eighty captivating and thought-provoking images collected here—which focus on some of the most high-profile design projects of the past decade, including buildings designed by Norman Foster, Frank Gehry, Steven Holl, Daniel Libeskind, Thom Mayne, and Renzo Piano, among others —are not to be missed by anyone with an eye for the almost invisible mechanisms that continue to define our relationship with the built world.
Since ancient times people have depended on medical practitioners to enhance life, to treat illness and injuries, and to help reduce pain and suffering. The scientifically based discipline that we know today stands beside diverse traditions, belief systems, and bodies of medical knowledge that have evolved in fascinating ways across cultures and continents. Throughout this history, successive generations have created artistic representations of these varied aspects of medicine, illustrating instruction manuals, documenting treatments, and creating works of art that enable individuals to express their feelings and ideas about medicine, health, and illness. From ancient wall paintings and tomb carvings to sculpture, installations, and digitally created artworks, the results are extraordinary and pay tribute to how medicine has affected our lives and the lives of our ancestors.
Drawing on the remarkable holdings of the Wellcome Collection in London, The Art of Medicine offers a unique gallery of rarely seen paintings, artifacts, drawings, prints, and extracts from manuscripts and manuals to provide a fascinating visual insight into our knowledge of the human body and mind, and how both have been treated with medicine. Julie Anderson, Emm Barnes, and Emma Shackleton take readers on a fascinating visual journey through the history of medical practice, exploring contemporary biomedical images, popular art, and caricature alongside venerable Chinese scrolls, prehistoric Mesoamerican drawings, paintings of the European Renaissance, medieval Persian manuscripts, and more. The result is a rare and remarkable visual account of what it was and is to be human in sickness and health.
In 1805, Jean Jacques Audubon was a twenty-year-old itinerant Frenchman of ignoble birth and indifferent education who had fled revolutionary violence in Haiti and then France to take refuge in frontier America. Ten years later, John James Audubon was an American citizen, entrepreneur, and family man whose fervent desire to “become acquainted with nature” had led him to reinvent himself as a naturalist and artist whose study of birds would soon earn him international acclaim. The drawings he made during this crucial decade—sold to Audubon’s friend and patron Edward Harris to help fund his masterwork The Birds of America, and now held by Harvard’s Houghton Library and Museum of Comparative Zoology—are published together here for the first time in large format and full color. In these 116 portraits of species collected in America and in Europe we see Audubon inventing his ingenious methods of posing and depicting his subjects, and we trace his development into a scientist and an artist who could proudly sign his artworks “drawn from Nature.” The drawings also serve as a record of the birds found in Europe and the Eastern United States in the early nineteenth century, some now rare or extinct.The drawings are enhanced by an essay on the sources of Audubon’s art by his biographer, Richard Rhodes; transcription of Audubon’s own annotations to the drawings, including information on when and where the specimens were collected; ornithological commentary by Scott V. Edwards, along with reflections on Audubon as scientist; and an account of the history of the Harris collection by Leslie A. Morris.Splendid in their own right, these drawings also illuminate the self-invention of one of the most important figures in American natural history. They will delight all those interested in American art, nature, birds, and the life and times of John James Audubon.
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