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==Scientific impact==
==Scientific impact==
Art of extinct animals has existed since before the creation of the study of paleontology. Although Henry De la Beche's 1830 painting ''Duria Antiquior'' is often credited as the first paleontological artwork, there are numerous examples of art based on extinct creatures beforehand. These include sketches, paintings and detailed anatomical restorations, dating back to at least 1800. There are also possible examples of "proto-paleoart" from long before the 19th century, sometimes considered to include artwork from [[BCE|Before Current Era]]. However, as Mark Witton discussed, artwork of [[griffins]] and [[cyclops (mythology)|cyclopes]] do not appear to take inspiration from any extinct animals, instead most likely being purely speculative creations. The 560-540 BCE artwork of the [[Monster of Troy]] has been considered as the earliest "proto-paleoart" as well, the only known depiction resembling the skull of the [[giraffid]] ''[[Samotherium]]''. Witton considered that because the painting has significant differences from the skull it is supposedly representing (lack of horns, sharp teeth) there is no reason to assume it represents "proto-paleoart". The earliest definitive work of "proto-paleoart" is a statue of a [[Lindwurm]] in [[Klagenfurt]], [[Austria]]. Writings from the time of its creation specifically identify the skull of ''[[Coelodonta antiquitatis]]'', the woolly rhinoceros, as the basis for the head in the restoration.<ref name=wittonblog>{{cite web|last=Witton|first=Mark P.|date=2018-04-27|url=http://markwitton-com.blogspot.ca/2018/04/unicorns-dragons-monsters-and-giants.html|title=Unicorns, dragons, monsters and giants: palaeoart before palaeontology|publisher=Mark Witton.com Blog|accessdate=2018-05-07}}</ref>
⚫
Extinct marine animals were some of the first to be restored as in life.<ref>{{Cite journal | doi = 10.1660/062.118.0107| title = Misunderstood Marine Reptiles: Late Nineteenth-Century Artistic Reconstructions of Prehistoric Marine Life| journal = Transactions of the Kansas Academy of Science| volume = 118| pages = 53–67| year = 2015| last1 = Davidson | first1 = J. P. }}</ref> Art has been important in disseminating knowledge of dinosaurs since the term was introduced by Sir [[Richard Owen]] in 1842. With [[Benjamin Waterhouse Hawkins]], Owen helped create the first life-size sculptures depicting dinosaurs as he thought they may have appeared. Some models were initially created for the [[Great Exhibition of 1851]], but 33 were eventually produced when [[the Crystal Palace]] was relocated to [[Sydenham]], in South London. Owen famously hosted a dinner for 21 prominent men of science inside the hollow concrete ''[[Iguanodon]]'' on New Year's Eve 1853. However, in 1849, a few years before his death in 1852, [[Gideon Mantell]] had realised that ''Iguanodon'', of which he was the discoverer, was not a heavy, [[Pachydermata|pachyderm]]-like animal,<ref name=GM51>{{cite book |last=Mantell |first=Gideon A. |title= Petrifications and their teachings: or, a handbook to the gallery of organic remains of the British Museum. |year=1851 |publisher=H. G. Bohn |location=London |oclc= 8415138}}</ref> as Owen was putting forward, but had slender forelimbs; his death left him unable to participate in the creation of the [[Crystal Palace Dinosaurs|Crystal Palace dinosaur sculptures]], and so Owen's vision of dinosaurs became that seen by the public. He had nearly two dozen lifesize [[sculpture]]s of various prehistoric animals built out of [[concrete]] sculpted over a [[steel]] and [[brick]] framework; two ''Iguanodon'', one standing and one resting on its belly, were included. The dinosaurs remain in place in the park, but their depictions are now outdated in many respects.

⚫
Extinct marine animals were some of the first to be realistically restored as in life.<ref>{{Cite journal | doi = 10.1660/062.118.0107| title = Misunderstood Marine Reptiles: Late Nineteenth-Century Artistic Reconstructions of Prehistoric Marine Life| journal = Transactions of the Kansas Academy of Science| volume = 118| pages = 53–67| year = 2015| last1 = Davidson | first1 = J. P. }}</ref> Art has been important in disseminating knowledge of dinosaurs since the term was introduced by Sir [[Richard Owen]] in 1842. With [[Benjamin Waterhouse Hawkins]], Owen helped create the first life-size sculptures depicting dinosaurs as he thought they may have appeared. Some models were initially created for the [[Great Exhibition of 1851]], but 33 were eventually produced when [[the Crystal Palace]] was relocated to [[Sydenham]], in South London. Owen famously hosted a dinner for 21 prominent men of science inside the hollow concrete ''[[Iguanodon]]'' on New Year's Eve 1853. However, in 1849, a few years before his death in 1852, [[Gideon Mantell]] had realised that ''Iguanodon'', of which he was the discoverer, was not a heavy, [[Pachydermata|pachyderm]]-like animal,<ref name=GM51>{{cite book |last=Mantell |first=Gideon A. |title= Petrifications and their teachings: or, a handbook to the gallery of organic remains of the British Museum. |year=1851 |publisher=H. G. Bohn |location=London |oclc= 8415138}}</ref> as Owen was putting forward, but had slender forelimbs; his death left him unable to participate in the creation of the [[Crystal Palace Dinosaurs|Crystal Palace dinosaur sculptures]], and so Owen's vision of dinosaurs became that seen by the public. He had nearly two dozen lifesize [[sculpture]]s of various prehistoric animals built out of [[concrete]] sculpted over a [[steel]] and [[brick]] framework; two ''Iguanodon'', one standing and one resting on its belly, were included. The dinosaurs remain in place in the park, but their depictions are now outdated in many respects.


A 2013 study found that older paleoart was still influential in popular culture long after new discoveries made them obsolete. This was explained as [[cultural inertia]].<ref>{{Cite journal | last1 = Ross | first1 = R. M. | last2 = Duggan-Haas | first2 = D. | last3 = Allmon | first3 = W. D. | title = The Posture of ''Tyrannosaurus rex'': Why Do Student Views Lag Behind the Science? | doi = 10.5408/11-259.1 | journal = Journal of Geoscience Education | volume = 61 | pages = 145 | year = 2013 | pmid = | pmc = |bibcode = 2013JGeEd..61..145R }}</ref> In a 2014 paper, Mark P. Witton, [[Darren Naish]], and John Conway outlined the historical significance of paleoart, and lamented its current state.<ref>Witton, M. P., Naish, D. and Conway, J. (2014). [http://palaeo-electronica.org/content/2014/917-commentary-state-of-the-palaeoart State of the Palaeoart]. ''Palaeontologia Electronica'' Vol. 17, Issue 3; 5E: 10p</ref>
A 2013 study found that older paleoart was still influential in popular culture long after new discoveries made them obsolete. This was explained as [[cultural inertia]].<ref>{{Cite journal | last1 = Ross | first1 = R. M. | last2 = Duggan-Haas | first2 = D. | last3 = Allmon | first3 = W. D. | title = The Posture of ''Tyrannosaurus rex'': Why Do Student Views Lag Behind the Science? | doi = 10.5408/11-259.1 | journal = Journal of Geoscience Education | volume = 61 | pages = 145 | year = 2013 | pmid = | pmc = |bibcode = 2013JGeEd..61..145R }}</ref> In a 2014 paper, Mark P. Witton, [[Darren Naish]], and John Conway outlined the historical significance of paleoart, and lamented its current state.<ref>Witton, M. P., Naish, D. and Conway, J. (2014). [http://palaeo-electronica.org/content/2014/917-commentary-state-of-the-palaeoart State of the Palaeoart]. ''Palaeontologia Electronica'' Vol. 17, Issue 3; 5E: 10p</ref>

Revision as of 15:27, 7 May 2018

For art created in prehistoric times, see Prehistoric art.
Leaping Laelaps by Charles R. Knight, 1896

Paleoart (also spelled palaeoart, paleo-art, or paleo art) is any original artistic work that attempts to reconstruct or depict prehistoric life according to the current knowledge and scientific evidence at the moment of creating the artwork.[1] The term paleoart was introduced in the late 1980s by Mark Hallett for art that depicts subjects related to paleontology.[2] These may be representations of fossil remains or depictions of the living creatures and their ecosystems. The term is a portmanteau of “art” and the ancient Greek word for old.

Production

Duria Antiquior - A more Ancient Dorset is a watercolour painted in 1830 by the geologist Henry De la Beche based on fossils found by Mary Anning, and was the first pictorial representation of a scene from deep time based on fossil evidence.
Iguanodon pair, some of the Crystal Palace Dinosaurs made by Benjamin Waterhouse Hawkins, 1850s
The Primitive World by Adolphe François Pannemaker (1857)

The work of paleoartists is not mere fantasy of an artist's imagination but rather consists of cooperative discussions among experts and artists.[3][4] When attempting to reconstruct an extinct animal, the artist must utilise an almost equal mixture of artistry and scientific knowledge. The artist James Gurney, known for the Dinotopia series of fiction books, has described the interaction between scientists and artists as the artist being the eyes of the scientist, since his illustrations bring shape to the theories; palaeoart determines how the public perceives long extinct animals.[5]

Scientific impact

Art of extinct animals has existed since before the creation of the study of paleontology. Although Henry De la Beche's 1830 painting Duria Antiquior is often credited as the first paleontological artwork, there are numerous examples of art based on extinct creatures beforehand. These include sketches, paintings and detailed anatomical restorations, dating back to at least 1800. There are also possible examples of "proto-paleoart" from long before the 19th century, sometimes considered to include artwork from Before Current Era. However, as Mark Witton discussed, artwork of griffins and cyclopes do not appear to take inspiration from any extinct animals, instead most likely being purely speculative creations. The 560-540 BCE artwork of the Monster of Troy has been considered as the earliest "proto-paleoart" as well, the only known depiction resembling the skull of the giraffid Samotherium. Witton considered that because the painting has significant differences from the skull it is supposedly representing (lack of horns, sharp teeth) there is no reason to assume it represents "proto-paleoart". The earliest definitive work of "proto-paleoart" is a statue of a Lindwurm in Klagenfurt, Austria. Writings from the time of its creation specifically identify the skull of Coelodonta antiquitatis, the woolly rhinoceros, as the basis for the head in the restoration.[6]

Extinct marine animals were some of the first to be realistically restored as in life.[7] Art has been important in disseminating knowledge of dinosaurs since the term was introduced by Sir Richard Owen in 1842. With Benjamin Waterhouse Hawkins, Owen helped create the first life-size sculptures depicting dinosaurs as he thought they may have appeared. Some models were initially created for the Great Exhibition of 1851, but 33 were eventually produced when the Crystal Palace was relocated to Sydenham, in South London. Owen famously hosted a dinner for 21 prominent men of science inside the hollow concrete Iguanodon on New Year's Eve 1853. However, in 1849, a few years before his death in 1852, Gideon Mantell had realised that Iguanodon, of which he was the discoverer, was not a heavy, pachyderm-like animal,[8] as Owen was putting forward, but had slender forelimbs; his death left him unable to participate in the creation of the Crystal Palace dinosaur sculptures, and so Owen's vision of dinosaurs became that seen by the public. He had nearly two dozen lifesize sculptures of various prehistoric animals built out of concrete sculpted over a steel and brick framework; two Iguanodon, one standing and one resting on its belly, were included. The dinosaurs remain in place in the park, but their depictions are now outdated in many respects.

A 2013 study found that older paleoart was still influential in popular culture long after new discoveries made them obsolete. This was explained as cultural inertia.[9] In a 2014 paper, Mark P. Witton, Darren Naish, and John Conway outlined the historical significance of paleoart, and lamented its current state.[10]

Recognition

Since 1999, the Society of Vertebrate Paleontology has awarded the John J. Lanzendorf PaleoArt Prize for achievement in the field. The society says that paleoart "is one of the most important vehicles for communicating discoveries and data among paleontologists, and is critical to promulgating vertebrate paleontology across disciplines and to lay audiences".[11] The SVP is also the site of the occasional/annual "PaleoArt Poster Exhibit", a juried poster show at the opening reception of the annual SVP meetings.

The Museu da Lourinhã organizes the annual International Dinosaur Illustration Contest[12] for promoting the art of dinosaur and other fossils.

Notable, influential paleoartists

Past (pre-dinosaur renaissance) paleoartists

2D artists

3D artists

Modern (post-dinosaur renaissance) paleoartists

2D artists

3D artists

References

  1. ^ Ansón et al., (2015) Paleoart: term and conditions (A survey among paleontologists) in: Current trends in Paleontology and Evolution, 28-24 pp.
  2. ^ Hallett M (1986) The scientific approach of the art of bringing dinosaurs back to life, in: Czerkas SJ, Olson EC (Eds.), Dinosaurs Past and Present 1. Natural History Museum of Los Angeles Count in association with University of Washington Press, 97-113 pp.
  3. ^ Catherine Thimmesh: Scaly Spotted Feathered Frilled: How Do We Know What Dinosaurs Really Looked Like? Houghton Mifflin Harcourt, 2013, 57 pages with paleoart illustrations by John Sibbick, Greg Paul, Mark Hallett et al., ISBN 978-0-547-99134-4
  4. ^ Hone, Dave (3 September 2012). "Drawing dinosaurs: how is palaeoart produced?". The Guardian.
  5. ^ Gurney J. (2009) Imaginative Realism: How to Paint What Doesn't Exist. Andrews McMeels Publishing. p. 78.
  6. ^ Witton, Mark P. (2018-04-27). "Unicorns, dragons, monsters and giants: palaeoart before palaeontology". Mark Witton.com Blog. Retrieved 2018-05-07.
  7. ^ Davidson, J. P. (2015). "Misunderstood Marine Reptiles: Late Nineteenth-Century Artistic Reconstructions of Prehistoric Marine Life". Transactions of the Kansas Academy of Science. 118: 53–67. doi:10.1660/062.118.0107.
  8. ^ Mantell, Gideon A. (1851). Petrifications and their teachings: or, a handbook to the gallery of organic remains of the British Museum. London: H. G. Bohn. OCLC 8415138.
  9. ^ Ross, R. M.; Duggan-Haas, D.; Allmon, W. D. (2013). "The Posture of Tyrannosaurus rex: Why Do Student Views Lag Behind the Science?". Journal of Geoscience Education. 61: 145. Bibcode:2013JGeEd..61..145R. doi:10.5408/11-259.1.
  10. ^ Witton, M. P., Naish, D. and Conway, J. (2014). State of the Palaeoart. Palaeontologia Electronica Vol. 17, Issue 3; 5E: 10p
  11. ^ Lanzendorf PaleoArt Prize Archived 2016-03-05 at the Wayback Machine. Society of Vertebrate Paleontology. Retrieved on February 14, 2014.
  12. ^ International Dinosaur Illustration Contest Archived 2009-02-06 at the Wayback Machine
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