Follow @yaleSCIbooks The early days of scientific investigation resulted in extraordinary collaborations between the artistic community and the scientific one. Many examples of these concerted efforts to explore, chart, map, test and record are beautifully documented and eloquently explained in Prints and the Pursuit of Knowledge in Early Modern Europe,
When art goes missing, the case can monopolize headlines and excite theories and gossip. Was it stolen? Destroyed? Does it have something to do with The Da Vinci Code? Mark D. Mitchell’s George Inness in Italy is inspired by the rediscovery of a painting that had the misfortune of becoming “lost” in this rather dull way, having “languished” in storage for years, but was then rediscovered with great interest.
Photographs from this month’s Perseid meteor shower from the International Space Station follow a long tradition of science and art blurring boundaries between each other. As curator Susan Dackerman argues in Prints and the Pursuit of Knowledge in Early Modern Europe, the catalog for Harvard Art Museums’ exhibition opening September 6, art and science often have a close relationship with only vaguely definable boundaries.
When James Frazer Stirling won the Good Housing Competition prize in 1963 for his architectural design, the Daily Mail ran the outraged headline, “Frankly, do you think this is WORTH A PRIZE?” The reader’s answer was obviously supposed to be “no,” especially when confronted with the article’s comment that the
“What are men to rocks and mountains?” Elizabeth Bennett asks her aunt in Pride and Prejudice. Although Lizzy wants to deceive herself after “disappointment” regarding certain men, some artists would wholeheartedly agree with her, at least regarding their paintings’ subjects. Rocks and mountains, as well as forests, snow, and rivers,
Windows on the War: Soviet TASS Posters at Home and Abroad, 1941-1945, edited by Art Institute of Chicago curators Peter Kort Zegers and Douglas Druick to accompany an exhibition on view there until October 23, 2011, examines an art form that had been forgotten until now. The stenciled, handmade posters made by the Soviet TASS news agency during WWII are now available to the English-speaking public for the first time.
It’s hard to express the magnitude of the disaster that faced Japan after the earthquake, tsunami, and nuclear power plant melt-down earlier this year. Every aspect of Japanese life has been affected, from entire villages having vanished to the yen’s record low. One might also expect the cultural life of
How could a man who lived a millennium and a half after Jesus have drawn him from life? Because Rembrandt was the first artist to use a live model for Christ, the origins of his portraits remained a mystery for a long time. Rembrandt and the Face of Jesus, edited by Lloyd DeWitt, discusses these paintings and drawings from an exhibition opening tomorrow at the Philadelphia Museum of Art.