Are science and art strange bedfellows? The answer to this tricky question will hinge on your definition of art. Science and illustration certainly are not. American palaeoartist John Gurche has spent three decades studying ape and human anatomy and making reconstructions of early humans. Amidst all this professional work, he has been quietly building a private portfolio of more artistic images as a creative outlet. After 27 years, this body of work is gathered here in Lost Anatomies. It is an exceptional and beautiful collection of palaeoart that occasionally ventures into slightly psychedelic territory, without ever losing sight of the underlying science.
Animal anatomy has fascinated artists and scientists for millennia, resulting in a treasure trove of striking images. Veterinary anatomist David Bainbridge here takes on the brave task of curating a bird’s-eye-view of anatomical artwork that simultaneously delights, educates, and (for some perhaps) horrifies.
Historically, humans have long considered themselves special compared to the natural world around them. It shows, for example, in old depictions where humans are at or near the top of a chain of lifeforms, with only angels and gods above us. Darwin caused a tremendous ruckus by saying we were descended from primates, and evolutionary biology has since had a long history of diminishing our anthropocentric worldview. With The Book of Humans, self-professed science geek Adam Rutherford has written an entertaining exploration of human evolution, showing that, amidst the teeming multitudes of lifeforms surrounding us, we are really not that special. And yet we are.
I will immediately admit that I have retained a boyish fascination with volcanoes. And, as Volcanoes: Encounters Through the Ages shows, I am not alone. Written by volcanologist David M. Pyle to accompany a 2017 spring exhibition at the Bodleian Library in Oxford, this book brings together many historical illustrations from their collections to show how volcanoes have been represented and described over time, and how this has shaped our present understanding. I have not visited the Bodleian Library before, but this book makes me wish I had.
Given that dinosaurs are no longer around, everything you think you know about what they look like comes from illustrations, models, movies, and merchandise. But how much of this is actually accurate, and how much of it is rather geared towards appealing to our sensibilities? Mark Witton is a man with a mission: to elevate the genre of palaeoartistry to one depicting scientifically accurate renditions, based on informed speculation and careful study of fossils and anatomy. Rather than a book that shows you how to draw a dinosaur, The Palaeoartist’s Handbook is a fantastically useful primer for both aficionados and budding artists into what actually can and should go into making good palaeoart.
Six years ago (is it already that long?) Katrina van Grouw blew me away with her gorgeously illustrated book The Unfeathered Bird, which gave a unique insight into bird anatomy. Her new book, Unnatural Selection, again features her unique combination of accessibly written text and lavish illustrations. The book celebrates the 150th anniversary of Charles Darwin’s The Variation of Animals and Plants under Domestication. In this and in On the Origin of Species, Darwin frequently referred to the rapid changes that breeders could bring about in plants and animals to make evolution understandable. And yet, biologists and naturalists don’t generally hold breeders and their breeds in high regard. In that sense, Unnatural Selection also celebrates their work and knowledge.
As mentioned previously in my review of Barbara King’s Evolving God, religion is a pervasive phenomenon, and many scholars have put forward explanations how, when, and why it arose. The arguments King put forth did not convince me that religion is anything more than a by-product of our evolution. Apparently, so did Darwin. Though believers often like to point out Darwin was a Christian too, he struggled to reconcile the two and ultimately lost his faith. American psychiatrist E. Fuller Torrey gracefully acknowledges this intellectual heritage and here updates this idea, putting forth the convincing argument that religion arose as a by-product of brain evolution.
With his new book, The Creative Spark, Agustín Fuentes, a primatologist and anthropologist currently at the University of Notre Dame in Indiana, boldly puts forth the idea that what makes humans special is creativity. The ability of humans to switch back and forth between considering what is, and dreaming of what might be, and to then put these thoughts into actions (often collaboratively), has brought us a very long way from our primate origins to the tool-wielding, world-shaping force of nature of today. Along the way, Fuentes wants to do away with some of the dominant narratives regarding human evolution today, or rather, he thinks most of them oversimplify things and lead to distortions in our thinking. Instead, he presents a new synthesis that places creativity front and centre stage as being the most important mechanism that helped us overcome challenges.
In 2012, Titan Books published Dinosaur Art: The World’s Greatest Paleoart, showcasing the artwork of 10 famous palaeoartists. That book is still on my wishlist. Five years later they have followed this up with Dinosaur Art 2. The title may not be terribly imaginative, but, by Jove, the artwork is! The child in me got all giddy at the chance to review this book.
Palaeoart (not to be confused with Palaeolithic art, i.e. cave paintings) has a long and rich history of artworks that have helped us imagine the prehistoric past, from dinosaurs and mammals to cavemen. As an art genre though, it is largely ignored and looked down upon a bit, popular as these images are with children and the unwashed masses. This book aims to set the record straight and celebrate a carefully curated selection of palaeoart covering some 150 years, from the first works in the 1830s up to the 1980s. The book calls itself a two-fold time machine. Or, to paraphrase American artist Walton Ford in his preface, the book is a look back in time at what looking back in time looked like.