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This book is the first in-depth study of eighteenth-century botanical illustrations, and its findings offer a completely new insight into the working practices of the botanists and scientific draughtsmen of this period. The author describes the different production stages of these illustrations, traces their uses by means of the private correspondence of participants and the documentation of the learned societies and academies, and explores their visual language, with particular emphasis placed on the difficult issue of colour. Finally, and for the first time, the author presents a convincing description of how these botanical illustrations developed, ascertaining the criteria that drove this process, which was arrived at through a careful study of the many copying links that the author discovered existed between images of the same species -- a sophisticated strategy that fulfilled the exacting requirements of eighteenth-century scientific botanical illustrations.

Botanical illustration --- Biological illustration. --- History --- Illustration, Biological --- Natural history illustration --- Scientific illustration --- Botanical drawing --- Flower painting and illustration --- Fruit painting and illustration --- Illustration, Botanical --- Biological illustration --- Science --- Philosophy of Science. --- Philosophy. --- Normal science --- Philosophy of science --- Philosophy and science. --- Science and philosophy

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This is the story of Celia Rosser, the internationally acclaimed botanical illustrator, who ultimately dedicated her life to painting the entire genus of Banksia, the only artist to have done such a thing. Celia's dedication to the task put her at the center of the Monash Banksia Project, underwritten by Monash University (Australia) for 25 years and culminating in the production of an extraordinary three-volume florilegium that became one of the great books published in the 20th century. This is also the story of the emergence of an artist who grew up in difficult circumstances during the Gre

Botanical artists --- Women artists --- Botanical illustration --- Banksia --- Australian honeysuckles --- Honeysuckles, Australian --- Proteaceae --- Botanical drawing --- Flower painting and illustration --- Fruit painting and illustration --- Illustration, Botanical --- Biological illustration --- Natural history illustration --- Artists, Women --- Women as artists --- Artists --- History. --- Rosser, Celia.

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L’objet de cet ouvrage est, comme sa composition, double : interprétatif et documentaire. Il donne à penser la relation entre la science de Buffon et son illustration. En première partie, une étude historique et épistémologique dégage les principaux caractères et la grande harmonie de ce corpus, en le comparant à d’autres ouvrages illustrés (Ruysch ou Perrault) ou au contraire privés d’images (Linné). À tirer ainsi les leçons de l’illustration pour la lecture de l’Histoire naturelle, on est alors surpris de découvrir la profonde unité de l’ouvrage, à travers les contributions des différents collaborateurs : Buffon bien sûr, Daubenton évidemment, mais aussi De Sève. Dans un deuxième temps, l’ouvrage présente un corpus iconographique unique, qui met à la disposition des lecteurs l’ensemble des planches illustrant la première série de l’Histoire naturelle générale et particulière (édition princeps, 1749-1767, quinze volumes in-4°). Par là, il s’agit de rendre l’iconographie disponible pour de nouvelles recherches sur l’Histoire naturelle. On peut espérer que ce corpus, exhaustif mais restreint aux quinze premiers volumes, rendu maniable par sa réunion en un volume inédit, suscitera de nombreux travaux.

Engraving, French --- Zoological illustration --- Natural history illustration --- Natural history --- Science --- History. --- Buffon, Georges Louis Leclerc, --- History, Natural --- Natural science --- Physiophilosophy --- Biology --- Natural history literature --- Nature illustration --- Scientific illustration --- Animal painting and illustration --- Illustration, Zoological --- Biological illustration --- French engraving --- Bi︠u︡ffon, Zhorzh Lui Lekler de, --- Buffon, --- Leclerc, Georges Louis, --- histoire des sciences --- histoire des sciences naturelles

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Botany --- Plants, Ornamental --- Botanical illustration --- Botanique --- Botanical illustration. --- Botany. --- Plants, Ornamental. --- Plantkunde. --- Decorative plants --- Garden plants --- Ornamental plants --- Ornamentals (Plants) --- Horticultural crops --- Plants, Cultivated --- Ornamental plant industry --- Botanical science --- Phytobiology --- Phytography --- Phytology --- Plant biology --- Plant science --- Biology --- Natural history --- Plants --- Botanical drawing --- Illustration, Botanical --- Biological illustration --- Natural history illustration --- Flower painting and illustration --- Fruit painting and illustration --- Plants, Cultivated. --- Botanique. --- Plante cultivée. --- Plante d'ornement. --- Cultivated plants --- Agriculture --- Domestication --- Plant introduction --- Plants, Useful --- #ANTILTPNE9604 --- Royal Botanic Gardens, Kew --- Life Sciences. --- Life Sciences --- Cytology, Cell Biology --- Floristic botany --- Botany - Periodicals. --- Plants, Cultivated - Periodicals. --- Plants, Ornamental - Periodicals. --- Plantes cultivées

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Between 1777 and 1816, botanical expeditions crisscrossed the vast Spanish empire in an ambitious project to survey the flora of much of the Americas, the Caribbean, and the Philippines. While these voyages produced written texts and compiled collections of specimens, they dedicated an overwhelming proportion of their resources and energy to the creation of visual materials. European and American naturalists and artists collaborated to manufacture a staggering total of more than 12,000 botanical illustrations. Yet these images have remained largely overlooked-until now. In this lavishly illustrated volume, Daniela Bleichmar gives this archive its due, finding in these botanical images a window into the worlds of Enlightenment science, visual culture, and empire. Through innovative interdisciplinary scholarship that bridges the histories of science, visual culture, and the Hispanic world, Bleichmar uses these images to trace two related histories: the little-known history of scientific expeditions in the Hispanic Enlightenment and the history of visual evidence in both science and administration in the early modern Spanish empire. As Bleichmar shows, in the Spanish empire visual epistemology operated not only in scientific contexts but also as part of an imperial apparatus that had a long-established tradition of deploying visual evidence for administrative purposes.

Botanical illustration --- Botany --- Natural history --- Scientific expeditions --- Expeditions, Scientific --- Scientific voyages --- Travels --- Voyages, Scientific --- Voyages and travels --- History, Natural --- Natural science --- Physiophilosophy --- Biology --- Science --- Botanical science --- Phytobiology --- Phytography --- Phytology --- Plant biology --- Plant science --- Plants --- Botanical drawing --- Flower painting and illustration --- Fruit painting and illustration --- Illustration, Botanical --- Biological illustration --- Natural history illustration --- Colonies --- History. --- Floristic botany --- empire, colonialism, hispanic, enlightenment, botany, flora, americas, caribbean, philippines, specimens, naturalists, art, visual culture, science, expedition, natural history, nature, environment, plants, flowers, native species, painting, spain, south america, central, hispaniola, cuba, puerto rico, chile, peru, hipolito ruiz, jose pavon, discovery, nonfiction.