There have been attempts to categorise taxidermy in both artistic and scientific terms for over a century. An 1896 review of Montagu Browne’s Artistic and Scientific Taxidermy and Modelling notes that “Any work which will aid in more clearly defining the difference between the art of taxidermy and the trade of taxidermy is to be welcomed.”[1] Stephen T. Asma suggests that natural history museums are places where the art and science of taxidermy work in tandem. He writes, “natural history museums are inherently aesthetic representations of science in particular and conceptual ideas in general.”[2]: 240 Asma also notes the taxidermy of Carl Ethan Akeley (1864-1926).[2]: 241 Akeley’s work is known for merging the science and artistry of taxidermy through his “revolutionary action-pose techniques.”[2]: 242 It is suggested that, “Akeley’s artistic powers were heightened by his firsthand studies of animal anatomy and animal behaviour.”[2]: 242
Taxidermy and scienceedit
Taxidermy has contributed to the study of taxonomy. Sally Gregory Kohlstedt writes that as early as the nineteenth century, “natural history museums were the principal location for dialogues and exchange of specimens among those debating identification and connection among natural objects.”[3] Traditional taxonomy primarily concerns "morphology."[2]: 18 More recently, advances in, “genetic and other molecular studies,”[4]: 1077 has enabled scientists to explore techniques to extract genetic information from, “ancient and historical samples."[4]: 1077 These methods of extracting material from preserved animals provide genetic taxonomical information; genetic taxonomy seeks to, “[measure] the genetic distance between different species.”[2]: 240
Preserved specimens have also been used in the study of endangered and extinct species.[4] A study conducted by Mireia Casas-Marce et al., is documented in the article “The Value of Hidden Scientific Resources: Preserved Animal Specimens from Private Collections and Small Museums.” In this study, the acquisition of extinct or rare specimens from private taxidermy collections, as well as from collections present in natural history museums are seen as important sources to the preservation of these uncommon animal materials.[4] One technique used for the extraction of molecular and genetic material from taxidermy specimens is, “invasive sampling.”[4]: 1078 Casas-Marce, et al., regard the study of taxidermy specimens as one method, “to better understand how species change over time and, in the face of global change, how they cope with the decline and fragmentation of their populations and habitats.”[4]: 1081
Taxidermy and artedit
For private practice or on public display, taxidermy is considered an art. Like other arts, taxidermists try to achieve, "artistic authenticity."[2]: 8 In taxidermy, this is done through representing the animal to look as natural, real, or "alive"[2]: 8 as possible. In another contemporary review of Montagu Browne’s Artistic and Scientific Taxidermy and Modelling, F.A. Lucas suggests that the artistic integrity of the taxidermist relies, "not so much on the mechanical devices employed as on the artistic eye and skilled hand of the workman."[5] Lucas recommends using artificial materials in order to present the specimen as a representation that is true to nature:
"Now it is recognized that at least one of the objects of a public museum is to give the public glimpses of living creatures as they really appear, and it is admitted that it is better to replace such appendages as combs and wattles, or even to obscure the scales of a bird's foot with paint, than to show the public dried, distorted and dingy effigies."[5]
Taxidermy or elements of taxidermy are also used in branches of bio art.[6]: 12 Whole preserved animals or parts of animals, such as their skins, are sometimes used in this art. Bio art and traditional taxidermy can be seen as being in conflict based on artistic philosophies of authenticity and the purpose behind representation. Rikke Hansen writes, "Bio art does not simply break with notions of representation, but instead actively critiques practices of representation as they take place within science and cultural life."[6]: 13 Her article "Animal Skins in Contemporary Art" suggests that, "Traditional taxidermy pushes forward the belief that animals are their skin."[6]: 14 Hansen discusses the nature of human and animal subjectivity through taxidermy practices, using Bryndis Snaebjörnsdottir and Mark Wilson’s nanoq: flat out and bluesome (2004) as an example.[6]: 14 Hansen describes the preserved polar bears of Snaebjörnsdottir and Wilson as, "mak[ing] explicit the way in which animal life is 'serialized' through the use and display of the 'specimen'."[6]: 14
Referencesedit
^ F.M.C. (July 1896). "Artistic and Scientific Taxidermy: A review of Montagu Browne's Artistic and Scientific Taxidermy and Modelling". The Auk. 13 (3): 247–249. doi:10.2307/4068800.
^ abcdefgh Asma, Stephen T. (2003). Stuffed Animals and Pickled Heads: The Culture and Evolution of Natural History Museums. Oxford University Press. ISBN9780199839124.
^ Kohlstedt, Sally Gregory (1995). "Essay Review: Revisiting Sites in the History of the Natural Sciences". Journal of the History of Biology. 28: 151–166. doi:10.1007/bf01061250.
^ abcdef Casas-Marce, Mireia; et al. (2012). "The Value of Hidden Scientific Resources: Preserved Animal Specimens from Private Collections and Small Museums". BioScience. 62 (12): 1077–1082. doi:10.1525/bio.2012.62.12.9. hdl:10261/62361.
^ ab Lucas, F.A. (August 1896). "A Review of Artistic and Scientific Taxidermy and Modelling by Montagu Browne" (PDF). Science. 4 (86): 239–240. doi:10.1126/science.4.86.239.
^ abcde Hansen, Rikke (2010). "Animal Skins in Contemporary Art". Journal of Visual Art Practice. 9 (1): 9–16. doi:10.1386/jvap.9.1.9_1.
January 01, 1970
taxidermy, science, there, have, been, attempts, categorise, taxidermy, both, artistic, scientific, terms, over, century, 1896, review, montagu, browne, artistic, scientific, taxidermy, modelling, notes, that, work, which, will, more, clearly, defining, differ. There have been attempts to categorise taxidermy in both artistic and scientific terms for over a century An 1896 review of Montagu Browne s Artistic and Scientific Taxidermy and Modelling notes that Any work which will aid in more clearly defining the difference between the art of taxidermy and the trade of taxidermy is to be welcomed 1 Stephen T Asma suggests that natural history museums are places where the art and science of taxidermy work in tandem He writes natural history museums are inherently aesthetic representations of science in particular and conceptual ideas in general 2 240 Asma also notes the taxidermy of Carl Ethan Akeley 1864 1926 2 241 Akeley s work is known for merging the science and artistry of taxidermy through his revolutionary action pose techniques 2 242 It is suggested that Akeley s artistic powers were heightened by his firsthand studies of animal anatomy and animal behaviour 2 242 Taxidermy and science editTaxidermy has contributed to the study of taxonomy Sally Gregory Kohlstedt writes that as early as the nineteenth century natural history museums were the principal location for dialogues and exchange of specimens among those debating identification and connection among natural objects 3 Traditional taxonomy primarily concerns morphology 2 18 More recently advances in genetic and other molecular studies 4 1077 has enabled scientists to explore techniques to extract genetic information from ancient and historical samples 4 1077 These methods of extracting material from preserved animals provide genetic taxonomical information genetic taxonomy seeks to measure the genetic distance between different species 2 240 Preserved specimens have also been used in the study of endangered and extinct species 4 A study conducted by Mireia Casas Marce et al is documented in the article The Value of Hidden Scientific Resources Preserved Animal Specimens from Private Collections and Small Museums In this study the acquisition of extinct or rare specimens from private taxidermy collections as well as from collections present in natural history museums are seen as important sources to the preservation of these uncommon animal materials 4 One technique used for the extraction of molecular and genetic material from taxidermy specimens is invasive sampling 4 1078 Casas Marce et al regard the study of taxidermy specimens as one method to better understand how species change over time and in the face of global change how they cope with the decline and fragmentation of their populations and habitats 4 1081 Taxidermy and art editFor private practice or on public display taxidermy is considered an art Like other arts taxidermists try to achieve artistic authenticity 2 8 In taxidermy this is done through representing the animal to look as natural real or alive 2 8 as possible In another contemporary review of Montagu Browne s Artistic and Scientific Taxidermy and Modelling F A Lucas suggests that the artistic integrity of the taxidermist relies not so much on the mechanical devices employed as on the artistic eye and skilled hand of the workman 5 Lucas recommends using artificial materials in order to present the specimen as a representation that is true to nature Now it is recognized that at least one of the objects of a public museum is to give the public glimpses of living creatures as they really appear and it is admitted that it is better to replace such appendages as combs and wattles or even to obscure the scales of a bird s foot with paint than to show the public dried distorted and dingy effigies 5 Taxidermy or elements of taxidermy are also used in branches of bio art 6 12 Whole preserved animals or parts of animals such as their skins are sometimes used in this art Bio art and traditional taxidermy can be seen as being in conflict based on artistic philosophies of authenticity and the purpose behind representation Rikke Hansen writes Bio art does not simply break with notions of representation but instead actively critiques practices of representation as they take place within science and cultural life 6 13 Her article Animal Skins in Contemporary Art suggests that Traditional taxidermy pushes forward the belief that animals are their skin 6 14 Hansen discusses the nature of human and animal subjectivity through taxidermy practices using Bryndis Snaebjornsdottir and Mark Wilson s nanoq flat out and bluesome 2004 as an example 6 14 Hansen describes the preserved polar bears of Snaebjornsdottir and Wilson as mak ing explicit the way in which animal life is serialized through the use and display of the specimen 6 14 References edit F M C July 1896 Artistic and Scientific Taxidermy A review of Montagu Browne s Artistic and Scientific Taxidermy and Modelling The Auk 13 3 247 249 doi 10 2307 4068800 a b c d e f g h Asma Stephen T 2003 Stuffed Animals and Pickled Heads The Culture and Evolution of Natural History Museums Oxford University Press ISBN 9780199839124 Kohlstedt Sally Gregory 1995 Essay Review Revisiting Sites in the History of the Natural Sciences Journal of the History of Biology 28 151 166 doi 10 1007 bf01061250 a b c d e f Casas Marce Mireia et al 2012 The Value of Hidden Scientific Resources Preserved Animal Specimens from Private Collections and Small Museums BioScience 62 12 1077 1082 doi 10 1525 bio 2012 62 12 9 hdl 10261 62361 a b Lucas F A August 1896 A Review of Artistic and Scientific Taxidermy and Modelling by Montagu Browne PDF Science 4 86 239 240 doi 10 1126 science 4 86 239 a b c d e Hansen Rikke 2010 Animal Skins in Contemporary Art Journal of Visual Art Practice 9 1 9 16 doi 10 1386 jvap 9 1 9 1 Retrieved from https en wikipedia org w index php title Taxidermy art and science amp oldid 1193151169, wikipedia, wiki, book, books, library,
