Caravaggio defied the aesthetic conventions of his time; his use of ordinary people, realistically portrayed—street boys, prostitutes, the poor, the aged—was a profound and revolutionary innovation that left its mark on generations of artists. His insistence on painting from nature, on rendering the emotional truth of experience, whether religious or secular, made him an artist who speaks across the centuries to modern day.Called “racy, intensely imagined, and highly readable” by the New York Times Book Review, Caravaggio includes eight pages of color illustrations, and is sure to appeal to art enthusiasts interested in one of history’s true innovators. Caravaggio is part of the “Eminent Lives” series from HarperCollins, a selection of biographies by distinguished authors on canonical figures.

    These birds are a bit mysterious, and that s part of what makes them so fascinating. Calvez makes the science entertaining and accessible while exploring the questions about the human-animal connection, owl obsession, habitat, owl calls, social behavior, and mythology."

    Escher, I am absolutely crazy about your work. In your print Reptiles you have given such a striking illustration of reincarnation.' I replied, 'Madame, if that's the way you see it, so be it, '" An engagingly sly comment by the renowned Dutch graphic artist Maurits Cornelis Escher (1898-1972)--the complex ambiguities of whose work leave hasty or single-minded interpretations far behind. Long before the first computer-generated 3-D images were thrilling the public, Escher was a master of the third dimension. His lithograph "Magic Mirror" dates as far back as 1946. In taking that title for this book, mathematician Bruno Ernst is stressing the magic spell Escher's work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst's account was meticulously scrutinized and made accurate by the artist himself. Escher's work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain. Why did he create the pictures? How did he construct them? What preliminary studies were necessary before he could arrive at the final version? And how are the various images Escher created interrelated? This book, complete with biographical data, 250 illustrations, and explications of mathematical problems, offers answers to these and many other questions, and is an authentic source text of the first order.

    John's affection, wisdom and lyricism sings off every page, bringing the natural world around him to life: from the rookery filled with twenty-nine nests and distinct bird calls to descriptions of the winter morning light, from the wood mice and the squirrels preparing for winter to tracking a fox's path through the snow. In particular it brings John's lifelong love of birds—his gods of the morning—to the fore.In the Highland glens, bird numbers plummet as their food supplies—natural fruits and every kind of creeping, crawling, slithering or flying bug—begin to disappear. Not just the swallows and house martins have vanished from round the houses. Gone are the insect snatching wheatears, whinchats and stonechats from the hills, and redstarts and flycatchers have fled the woods. Pied wagtails no longer flicker across the lawns and sandpipers and grey wagtails have deserted the river banks. Farmland and hedgerow species have vanished in the night: the linnets, yellowhammers, and all the warblers have decamped from the thickets.By the first frosts the hills will have emptied down to a few hardy stalwarts such as the golden eagles, the raven and the irrepressible hooded crows. Silence settles across the land. The few species that are left frequent a changed world. Soon only the buzzards and wood pigeons will hang on in the woods and the coniferous forests will be host to flocks of chaffinches, tits, siskins, and crossbills passing through.

    Both endeavours, Edward O. Wilson reveals, have their roots in human creativity—the defining trait of our species.Reflecting on the deepest origins of language, storytelling, and art, Wilson demonstrates how creativity began not ten thousand years ago, as we have long assumed, but over one hundred thousand years ago in the Paleolithic age. Chronicling this evolution of creativity from primate ancestors to humans, The Origins of Creativity shows how the humanities, spurred on by the invention of language, have played a largely unexamined role in defining our species. And in doing so, Wilson explores what we can learn about human nature from a surprising range of creative endeavors—the instinct to create gardens, the use of metaphors and irony in speech, and the power of music and song.Our achievements in science and the humanities, Wilson notes, make us uniquely advanced as a species, but also give us the potential to be supremely dangerous, most worryingly in our abuse of the planet. The humanities in particular suffer from a kind of anthropomorphism, encumbered by a belief that we are the only species among millions that seem to matter, yet Wilson optimistically reveals how researchers will have to address this parlous situation by pushing further into the realm of science, especially fields such as evolutionary biology, neuroscience, and anthropology.With eloquence and humanity, Wilson calls for a transformational "Third Enlightenment," in which the blending of these endeavors will give us a deeper understanding of the human condition and our crucial relationship with the natural world.

    Uncovering the secrets of the honeybee one by one, Ellis shows how this small insect, with a collective significance so much greater than its individual size, can carry us through past and present to tell us more about ourselves than any other living creature.

    This volume highlights the research and findings of this natural scientist. Powerful modern microscopes have confirmed the accuracy of Haeckel's prints, which even in their day, became world famous. Haeckel's portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the -unity of all living things- and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and -constructive- aspects, document the oness of the world in its most diversified forms. This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all make explicit reference to Haeckel in their work.

    The Collection s exquisite natural history artworks in Amazing Rare Things is supplemented by an introduction and commentary from Sir David Attenborough. This exploration of the natural world from the late fifteenth century to the early eighteenth century represents a period when European knowledge of the world was transformed by voyages of discovery to the farthest reaches of Africa, Asia, America, and beyond. Included are works by Leonardo da Vinci and other foremost artists and collectors of their time who embraced the natural riches of their ever-expanding world and whose legacies help us better understand today our continuing relationship with the natural world.

    Any time a tree dies or a new one sprouts, the forest that includes it has shifted. When new trees sprout in the same direction, the whole forest begins to migrate, sometimes at astonishing rates. Today, however, an array of obstacles—humans felling trees by the billions, invasive pests transported through global trade—threaten to overwhelm these vital movements. Worst of all, the climate is changing faster than ever before, and forests are struggling to keep up.A deft blend of science reporting and travel writing, The Journeys of Trees explores the evolving movements of forests by focusing on five trees: giant sequoia, ash, black spruce, Florida torreya, and Monterey pine. Journalist Zach St. George visits these trees in forests across continents, finding sequoias losing their needles in California, fossil records showing the paths of ancient forests in Alaska, domesticated pines in New Zealand, and tender new sprouts of blight-resistant American chestnuts in New Hampshire. Everywhere he goes, St. George meets lively people on conservation’s front lines, from an ecologist studying droughts to an evolutionary evangelist with plans to save a dying species. He treks through the woods with activists, biologists, and foresters, each with their own role to play in the fight for the uncertain future of our environment.An eye-opening investigation into forest migration past and present, The Journeys of Trees examines how we can all help our trees, and our planet, survive and thrive.

    In A Garden of Marvels, she extends the story. Frustrated by plants that fail to thrive, she sets out to understand the basics of botany in order to become a better gardener. She retraces the progress of the first botanists who banished myths and misunderstandings and discovered that flowers have sex, leaves eat air, roots choose their food, and hormones make morning glories climb fence posts. She also visits modern gardens, farms, and labs to discover the science behind extraordinary plants like one-ton pumpkins, a truly black petunia, a biofuel grass that grows twelve feet tall, and the world's only photosynthesizing animal. Transferring her insights to her own garden, she nurtures a "cocktail" tree that bears five kinds of fruit, cures a Buddha's Hand plant with beneficial fungi, and gets a tree to text her when it's thirsty. Intertwining personal anecdote, accessible science, and untold history, the ever-engaging author takes us on an eye-opening journey into her garden - and yours.

    His amazing, unprecedented collection of animals, plants and insects from all around the world gained international fame during his lifetime. In 1731, after decades of collecting, Seba commissioned illustrations of each and every specimen and arranged the publication of a four-volume catalog detailing his entire collection?from strange and exotic plants to snakes, frogs, crocodiles, shellfish, corals, insects, butterflies and more, as well as fantastic beasts, such as a hydra and a dragon. Seba's scenic illustrations, often mixing plants and animals in a single plate, were unusual even for the time. Many of the stranger and more peculiar creatures from Seba's collection, some of which are now extinct, were as curious to those in Seba's day as they are to us now. This reproduction is taken from a rare, hand-colored original. The introduction offers background information about the fascinating tradition of the cabinet of curiosities to which Seba's curiosities belonged.

    They maintain the atmosphere by absorbing carbon dioxide and producing oxygen. They nourish other living organisms and supply psychological benefits to humans as well, improving our moods and beautifying the landscape around us. But plants don't just passively provide. They also take action.Beronda L. Montgomery explores the vigorous, creative lives of organisms often treated as static and predictable. In fact, plants are masters of adaptation. They "know" what and who they are, and they use this knowledge to make a way in the world. Plants experience a kind of sensation that does not require eyes or ears. They distinguish kin, friend, and foe, and they are able to respond to ecological competition despite lacking the capacity of fight-or-flight. Plants are even capable of transformative behaviors that allow them to maximize their chances of survival in a dynamic and sometimes unfriendly environment.Lessons from Plants enters into the depth of botanic experience and shows how we might improve human society by better appreciating not just what plants give us but also how they achieve their own purposes. What would it mean to learn from these organisms, to become more aware of our environments and to adapt to our own worlds by calling on perception and awareness? Montgomery's meditative study puts before us a question with the power to reframe the way we live: What would a plant do?

    From India's sacred banyan tree to the fragrant cedar of Lebanon, they offer us sanctuary and inspiration – not to mention the raw materials for everything from aspirin to maple syrup.In Around the World in 80 Trees, expert Jonathan Drori uses plant science to illuminate how trees play a role in every part of human life, from the romantic to the regrettable. Stops on the trip include the lime trees of Berlin's Unter den Linden boulevard, which intoxicate amorous Germans and hungry bees alike, the swankiest streets in nineteenth-century London, which were paved with Australian eucalyptus wood, and the redwood forests of California, where the secret to the trees' soaring heights can be found in the properties of the tiniest drops of water.Each of these strange and true tales – populated by self-mummifying monks, tree-climbing goats and ever-so-slightly radioactive nuts – is illustrated by Lucille Clerc, taking the reader on a journey that is as informative as it is beautiful.

    The history of art has been, successively, a history of artists and their works, of styles and stylistic change, of images--and now, of context and cultures. Art history at its best makes use of all these. 530 color illustrations. 782 b&w.

    Comparing modern art not only to pizzas but also to traditional and children's art, Heller shows us how we can refine analytical tools we already possess to understand and enjoy even the most unfamiliar paintings and sculptures.How is a painting like a pizza? Both depend on visual balance for much of their overall appeal and, though both can be judged by a set of established standards, pizzas and paintings must ultimately be evaluated in terms of individual taste. By using such commonsense examples and making unexpected connections, this book helps even the most skeptical viewers feel comfortable around contemporary art and see aspects of it they would otherwise miss. Heller discusses how nontraditional works of art are made--and thus how to talk about their composition and formal elements. She also considers why such art is made and what it means.At the same time, Heller reassures those of us who have felt uncomfortable around avant-garde art that we don't have to like all--or even any--of it. Yet, if we can relax, we can use the aesthetic awareness developed in everyday life to analyze almost any painting, sculpture, or installation. Heller also gives concise answers to the eight questions she is most frequently asked about contemporary art--from how to tell when an abstract painting is right side up to which works of art belong in a museum.This book is for anyone who agrees with art critic Clement Greenberg that All profoundly original art looks ugly at first. It's also for anyone who disagrees. It is for anyone who wants to get more out of a museum or gallery visit and would like to be able to say something more than just yes or no when asked if they like an artist's work.