I am not a naturalist but consider myself a practitioner of ”lyrical naturalism.” My interest is in the descriptions of nature by poets and artists in previous centuries. The dream is to inspire people to look at the natural environment through the lens of art and poetry rather than the somewhat dry frameworks of botany. My great hero is John Ruskin, a British writer whose lyrical prose has never stopped enchanting its readers. I was very happy to publish a book of essays titled Woodland Imagery in Northern Art, c. 1500-1800: Poetry and Ecology. I hope that its richly illustrated essays will inspire readers to look at the environment with renewed wonder.
I wrote...
Woodland Imagery in Northern Art, c. 1500 - 1800: Poetry and Ecology
Woodland Imagery in Northern Art reconnects us with the woodland scenery that abounds in Western painting, from Albrecht Dürer’s intense studies of verdant trees, to the works of many other Northern European artists who captured 'the truth of vegetation' in their work. These incidents of remarkable scenery in the visual arts have received little attention in the history of art, until now. Prosperetti brings together a set of essays that are devoted to the poetics of the woodlands in the work of the great masters, including Claude Lorrain, Jan van Eyck, Jacob van Ruisdael, Peter Paul Rubens, Rembrandt, and Leonardo da Vinci. This book draws attention to the idea of lyrical naturalism as a conceptual bridge that unites the power of poetry with the allurement of the natural world.
This pivotal book was given to me by my grandmother when I was about 16 years old. In a tattered state, it is still part of my library. It is the seminal text for all of mankind to consider how the earth has suffered during the long epoch of the Industrial Revolution.
I would tell my friends that Rachel begins with a fable, a spring without the sound of birds. Just as Oliver Rackham in Woodlands begins with a fable to tell the story of how trees came into being.
For a powerful assessment of Carson’s role in the great awakening about what mankind has wrought upon the earth, see the hot-of-the-press book by David Brinkley.
First published by Houghton Mifflin in 1962, Silent Spring alerted a large audience to the environmental and human dangers of indiscriminate use of pesticides, spurring revolutionary changes in the laws affecting our air, land, and water. "Silent Spring became a runaway bestseller, with international reverberations . . . [It is] well crafted, fearless and succinct . . . Even if she had not inspired a generation of activists, Carson would prevail as one of the greatest nature writers in American letters" (Peter Matthiessen, for Time"s 100 Most Influential People of the Century). This fortieth anniversary edition celebrates Rachel Carson"s watershed…
Lovelock’s revolutionary discovery that earth’s living matter—air, ocean, and land surfaces—forms a complex system that has the capacity to keep our planet a fit place for life.
It is vital in instilling the knowledge in all those who inhabit the earth that Gaia (the Greek goddess of the earth) is not inert matter but a living organism.
As we imagine the earth as a living being, we may have second thoughts about doing her further harm…
In this classic work that continues to inspire many readers, Jim Lovelock puts forward his idea that the Earth functions as a single organism. Written for non-scientists, Gaia is a journey through time and space in search of evidence in support of a radically different model of our planet. In contrast to conventional belief that life is passive in the face of threats to its existence, the book explores the hypothesis that the Earth's living matter influences air, ocean, and rock to form a complex, self-regulating system that has the capacity to keep the Earth a fit place for life.…
This booklet is thin, smaller than a kindle, small enough to fit in an outer pocket or any small bag. I bought my copy in 2011 and ever since I have given copies of the booklet as a present to those who would connect with his ideas about trees. He wants us to forget the trimmed apple trees of his father and urges us to fall in love with the overgrown trees in a scrap of ancient woods in the English countryside. He hated Victorian botanists for their passion for naming and classification. He sounded like a heretic when he takes on Carl Linnaeus (1707-1778), the Swedish botanist, who continues to be famous for the binomial system for naming all the plants in the Vegetable Kingdom.
He actually takes his readers to Uppsala, the university town in Sweden where Linnaeus was a professor, to underscore what he calls the “bitter fruit of the Uppsalan tree.” By naming a tree, Fowles writes, we stop looking at it. His unorthodox views inspired me to look at the woods of the Old Masters – in paintings by Titian, Ruisdael, Rubens, and Claude Lorrain – with different eyes. To see not a collection of named trees, but a celebration of sylvan beauty. The essays in my book are the direct descendants of Fowles’s observations in his little book, which by now is truly an evergreen.
John Fowles' writing life was dominated by trees. From the orchards of his childhood in suburban Essex,to the woodlands of wartime Devon, to his later life on the Dorset coast, trees filled his imagination and enriched his many acclaimed and best-selling novels.Told through his lifelong relationship with trees, blending autobiography, literary criticism, philosophy and nature writing, The Tree is a masterly, powerful work that laid the literary foundations for nature-as-memoir, a genre which has seen recent flourishings in Roger Deakin's Wildwood, Richard Mabey's Nature Cure, Robert Macfarlane's The Old Ways and Helen Macdonald's H is for Hawk.As lyrical and precise…
This book has given me more delight than just about any other book dealing with the woodlands. It is not a herbarium or any other dry enumeration of plants. The Oxford Don takes us by the hand and shows us enchanted spinneys, lovely copses, ancient savannas, woodland pastures, and so much more that were once enchanting. In the everyday environment, the inspiration of poets, the meeting place of lovers, and the haunt of human beings seeking solitude.
"A state-of-the-art survey of Britain’s woods by the acknowledged expert in the field… He seems to know woods like old friends, each with its unique past, its cranky or capricious personality, and its hoard of secrets. And he writes like an angel.” - The Times
'Trees are wildlife just as deer or primroses are wildlife. Each species has its own agenda and its own interactions with human activities ..., Written by one of Britain,s best-known naturalists, Woodlands offers a fascinating new insight into the trees of the British landscape that have filled us with awe and inspiration throughout the centuries. Looking at such diverse evidence as the woods used in buildings and ships, and how woodland has been portrayed in pictures and photographs, Rackham traces British woodland through the ages, from the evolution of wildwood, through man,s effect on the landscape, modern forestry and its…
This book accuses art historians of being indifferent to environmental issues… It is a wake-up call for the profession. I certainly took heed and experimented in my essays in a variety of ways to reconnect. The artistic vision of nature to great works of art.
In 2018 Andrew Patrizio published a book titled The Ecological Eye, which exposed the lack of environmental thinking in the practice of art historians. Here is what he wrote: “How can we awaken, define and orientate an ecological sensibility within the history of art?” Building on the latest work in the discipline, this book provides the blueprint for an 'ecocritical art history,' one that is prepared to meet the challenges of the Anthropocene, climate change, and global warming. Without ignoring its own histories, the book looks beyond – at politics, posthumanism, new materialism, feminism, queer theory, and critical animal studies – invigorating the art-historical practices of the future.
This book inspired my interest in the growing field of The Environmental Humanities. I believe that my book is a worthy contribution to efforts to integrate art historical knowledge into the broad field of environmental storytelling.
In the popular imagination, art history remains steeped in outmoded notions of tradition, material value and elitism. How can we awaken, define and orientate an ecological sensibility within the history of art? Building on the latest work in the discipline, this book provides the blueprint for an 'ecocritical art history', one that is prepared to meet the challenges of the Anthropocene, climate change and global warming. Without ignoring its own histories, the book looks beyond - at politics, posthumanism, new materialism, feminism, queer theory and critical animal studies - invigorating the art-historical practices of the future.
I’m a professional historian and life-long lover of early American history. My fascination with the American Revolution began during the bicentennial in 1976, when my family traveled across the country for celebrations in Williamsburg and Philadelphia. That history, though, seemed disconnected to the place I grew up—Arkansas—so when I went to graduate school in history, I researched in French and Spanish archives to learn about their eighteenth-century interactions with Arkansas’s Native nations, the Osages and Quapaws. Now I teach early American history and Native American history at UNC-Chapel Hill and have written several books on how Native American, European, and African people interacted across North America.
A magisterial history of Indigenous North America that places the power of Native nations at its center, telling their story from the rise of ancient cities more than a thousand years ago to fights for sovereignty that continue today
Long before the colonization of North America, Indigenous Americans built diverse civilizations and adapted to a changing world in ways that reverberated globally. And, as award-winning historian Kathleen DuVal vividly recounts, when Europeans did arrive, no civilization came to a halt because of a few wandering explorers, even when the strangers came well armed.
A millennium ago, North American cities rivaled urban centers around the world in size. Then, following a period of climate change and instability, numerous smaller nations emerged, moving away from rather than toward urbanization. From this urban past, egalitarian government structures, diplomacy, and complex economies spread…
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