Art & artists

@misc{haskins1851art,
    author = "Haskins, R. W.",
    title = "Art and artists",
    year = "1851",
    url = "https://doi.org/10.5479/sil.379353.39088006615538",
    doi = "10.5479/sil.379353.39088006615538"
}

@article{baylos1917art,
    author = "Baylos, Zelma",
    title = "Art and Artists",
    year = "1917",
    journal = "The Art World",
    url = "https://doi.org/10.2307/25587827",
    doi = "10.2307/25587827",
    number = "6",
    pages = "434",
    volume = "1"
}

@article{crossref1937cavemen,
    title = "Cavemen",
    year = "1937",
    journal = "Design",
    url = "https://doi.org/10.1080/00119253.1937.10741419",
    doi = "10.1080/00119253.1937.10741419",
    number = "6",
    pages = "1-1",
    volume = "39"
}

@article{crossref1941magnificent,
    title = "Magnificent Art Gallery Created by Cavemen of France",
    year = "1941",
    journal = "The Science News-Letter",
    url = "https://doi.org/10.2307/3918058",
    doi = "10.2307/3918058",
    number = "6",
    openalex = "W4239342539",
    pages = "85",
    volume = "39"
}

@article{lansing1970art,
    author = "Lansing, Kenneth M.",
    title = "Art, Artists, and Art Education",
    year = "1970",
    journal = "Art Education",
    url = "https://doi.org/10.2307/3191530",
    doi = "10.2307/3191530",
    number = "8",
    openalex = "W2003272707",
    pages = "38",
    volume = "23"
}

@article{doi1971art,
    author = "Doi, Richard and Lansing, Kenneth M.",
    title = "Art, Artists, and Art Education",
    year = "1971",
    journal = "Journal of Aesthetic Education",
    url = "https://doi.org/10.2307/3331589",
    doi = "10.2307/3331589",
    number = "1",
    pages = "184",
    volume = "5"
}

@misc{czerkas1982dinosaurs1,
    author = "Czerkas, S. J. and Glut, D",
    title = "Dinosaurs, Mammoths and Cavemen",
    year = "1982",
    howpublished = "The Art of Charles R. Knight: New York, E.P. Dutton, Inc",
    note = "talkorigins\_source = {true}; raw\_reference = {Czerkas, S. J., and Glut, D., 1982, Dinosaurs, Mammoths and Cavemen: The Art of Charles R. Knight: New York, E.P. Dutton, Inc.}"
}

@misc{paul1987the2,
    author = "Paul, G. S",
    title = "The Science and Art of Restoring the Life Appearance of Dinosaurs and Their Relatives, in Czerkas, S. J., and Olson, E. C., eds., Dinosaurs Past and Present, II",
    year = "1987",
    howpublished = "Los Angeles, Natural History Museum of Los Angeles County, p. 4-49",
    note = "talkorigins\_source = {true}; raw\_reference = {Paul, G. S., 1987, The Science and Art of Restoring the Life Appearance of Dinosaurs and Their Relatives, in Czerkas, S. J., and Olson, E. C., eds., Dinosaurs Past and Present, II: Los Angeles, Natural History Museum of Los Angeles County, p. 4-49.}"
}

@article{coombs1988sylvia,
    author = "Coombs, Walter P.",
    title = "Sylvia J. Czerkas and Everett C. Olson (eds.): Dinosaurs Past and Present",
    year = "1988",
    journal = "Journal of Vertebrate Paleontology",
    url = "https://doi.org/10.1080/02724634.1988.10011706",
    doi = "10.1080/02724634.1988.10011706",
    number = "2",
    pages = "238-239",
    volume = "8"
}

@article{stridsberg1988dinosaurs,
    author = "Stridsberg, Sven",
    title = "Dinosaurs and the artists",
    year = "1988",
    journal = "Lethaia",
    url = "https://doi.org/10.1111/j.1502-3931.1988.tb02073.x",
    doi = "10.1111/j.1502-3931.1988.tb02073.x",
    number = "3",
    openalex = "W2025281961",
    pages = "218-218",
    volume = "21"
}

Dinosaur Imagery The Science of Lost Worlds and Jurassic Art. The Lanzendorf Collection. Academic Press, San Diego, 2000. 176 pp. $49.95, C$69.95. ISBN 0-12-436590-6. Reflecting some of the interactions between science and art, this volume presents dinosaur artwork from the collection of Chicago philanthropist John Lanzendorf alongside commentaries written for the general reader by vertebrate paleontologists.

@article{witmer2000science,
    author = "Witmer, Lawrence M.",
    title = "Science, Art, and Dinosaurs",
    year = "2000",
    journal = "Science",
    abstract = "Dinosaur Imagery The Science of Lost Worlds and Jurassic Art. The Lanzendorf Collection. Academic Press, San Diego, 2000. 176 pp. $49.95, C$69.95. ISBN 0-12-436590-6. Reflecting some of the interactions between science and art, this volume presents dinosaur artwork from the collection of Chicago philanthropist John Lanzendorf alongside commentaries written for the general reader by vertebrate paleontologists.",
    url = "https://doi.org/10.1126/science.290.5491.460",
    doi = "10.1126/science.290.5491.460",
    number = "5491",
    openalex = "W1523192970",
    pages = "460-461",
    volume = "290"
}

@incollection{crossref2002art,
    title = "Art and Artists",
    year = "2002",
    booktitle = "Nietzsche",
    url = "https://doi.org/10.4324/9780203004951-11",
    doi = "10.4324/9780203004951-11",
    pages = "498-551"
}

@incollection{crossref2010art,
    title = "ART AND ARTISTS",
    year = "2010",
    booktitle = "A String of Chinese Peach-Stones",
    url = "https://doi.org/10.1017/cbo9780511709395.021",
    doi = "10.1017/cbo9780511709395.021",
    pages = "372-385"
}

@incollection{crossref2013art,
    title = "Art and Artists",
    year = "2013",
    booktitle = "Nietzsche",
    url = "https://doi.org/10.4324/9781315008806-15",
    doi = "10.4324/9781315008806-15",
    pages = "498-551"
}

@incollection{borea2021artists,
    author = "Borea, Giuliana",
    title = "Artists on art",
    year = "2021",
    booktitle = "Configuring the New Lima Art Scene",
    url = "https://doi.org/10.4324/9781003085003-9",
    doi = "10.4324/9781003085003-9",
    pages = "112-140"
}

@misc{westaway2022curious,
    author = "Westaway, Kira",
    title = "Curious Kids: did humans hunt and eat woolly mammoths or dinosaurs?",
    year = "2022",
    url = "https://doi.org/10.64628/aa.mfuwd5vg7",
    doi = "10.64628/aa.mfuwd5vg7"
}

This chapter looks at the depiction of art in Proust’s novel. Drawing on the narrator’s statements about fictional novelist Bergotte, fictional painter Elstir, and fictional composer Vinteuil, as well as on the nature of Proust’s novel itself, it suggests that art stands to offer many important benefits. Art can reveal things not just about the way the world is but also about the way the world feels to us, and even about the way it appears, uniquely, to the artist. (This last benefit is a kind of miracle, on the narrator’s account—one that does nothing less than re-enchant the world.) In addition, art can help us to understand ourselves as individuals. It can take everyday, mediocre objects and transfigure them into things of glorious beauty. And it can provide us with a set of formal models, allowing us to import a special kind of order into the story of our lives.

@incollection{landy2024art,
    author = "Landy, Joshua",
    title = "Art and artists",
    year = "2024",
    booktitle = "Marcel Proust",
    abstract = "This chapter looks at the depiction of art in Proust’s novel. Drawing on the narrator’s statements about fictional novelist Bergotte, fictional painter Elstir, and fictional composer Vinteuil, as well as on the nature of Proust’s novel itself, it suggests that art stands to offer many important benefits. Art can reveal things not just about the way the world is but also about the way the world feels to us, and even about the way it appears, uniquely, to the artist. (This last benefit is a kind of miracle, on the narrator’s account—one that does nothing less than re-enchant the world.) In addition, art can help us to understand ourselves as individuals. It can take everyday, mediocre objects and transfigure them into things of glorious beauty. And it can provide us with a set of formal models, allowing us to import a special kind of order into the story of our lives.",
    url = "https://doi.org/10.1093/actrade/9780197586556.003.0007",
    doi = "10.1093/actrade/9780197586556.003.0007",
    openalex = "W4405346870",
    pages = "62-77",
    references = "doi101017cbo9780511973826, doi101093acprofoso97801996098640010001, doi1023073723883, doi1023073732807, doi1023073738279, doi104000booksseptentrion81928, doi105860choice423293, openalexw1510035201, openalexw1548138780, openalexw604536693"
}

This study examines the collaboration between art and science in the history of modern anatomy education in Iran, particularly in the era following the establishment of Dār al-Funūn (1851). Using a historical-analytical approach and citation network analysis of primary sources, we trace the evolution of anatomical illustration from imitation of European texts to original creation. Our findings highlight the pivotal role of European physicians, such as Jakob Eduard Polak, in introducing modern anatomy and visual aids at Dār al-Funūn. We identify the publication of Kālbod-Shenāsi-ye Towṣifi (Descriptive Anatomy, 1944-1950 CE) as a key milestone, marking the first major physician-artist collaboration to produce original anatomical illustrations in Iran. However, the subsequent increase in reliance on foreign resources led to a decline in indigenous production, thereby representing a missed opportunity to preserve a unique scientific-artistic heritage in medical illustration in Iran. Ultimately, this trajectory reveals that, unlike the European Renaissance, where the mutual interest of physicians and artists in understanding human anatomy drove innovation, medical illustration in Iran was primarily propelled by physicians to meet educational needs.

@article{doi1018502jmehmv18i2020634,
    author = "Bagheri, Tannaz and Mirjalili, Ali and Namazi, Hamidreza",
    title = "Medicine-art interaction in the development of modern anatomy education in Iran: focusing on the Post-Dār al-Funūn Era.",
    year = "2025",
    journal = "Journal of medical ethics and history of medicine",
    abstract = "This study examines the collaboration between art and science in the history of modern anatomy education in Iran, particularly in the era following the establishment of Dār al-Funūn (1851). Using a historical-analytical approach and citation network analysis of primary sources, we trace the evolution of anatomical illustration from imitation of European texts to original creation. Our findings highlight the pivotal role of European physicians, such as Jakob Eduard Polak, in introducing modern anatomy and visual aids at Dār al-Funūn. We identify the publication of Kālbod-Shenāsi-ye Towṣifi (Descriptive Anatomy, 1944-1950 CE) as a key milestone, marking the first major physician-artist collaboration to produce original anatomical illustrations in Iran. However, the subsequent increase in reliance on foreign resources led to a decline in indigenous production, thereby representing a missed opportunity to preserve a unique scientific-artistic heritage in medical illustration in Iran. Ultimately, this trajectory reveals that, unlike the European Renaissance, where the mutual interest of physicians and artists in understanding human anatomy drove innovation, medical illustration in Iran was primarily propelled by physicians to meet educational needs.",
    url = "https://pmc.ncbi.nlm.nih.gov/articles/PMC13106665/",
    doi = "10.18502/jmehm.v18i20.20634",
    pmcid = "PMC13106665",
    pmid = "42038971"
}

PURPOSE: This study examines how Ghanaian ceramic artists and students perceive and respond to crystalline silica exposure in studio environments, situated within Ghana's ceramic traditions where safety infrastructure and occupational health regulation remain uneven, and how these experiences influence health awareness and artistic identity in creative practice. METHODOLOGY: A qualitative interpretive phenomenological design was employed, using in-depth interviews with fifty Ghanaian ceramic artists and students with at least one year of active studio practice and exposure to clay-processing. Participants were selected regardless of respiratory symptoms to capture lived experiences. Participant observation was conducted in selected studios, and thematic analysis was applied to narratives to explore meaning-making and changing perceptions of silica-related health risks. RESULTS: Findings identified a process through which artists integrate health awareness into their artistic identity, moving from initial disbelief about clay-related danger to increased bodily awareness, fear, and negotiating of normalized studio risk. Participants reported persistent chronic cough, chest tightness, and breathing difficulties associated with prolonged dust exposure, generatinganxiety and behavioral adaptations. CONCLUSIONS: Silica exposure is a cultural, educational, and institutional issue, requiring integrated health education, improved studio design, strengthened safety communication, and embedded occupational health practices to sustain long-term creative practice.

@article{doi1010801748263120262661147,
    author = "Vicku, Charles and Essuman, Albert and Sampah, Samuel Nii Adamah and Adjei, Kofi and Nortey, Samuel and Amoanyi, Robert",
    title = "The hidden hazards of clay: a qualitative exploration of silica exposure and well-being in ceramic art studios.",
    year = "2026",
    journal = "International journal of qualitative studies on health and well-being",
    abstract = "PURPOSE: This study examines how Ghanaian ceramic artists and students perceive and respond to crystalline silica exposure in studio environments, situated within Ghana's ceramic traditions where safety infrastructure and occupational health regulation remain uneven, and how these experiences influence health awareness and artistic identity in creative practice. METHODOLOGY: A qualitative interpretive phenomenological design was employed, using in-depth interviews with fifty Ghanaian ceramic artists and students with at least one year of active studio practice and exposure to clay-processing. Participants were selected regardless of respiratory symptoms to capture lived experiences. Participant observation was conducted in selected studios, and thematic analysis was applied to narratives to explore meaning-making and changing perceptions of silica-related health risks. RESULTS: Findings identified a process through which artists integrate health awareness into their artistic identity, moving from initial disbelief about clay-related danger to increased bodily awareness, fear, and negotiating of normalized studio risk. Participants reported persistent chronic cough, chest tightness, and breathing difficulties associated with prolonged dust exposure, generatinganxiety and behavioral adaptations. CONCLUSIONS: Silica exposure is a cultural, educational, and institutional issue, requiring integrated health education, improved studio design, strengthened safety communication, and embedded occupational health practices to sustain long-term creative practice.",
    url = "https://pmc.ncbi.nlm.nih.gov/articles/PMC13094269/",
    doi = "10.1080/17482631.2026.2661147",
    pmcid = "PMC13094269",
    pmid = "41998802"
}

@incollection{crossrefNonechapter,
    title = "Chapter 2: Development of evolutionary thought – from social Darwinism to behavioral economics",
    year = "None",
    booktitle = "Neodarwinism in Organization and Management",
    url = "https://doi.org/10.3726/978-3-653-01993-3/5",
    doi = "10.3726/978-3-653-01993-3/5"
}