The first volume of Great Bird Paintings includes pictures painted in oils or water-colours before 1699. For centuries, Western art was tied to the discipline of the Roman Catholic Church. Symbolic birds appeared in many renaissance religious paintings. Delicate preparatory water-colour sketches were made for these. Artists who wished to paint birds, shrewdly chose scenes of the animals entering Noah's Ark and the Garden of Eden, which gave them the legitimate excuse to introduce birds. By the end of the sixteenth century, the artists had altered the balance and relegated the biblical scene to the background, with the birds claiming full attention in the foreground. In the mid-seventeenth century they were free of clerical demands and in the Golden Age of Dutch and Flemish painting they produced hundreds of very fine canvases full of delightful birds. At long last, they could fully indulge their delight in painting the beauty of colour and form of the birds that gave them so much pleasure.

In this second volume of a five-part series Christine Jackson illustrates works by major artists of the period, including Pieter Casteels, Marmaduke Cradock, Willem Frederick van Royen, Tobias Stranover, Jakob Bogdani and Abraham Bisschop. She not only discusses the artists and their frequent use of symbolism in the paintings, but also gives us many fascinating glimpses into bird behaviour. The combination of the author's scholarly research and ornithological knowledge has cast new light on this subject and the result is a book which will appeal to everyone interested in art and ornithology.

Feather and Brush traces the history of bird art in Australia – from the simple engravings illustrating accounts of the earliest European voyages of discovery to the diversity of artwork available today. It explores the early European approach, in which naval draughtsmen, officers, convicts, settlers, naturalists, artists and scientists alike contributed both to the art and the science of ornithology, through to a wealth of contemporary artists who feature birds in their works. This book contains more than 400 images, representing the work of 158 artists; some well-known, others published for the first time. The illustrations have been selected for their interest, whether ornithological, historical or artistic. They range from classical to quirky, decorative to functional, monumental to intimate. Together they demonstrate the rich history of Australian bird art, as it evolved in Europe and Australia, and continues today, along with the trends and technologies of the times. This second edition includes new and revised chapters, and features about 200 new artworks, including some by Indigenous artists. Cultural sensitivity Readers are warned that there may be words, descriptions and terms used or referenced in this book that are culturally sensitive. Aboriginal and Torres Strait Islander people should be aware that this book contains images and names of deceased persons.

The Mascarene islands in the southern Indian Ocean - Mauritius, Réunion and Rodrigues - were once home to an extraordinary range of birds and reptiles. Evolving on these isolated volcanic islands in the absence of mammalian predators or competitors, the land was dominated by giant tortoises, parrots, skinks and geckos, burrowing boas, flightless rails & herons, and of course (in Mauritius) the Dodo. Uninhabited and only discovered in the 1500s, colonisation by European settlers in the 1600s led to dramatic changes in the ecology of the islands; the birds and tortoises were slaughtered indiscriminately while introduced rats, cats, pigs and monkeys destroyed their eggs, the once-extensive forests logged, and invasive introduced plants from all over the tropics devastated the ecosystem. The now-familiar icon of extinction, the Dodo, was gone from Mauritius within 50 years of human settlement, and over the next 150 years many of the Mascarenes' other native vertebrates followed suit. The product of over 30 years research by Anthony Cheke, Lost Land of the Dodo provides a comprehensive yet hugely enjoyable account of the story of the islands' changing ecology, interspersed with human stories, the islands' biogeographical anomalies, and much else. Many French publications, old and new, especially for Réunion, are discussed and referenced in English for the first time. The book is richly illustrated with maps and contemporary illustrations of the animals and their environment, many of which have rarely been reprinted before. Illustrated box texts look in detail at each extinct vertebrate species, while Julian Hume's superb colour plates bring many of the extinct birds to life. Lost Land of the Dodo provides the definitive account of this tragic yet remarkable fauna, and is a must-read for anyone interested in islands, their ecology and the history of our relationship with the world around us.

As the East India Company extended its sway across India in the late eighteenth century, many remarkable artworks were commissioned by Company officials from Indian painters who had previously worked for the Mughals. Published to coincide with the first UK exhibition of these masterworks at The Wallace Collection, this book celebrates the work of a series of extraordinary Indian artists, each with their own style and tastes and agency, all of whom worked for British patrons between the 1770s and the bloody end of the Mughal rule in 1857. Edited by writer and historian William Dalrymple, these hybrid paintings explore both the beauty of the Indian natural world and the social realities of the time in one hundred masterpieces, often of astonishing brilliance and originality. They shed light on a forgotten moment in Anglo-Indian history during which Indian artists responded to European influences while keeping intact their own artistic visions and styles. These artists represent the last phase of Indian artistic genius before the onset of the twin assaults - photography and the influence of western colonial art schools - ended an unbroken tradition of painting going back two thousand years. As these masterworks show, the greatest of these painters deserve to be remembered as among the most remarkable Indian artists of all time.