#art album

[if-you-fan-a-fire]

John Linton Palmer, Sketches of moai on Rapa Nui (Easter Island), Nov 1868, watercolour, Easter Island Album, F030/6 © RGS-IBG.

Above: ‘Inside the crater at Otu-iti’ (pencil annotation: ‘Published in Illustrated News’).

Below: ‘One of the images outside the Crater at Otuiti. These were generally in much better preservation than those elsewhere, the angles of the stone still sharp’.

"Linton Palmer’s later sketches indicate an enduring interest in forms of material culture, architecture and archaeology. In 1863, for example, he took leave from HMS Melville to travel for three weeks up-river from Canton with a fellow-doctor William Kane, Scots businessman James Banks Taylor, a missionary Orientalist (and the future Oxford Professor of Chinese) James Legge and his Chinese secretary Tsang Kwei-Hwan. Linton Palmer sketched Buddhist temples and pagodas along the way, although they were not included in a subsequently published account of the trip. Drawing was also to play a significant role in his later studies of the ethnology and geography of Rapa Nui, arising from HMS Topaze’s visit there in November 1868. Although he appears to have included drawings with a letter sent to England the following month, Linton Palmer’s account was published by the Ethnological Society without the drawings, as was another paper presented to the Royal Geographical Society. Nor did his sketches of the skulls (which were sent to Thomas Huxley) appear in print. At least one of his drawings from the Topaze was published in engraved form in the Illustrated London News before his return to London (20 March 1869), and other sketches may have reached wider public audiences in the same way.

...

Today Linton Palmer’s most well-known sketches are those he made on the island of Rapa Nui (Easter island) in 1868, during which one of the moai, Hoa Hakananai’a, was excavated from its underground resting place. The evidential quality of Linton Palmer’s writings on Rapa Nui have been questioned by later archaeologists, especially his supposed tendency to rely on what is regarded as hearsay rather than first-hand observation. However, his sketches of the sites of the moai and the marks upon them constitute a significant and in some respects a unique documentary record which still has value in archaeological study.

...

In view of the continuing debate amongst Rapa Nui specialists over the quality of Linton Palmer’s evidence, it is worth making two further points. The first concerns the place of accurate observation within his routine practice as a naval surgeon: it was his responsibility to observe the bodies of the crew, the condition of the ship and of the weather, and in this context precise documentation in multiple forms was essential. In a naval setting, moreover, the notion of isolated observation independent of ‘hearsay’ does not really make sense: here an observation which was not shared could not be tested or relied upon. The second point concerns Linton Palmer’s prior experience of archaeological survey which has hitherto been unknown. In fact, ten years before the Topaze voyage, Linton Palmer himself had undertaken the first field survey of the stone circle at Calanais (Callanish) in the Hebrides, just prior to its excavation..." - from Felix Driver, “Material memories of travel: the albums of a Victorian naval surgeon.” Journal of Historical Geography 69 (2020): 48.

[itsscaredycat]

the truth is stranger than my own worst dreams

oh the darkness got a hold on me

[yourartur]

Humans only have one ending. Ideas live forever ✨💧💖

Ig arthurshahverdyanart

[mike-png]

Logan trying to watch tv in peace; mission appears to be impossible. (Click on the image for higher quality)

[the-imaginative-hobbyist]

Starting tomorrow I will be releasing brand new and original artwork for the next 10 days. Each will be an entry in my gallery "My Definition of a Composition" and will be followed soon after with a video showing how the design was created.

Stay tuned!

[acrosscenturiesandgenerations]

▪︎ Album of seaweed specimens, in scallop shell binding.

Place of origin: Great Britain

Date: mid-19th century

[soniruza]

Appreciation post with every single Taylor Room I've done so far! 💛💜❤️🩵🩷🩶🤎💙🤍

The Taylor Swift Room and the Reputation Room won't be done until we have their Taylor's Version re-release (it would only be fair!).

[xxdigitaldream]

various album covers

[wolfythewitch]

Hadestown au perchance

[lennguine]

say it ain't stoat

[if-you-fan-a-fire]

John Linton Palmer, Views near Fort Victoria, June–July 1851, pen and ink, From Chile to the Arctic Album, F030/4 © RGS-IBG.

First plate, top: Esquimalt harbour, with Constance Cove, and Mt Angeles in the distance.

First plate, below: ‘Entrance to Victoria Fort’.

Second plate, above: ‘Fort Victoria, Vancouver I.’.

Second plate, below: ‘From landing place at Victoria Fort’ [original caption].

Third plate: Sketches of people and artefacts, Vancouver Island, June–July 1851. Fourth plate: Tomb of King Freezy’s brother at the entrance of Victoria Inlet, B. Columbia, 1851′.

"In considering such archival images as traces of encounter, contemporary historians would of course seek to adduce more evidence about the meanings of such events for the participants, in this case both British and Hawaiian, situating these events in their time and place. From this perspective, the rituals of diplomacy, the expectations of the various parties, the knowing and unknowing ways in which these events were described, would all need to be investigated. The same is true of the many other examples of the art of encounter in Linton Palmer’s albums. From an art historical perspective, such imagery would also need to be carefully contextualized with reference to matters of style, genre and perspective. In many cases, as I have argued, the influence of the naval tradition of maritime view-making is clear. However, there is another way of seeing these visual archives, especially when encountered from a heritage perspective, in which the informational content – the documentary detail – may matter even more than the point of view.

In order to substantiate this final point, we should return to Linton Palmer’s Fort Victoria sketches. Fleeting views they may have been, but in their attention to detail – whether the rendering of the hair and adornments of the people he encountered, or the material evidence of Indigenous presence in the landscape – such pencil sketches by naval visitors sometimes record what other contemporary documents do not, and in ways that can be located precisely in space and time. The matt lodges around the Fort, the cedar plank houses across the harbour, a fishing station in the distance: all these features signal an active Indigenous presence at a particular moment preceding a disastrous era in the history of the Indigenous people of what became British Columbia. Since they were first made available to First Nations historians following their exhibition in a 2009 RGS-IBG exhibition (Hidden Histories of Exploration), Linton Palmer’s images have entered the visual archive of Indigenous history and made more widely available in digital form. In particular, they have been incorporated into understandings of local settlement history by Grant Keddie, a curator at the Royal British Columbia Museum in Victoria. As Keddie’s work indicates, there is an ‘archaeological’ way of reading such documents, cross-referencing with other sources of evidence about the precise geography and chronology of landscape change. As is clear from the contemporary significance of the Indigenous sites sketched by Linton Palmer, such work is far from merely of academic interest. In 2001, 150 years after the brief visit of HMS Portland to Fort Victoria, a claim was filed in Canadian courts asserting that the land on which the Parliament of British Columbia was built (near the original Fort) had originally been occupied by or promised to First Nations peoples. After a long and contested legal process, the Ministry of Aboriginal Affairs and Reconciliation eventually reached an out of court settlement with the representatives of the Esquimalt and Songhees nations, which has been valued at $31.5 million dollars. In this context, mapping the precise geography of Indigenous settlement in space and time mattered a great deal: in fact it truly was the multi-million dollar question. And in the process, as researchers and consultants pored over long forgotten maps and drawings not unlike Linton Palmer’s sketches, the visual archive of travel acquired a new value." - Felix Driver, "Material memories of travel: the albums of a Victorian naval surgeon." Journal of Historical Geography 69 (2020): 53-54

[cordspaghetti]

The twin devils, humbled by her blunt force trauma

[yuumei-art]

I’m honored to be the artist for Yupeng Chen’s new album cover, Fantasyland! This was a months-long project with a different attraction to match each song of his album. The goal was to take the listener through a variety of emotions as they travel through everything Fantasyland has to offer. From the mobius maze to the castle in the sky, I hope you will enjoy the imagery as much as you enjoy Yupeng Chen’s music!

This is just a peek of everything in the album, there are lots of more paintings in the full booklet. The album is now available on major music platforms such as Apple Music, Spotify, and YouTube Music. You can follow Yu-Peng's Youtube and Instagram accounts Youtube.com/@yu-pengmusic and  Instagram.com/yupengchen_official

[vinestaff]

for what it's worth, i was telling the truth when I said I enjoyed working with you

[gatoburr0]

The Less I Woomy The Better

[purichou]

mayumi kojima discography (1995 - 2015)