Stanley Meltzoff poses under the sea, 1969. Scientific American cover: Bird Flight, April 1952. In the autobiography that accompanies the images, Meltzoff adamantly calls himself simply a “picture maker,” believing that the practical, photorealistic nature of his work did not qualify as the higher-minded creativity of an “artist.” But to examine the images in this collection, it's hard not to feel that he was mistaken. We worked with a scientific illustrator who used reference photos of uku and their habitat to create a technically correct, visually. He became an avid scuba diver and painted fish and undersea life, which became his most famous artworks. This poster describes the lifecycle of an uku, or grey snapper ( Aprion virescens ), in the main Hawaiian Islands and illustrates the Essential Fish Habitat (EFH) on which it depends. Created for Scientific American Magazines article on Extreme Evolution featuring 9 fish. Meltzoff's paintings, memorialized in this mesmerizing collection, were all done by hand, mostly as oil on board or canvas. Original art - Pen & ink with watercolor on illustration board. Scientific American covers ( left to right): Photosynthesis, August 1948 Insect Metamorphosis, April 1950 Fruit Fly and Needle, October 1949. His work for Scientific American, a total of 65 covers, launched his career as a magazine illustrator, and he went on to create images for Life, National Geographic and Argosy. Afterward he made images for advertising agencies in Manhattan and paperback book covers. A graduate of the Institute of Fine Arts at New York University, Meltzoff had worked as an art director and journalist for an army newspaper during World War II. As part of this rebranding, they hired freelance artist Stanley Meltzoff to illustrate their covers. But in 1948, the magazine was sold and the new owners wanted to reimagine the publication's mission, hoping to make it more timely and authoritative. Louis Netter is a senior lecturer in illustration at the University of Portsmouth.For the first century of its existence, Scientific American was primarily a listing of the latest inventions and patents. Click on OK and then move your fishes into place. Attic dishes almost always have the fish painted with their underside towards the outer edge whilst in southern Italy the underside of the fish was nearest the plates centre. Then select one fish and go to Object > Transform > Reflect and choose to mirror it Vertically. The shape was popular in both Attica and Magna Graecia. A central depression collected any excess oil. Tom Sykes is a senior lecturer in creative writing at the University of Portsmouth. A Greek ceramic plate used for serving fish and seafood. Here’s hoping then that their lockdown woes will be remedied by the new boom in British people spending more time at their own seaside rather than the beaches abroad. These include the Essex artists, historians and community members making art to draw attention to flooding, and their counterparts on an anti-plastic pollution project in Southsea.Īnd then, of course, there were the publicans, shopkeepers and cafe and snack bar owners who told us about their struggles in the current economic climate. Together we have seen how the English seaside town is many different things: a nostalgia-induced dance with the past, a leisure zone where people forget their daily drudgery, and a fortress in the firing line of ecological and social danger.Įqually varied were the people we met. They are built line by line, mark by mark, and they reflect the struggle and make-up of their subjects bit by bit.
The drawings reflect the people they depict in more than likeness. As the Australian anthropologist Michael Taussig describes in his book, I Swear I Saw This, a drawing is an articulation of the experience of seeing and witnessing.