Paleoart - Knowledge

1219:, published in 1986, now regarded as a classic. American scientist-artist Gregory Paul, working originally as Bakker's student in the 1970s, became one of the leading illustrators of prehistoric reptiles in the 1980s and has been described by some authors as the paleoartist who may "define modern paleoart more than any other". Paul is notable for his 'rigorous' approach to paleoartistic restorations, including his multi-view skeletal reconstructions, evidence-driven studies of musculature and soft tissue, and his attention to biomechanics to ensure realistic poses and gaits of his artistic subjects. The artistic innovation that Paul brought to the field of paleoart is to prioritize detail over atmosphere, leading to some criticism of his work as being 'flat' or lacking in depth, but also to imbue dinosaur depictions with a greater variety of naturalistic coloration and patterns, whereas most dinosaur coloration in artworks beforehand had been fairly drab and uniform. 1223: 1393:

which had been established by paleoartists working in the height of the revolution that came before, led to an increased awareness and criticism of the repetitive and unimaginative use of ideas that were, by the first decade of the 21st century, lacking in novelty. This observation led to a movement characterized by the idea that prehistoric animals could be shown in artworks engaging in a greater range of behaviors, habitats, styles, compositions, and interpretations of life appearance than had been imagined in paleoart up to that point, but without violating the principles of anatomical and scientific rigor that had been established by the paleoart revolution that came before. Additionally, the traditional heuristics used in paleoart up to this point were shown to produce illustrations of modern animals that failed to depict these accurately. These ideas were formalized in a 2012 book by paleoartists

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that the drive towards scientific accuracy has always been a salient feature of the discipline, some authors point out the importance of separating true paleoart from "paleoimagery", which is defined as a broader category of paleontology-influenced imagery that may include a variety of cultural and media depictions of prehistoric life in various manifestations, but does not necessarily include scientific accuracy as a recognized goal. One attempt to separate these terms has defined paleoartists as artists who, "create original skeletal reconstructions and/or restorations of prehistoric animals, or restore fossil flora or invertebrates using acceptable and recognized procedures". Others have pointed out that a definition of paleoart must include a degree of subjectivity, where an artist's style, preferences and opinions come into play along with the goal of accuracy. The

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Command of object placement, color, lighting, and shape can be indispensable to communicating a realistic depiction of prehistoric life. Drawing skills also help form an important basis of effective paleoillustration, including an understanding of perspective, composition, command of a medium, and practice at life drawing. Paleoart is unique in its compositional challenge in that its content must be imagined and inferred, as opposed to directly referenced, and, in many cases, this includes animal behavior and environment. To this end, artists must keep in mind the mood and purpose of a composition in creating an effective piece of paleoart.

2044: 2182: 2069: 1412:. This book and its associated minor paradigm shift, commonly referred to as the "All Yesterdays" movement, argued that it was better to employ scientifically rigorous "reasoned speculation" to produce a greater range of speculative, but plausible, reconstructions of prehistoric animals. Conway and colleagues argued that the range of appearances and behaviors depicted in paleoart had only managed to capture a very narrow range of what's plausible, based on the limited data available, and that artistic approaches to these depictions had become "overly steeped in tradition". For example, 221:

intentions of the paleoartist may be manifold, and include the illustrating of specific scientific hypotheses, suggesting new hypotheses, or anticipating paleontological knowledge through illustration that can be later verified by fossil evidence. Paleoart can even be used as a research methodology in itself, such as in the creation of scale models to estimate weight approximations and size proportions. Paleoart is also frequently used as a tool for public outreach and education, including through the production and sale of paleontology-themed toys, books, movies, and other products.

1978: 72:) is any original artistic work that attempts to depict prehistoric life according to scientific evidence. Works of paleoart may be representations of fossil remains or imagined depictions of the living creatures and their ecosystems. While paleoart is typically defined as being scientifically informed, it is often the basis of depictions of prehistoric animals in popular culture, which in turn influences public perception of and fuels interest in these organisms. The word paleoart is also used in an informal sense as a name for prehistoric art, most often cave paintings. 682: 473: 155: 2120: 2207: 2019: 430:, which are thought to have informed a unique depiction of a dragon in this book that departs noticeably from the classically slender, serpentine dragon artwork of the era by having a barrel-like body and 'paddle-like' wings. According to some researchers, this dramatic departure from the typical dragon artwork of this time, which is thought to have been informed by the Lindwurm, likely reflects the arrival of a new source of information, such as a speculated discovery of plesiosaur fossils in quarries of the historic 1319: 500:, drafted what Witton describes as the "oldest known, incontrovertible" pieces of paleoart in 1800. These sketches, based on the first known fossil skeleton of a pterosaur, depict Hermann's interpretation of the animal as a flying mammal with fur and large external ears. These ink drawings were relatively quick sketches accompanying his notes on the fossil and were likely never intended for publication, and their existence was only recently uncovered from correspondence between the artist and the French anatomist 2000: 1371: 40: 1286:, and Dave Thomas. Many of these artists developed unique and lucrative stylistic niches without sacrificing their rigorous approach, such as Douglas Henderson's detailed and atmospheric landscapes, and Luis Rey's brightly-colored, "extreme" depictions. The "Renaissance" movement so revolutionized paleoart that even the last works of Burian, a master of the "classic" age, were thought to be influenced by the newfangled preference for active, dynamic, exciting depictions of dinosaurs. 2096: 2229: 2160: 2251: 379: 225: 983: 964: 903: 508: 587: 847: 540: 1086: 1176:. Ostrom's description of this nearly-complete birdlike dinosaur, published in 1969, challenged the presupposition of dinosaurs as cold-blooded, slow-moving reptiles, instead finding that many of these animals were likely reminiscent of birds, not just in evolutionary history and classification but in appearance and behavior as well. This idea had been advanced before, most notably by 1800s English biologist 952:: "Not since the Lord himself showed his stuff to Ezekiel in the valley of dry bones had anyone shown such grace and skill in the reconstruction of animals from disarticulated skeletons. Charles R. Knight, the most celebrated of artists in the reanimation of fossils, painted all the canonical figures of dinosaurs that fire our fear and imagination to this day". One of Knight's most famous pieces was his 648:, perhaps inspired by Conybeare's Kirkdale Cave cartoon, again pokes fun at William Buckland by placing him at the mouth of a cave surrounded by defecating prehistoric animals. Several authors have remarked on De la Beche's apparent interest in fossilized feces, speculating that even the shape of the cave in this cartoon is reminiscent of the interior of an enormous digestive tract. In any case, 559:

detailed fossil restorations were at this point appearing in the same publications as these modest attempts at soft tissue restoration, historians have speculated whether this reflected shame and lack of interest in paleoart as being too speculative to have scientific value at the time. One notable deviation from the Cuvier-like approach is seen in a cartoon drawn by geologist

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turned toward prehistoric animals against the backdrop of rapidly-expanding paleontological discoveries and the public energy that accompanied the sensationalist coverage of these discoveries around the turn of the 20th century. Knight's foray into paleoart can be traced to a commission ordered by Jacob Wortman in 1894 of a painting of an extinct hoofed animal,

138:. This change of landscape led to a stronger emphasis on accuracy, novelty, and a focus on depicting prehistoric creatures as real animals that resemble living animals in their appearance, behavior and diversity. The "modern" age of paleoart is characterized by this focus on accuracy and diversity in style and depiction, as well as by the rise of 1531:

novel, such as Rebecca Groom's highly accurate plush toy reconstructions of extinct animals. Starting in the 2010s, paleoart and its public perception have also been the exclusive focus of research articles that (e.g.) attempt to apply empirical methods to understand its role in society or communicate its evolution over time to other scientists.

1205:, as well as on public consciousness brought about a paradigm shift in how dinosaurs were perceived by artist, scientist and layman alike. The science and public understanding of dinosaur biology became charged by Bakker's innovative and often controversial ideas and portrayals, including the idea that dinosaurs were in fact 660:, was the first full paleoart scene to enter scientific publication, and was likely an introduction to other academics of the time to the potential of paleoart. Goldfuss was the first to describe fur-like integument on a pterosaur, which was restored in his commissioned 1831 illustration based on his observation of the 95:, but is considered to have originated as a visual tradition in early 1800s England. Older works of possible "proto-paleoart", suggestive of ancient fossil discoveries, may date to as old as the 5th century BCE, though these older works' relation to known fossil material is speculative. Other artworks from the late 1071:, followed the school of Knight and Zallinger, entering modern, biologically-informed paleoart scene via his extensive series of prehistoric life illustrations. Burian entered the world of prehistoric illustration in the early 1930s with illustrations for fictional books set in various prehistoric times by amateur 308:

Therefore, a variety of factors other than science can influence paleontological illustrators, including the expectations of editors, curators, and commissioners, as well as long-standing assumptions about the nature of ancient organisms that may be repeated through generations of paleoart, regardless of accuracy.

405:, the woolly rhinoceros, as the basis for the head in the restoration. This skull had been found in a mine or gravel pit near Klagenfurt in 1335, and remains on display today. Despite its poor resemblance of the skull in question, the Lindwurm statue was thought to be almost certainly inspired by the find. 802:

be merchandised as postcards, guide books, and replicas to the general public. In the latter half of the 1800s, this major shift could be seen in other developments taking place in academic books and paintings featuring scientific restorations of prehistoric life. For example, a book by French scientist

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released a lesson plan on paleoart for children of grades 3 to 5 that uses paleoart as a way to introduce children to paleontology. Paleontological-themed merchandise has been around since at least the mid-1800s, but the popularity of anatomically-accurate and paleoart-based merchandise is relatively

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Although this transition was gradual, this period has been described as a salient cultural phenomenon that came about largely as a consequence of this increased connectivity and access to paleoart brought by the digital age. The saturation of paleoart with established and overused heuristics, many of

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The Crystal Palace models, despite their inaccuracy by today's standards, were a landmark in the advancement of paleoart as not only a serious academic undertaking, but also one that can capture the interest of the general public. The Crystal Palace dinosaur models were the first works of paleoart to

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in 1841, the question of life appearance of dinosaurs captured the interest of scientist and public alike. Because of the newness and the limitations of the fossil evidence available at the time, artists and scientists had no frame of reference to draw upon in understanding what dinosaurs looked like

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merchant Roman Boltunov in 1805 were likely never intended for scientific publication, but their function—to communicate the life appearance of an animal whose tusks he had found in Siberia and was hoping to sell—nevertheless establishes it one of the first examples of paleoart by today's definition.

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In addition to a scientific understanding, paleoart incorporates a traditional approach to art, the use and development of style, medium, and subject matter that is unique to each artist. The success of a piece of paleoart depends on its strength of composition as much as any other genre of artistry.

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In an attempt to establish a common definition of the term, Ansón and colleagues (2015) conducted an empirical survey of the international paleontological community with a questionnaire on various aspects of paleoart. 78% of the surveyed participants stated agreement with the importance of scientific

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This movement was working in parallel with great strides in the scientific progress of vertebrate paleontology that were occurring during this time. Precision in anatomy and artistic reconstruction was aided by an increasingly detailed and sophisticated understanding of these extinct animals through

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swimming and foraging in a natural setting, and includes depictions of behavior of these marine reptiles that, while unknown, were inferences made by De la Beche based on the behavior of living animals. For example, one ichthyosaur is painted with its mouth open about to swallow the fish head-first,

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series of fiction books, has described the interaction between scientists and artists as the artist being the eyes of the scientist, since his illustrations bring shape to the theories; paleoart determines how the public perceives long extinct animals. Apart from the goal of accuracy on its own, the

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as a distinct scientific discipline. These early paleoartists restored fossil material, musculature, life appearance, and habitat of prehistoric animals based on the limited scientific understanding of the day. Paintings and sculptures from the mid-1800s were integral in bringing paleontology to the

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Several professional paleoartists recommend the consideration of contemporary animals in aiding accurate restorations, especially in cases where crucial details of pose, appearance and behavior are impossible to know from fossil material. For example, most extinct animals' coloration and patterning

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Since paleontological knowledge and public perception of the field have changed dramatically since the earliest attempts at reconstructing prehistory, paleoart as a discipline has consequently changed over time as well. This has led to difficulties in creating a shared definition of the term. Given

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scientific resources, and to build a global community that was unprecedented until the first decade of the twenty-first century. The continuum of work leading from the themes and advances that began in the Dinosaur Renaissance to the production of modern paleoart is showcased in several books that

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Ostrom, Bakker and Paul changed the landscape of depictions of prehistoric animals in science and popular culture alike throughout the 1970s, '80s and '90s. Their influence affected the presentation of museum displays throughout the world and eventually found its way into popular culture, with the

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created the first life-size sculptures depicting dinosaurs and other prehistoric animals as he thought they may have appeared; he is considered by some to be the first significant artist to apply his skills to the field of dinosaur paleontology. Some of these models were initially created for the

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A chief driver in the inception of paleoart as a distinct form of scientific illustration was the desire of both the public and of paleontologists to visualize the prehistory that fossils represented. Mark Hallett, who coined the term "paleoart" in 1987, stressed the importance of the cooperative

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Despite the importance of the "All Yesterdays" movement in hindsight, the book itself argued that the modern conceptualization of paleoart was based on anatomically rigorous restorations that came alongside and subsequent to Paul, including those who experimented with these principles outside of

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raging during his childhood, had poised Knight for rich early experiences in developing an interest in reconstructing prehistoric animals. As an avid wildlife artist who disdained drawing from mounts or photographs, instead preferring to draw from life, Knight grew up drawing living animals, but

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Some authors have remarked on a darker, more sinister feel to his paleoart than that of his contemporaries, speculating that this style was informed by Burian's experience producing artwork in his native Czechoslovakia during World War II and, afterwards, under Soviet control. His depictions of

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Cuvier went on to produce skeletal restorations of extinct mammals of his own. Some of these included restorations with musculature layered atop them, which in the early 1820s could be considered the earliest examples of illustrations of animal tissue built up over fossil skeletons. As huge and

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skeletal reconstructions provided a basis for ushering in the modern age of paleoart, which is perhaps best characterized by adding speculative flair to the rigorous, anatomically-conscious approach popularized by the Dinosaur Renaissance. Novel advances in paleontology, such as new feathered

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Many artists and enthusiasts think of paleoart as having validity as art for its own sake. The incomplete nature of the fossil record, varying interpretations of what material exists, and the inability to observe behavior ensures that the illustration of dinosaurs has a speculative component.

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for achievement in the field. The society says that paleoart "is one of the most important vehicles for communicating discoveries and data among paleontologists, and is critical to promulgating vertebrate paleontology across disciplines and to lay audiences". The SVP is also the site of the

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defines paleoart in terms of three essential elements: 1) being bound by scientific data, 2) involving biologically-informed restoration to fill in missing data, and 3) relating to extinct organisms. This definition explicitly rules out technical illustrations of fossil specimens from being

1137:, a weekly magazine, in 1906 and 1908. He also worked with Bölsche to illustrate 60 dinosaur and other prehistoric animal collecting cards for the Reichardt Cocoa Company, titled "Tiere der Urwelt" ("Animals of the Prehistoric World"). One of Harder's contemporaries, Danish paleontologist 211:

The production of paleoart requires by definition substantial reading of research and reference-gathering to ensure scientific credibility at the time of production. Aims of paleoart range from communicating scientific knowledge to evoking emotion through fascination at nature. The artist

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This classic depiction of dinosaurs remained the status quo until the 1960s, when a minor scientific revolution began changing the perceptions of dinosaurs as tail-dragging, sluggish animals to active, alert creatures. This reformation took place following the 1964 discovery of

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later remarked on the depth and breadth of influence that Knight's paleoart had on shaping public perception of extinct animals, even without having published original research in the field. Gould described Knight's contribution to scientific understanding in his 1989 book

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Although various authors are in agreement about the events that caused the beginning of the Dinosaur Renaissance, the transition to the modern age of paleoart has been more gradual, with differing attitudes about what typifies the demarcation. Gregory Paul's high-fidelity

956:, which he produced for the American Museum of Natural History in 1897. This painting was one of the few works of paleoart produced before 1960 to depict dinosaurs as active, fast-moving creatures, anticipating the next era of paleontological artworks informed by the 357:. Witton considered that because the painting has significant differences from the skull it is supposedly representing (lack of horns, sharp teeth), it should not necessarily be considered "proto-paleoart". Other scholars have suggested that ancient fossils inspired 195:

considered paleoart, and requires the use of "reasoned extrapolation and informed speculation" to fill in these reconstructive gaps, thereby also explicitly ruling out artworks that actively go against known published data. These might be more accurately considered

1480:. In a 2014 paper, Mark Witton, Darren Naish, and John Conway outlined the historical significance of paleoart, and criticized the over-reliance on clichés and the "culture of copying" they saw to be problematic in the field at the time. This tendency to copy " 701:

The role of art in disseminating paleontological knowledge took on a new salience as dinosaur illustration advanced alongside dinosaur paleontology in the mid-1800s. With only fragmentary fossil remains known at the time the term "dinosaur" was coined by Sir

332:, which is sometimes credited as the first true paleontological artwork. These older works include sketches, paintings and detailed anatomical restorations, though the relation of these works to observed fossil material is mostly speculative. For example, a 1523:, displayed a juried show of paleoart called "Picturing the Past". This show includes 87 works by 46 paleoartists from 15 countries, and features one of the largest and most diverse collections of prehistoric animals, settings, themes and styles. 321:

While the word "paleoart" is relatively recent, the practice of restoring ancient life based on real fossil remains can be considered to have originated around the same time as paleontology. However, art of extinct animals has existed long before

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While Charles Knight, Rudolph Zallinger and Zdeněk Burian dominated the landscape of "classic" scientific paleoart in the first half of the 20th century, they were far from the only paleoartists working at this time. German landscape painter

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as the three most prominent exponents of paleoart. During this time, dinosaurs were popularly reconstructed as tail-dragging, cold-blooded, sluggish "Great Reptiles" that became a byword for evolutionary failure in the minds of the public.

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restored in the flesh in the ancient cave interior, the first known artwork depicting an extinct animal restored in a rendition of an ancient environment. A similar step forward depicts a dragon-like animal meant to represent the pterosaur

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The beginning of the 19th century saw the first paleontological artworks with an unambiguous scientific basis, and this emergence coincided with paleontology being seen as a distinct field of science. The French naturalist and professor

814:, this book featured iconic scenes of dinosaurs and other prehistoric animals based on Owen's constructions, and would establish a template for academic books featuring artworks of prehistoric life through time for years to come. 1473:. Other authors write in agreement that the modern paleoart movement incorporates an element of "challenging tropes and the status quo" and that paleoart has "entered its experimental phase" as of the dawn of the 21st century. 774:, one standing and one resting on its belly, were included. The dinosaurs remain in place in the park, but their depictions are now outdated as a consequence both of paleontological progress and of Owen's own misconceptions. 582:

flying over a coastline by George Howman; this 1829 watercolor painting was a fanciful piece that, albeit being not particularly scientific, was another very early attempt at restoring a fossil animal in a suitable habitat.

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The earliest definitive works of "proto-paleoart" that unambiguously depict the life appearance of fossil animals come from fifteenth and sixteenth century Europe. One such depiction is Ulrich Vogelsang's statue of a

895:. Knight, who had always preferred to draw animals from life, applied his knowledge of modern pig anatomy to the painting, which so thrilled Wortman that the museum then commissioned Knight to paint a series of 1290:

new discoveries and interpretations that pushed paleoart into more objective territory with respect to accuracy. For example, the feathered dinosaur revolution, facilitated by unprecedented discoveries in the

627:, showcased realistic aspects of fossil animal appearance, behavior, and environment at a level of detail, realism and accuracy that was among the first of its kind. This watercolor, an early illustration of 246:

Although every artist's process will differ, Witton (2018) recommends a standard set of requirements to produce artwork that fits the definition. A basic understanding of the subject organism's place in time

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framework—is crucial for understanding the proportions, size and appearance of extinct organisms. Given that many fossil specimens are known from fragmentary material, an understanding of the organisms'

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are unknown from fossil evidence, but these can be plausibly restored in illustration based on known aspects of the animal's environment and behavior, as well as inference based on function such as

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just as a predatory fish would swallow another. Several of these animals are also depicted defecating, a theme that emerges in other works by De la Beche. For example, his 1829 lithograph called

255:) is necessary for restorations of scenes or environments in paleoart. Skeletal reference—not just the bones of vertebrate animals, but including any fossilized structures of soft tissue–such as 4226: 1346:

studies of dinosaur integument that began around 2010, have become representative of paleoart after the turn of the millennium. Witton (2018) characterizes the modern movement with the rise of

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and other dinosaurs depicted the animals leaping, running, and charging, and his novel artistic output was accompanied by his writings on paleobiology, with his influential and well-known book

1254:. Paul in particular helped set the stage for the next wave of paleoaristry, and from the 1970s to the end of the twentieth century, paleoartists working from the 'rigorous' approach included 994:

Knight's illustrations also had a large and long-lasting influence on the depiction of prehistoric animals in popular culture. The earliest depictions of dinosaurs in movies, such as the 1933

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in this context. This dinosaur, described in 2003, has been depicted by countless paleoartists as a "strange, dragon-like feathered glider with a reptilian face". Conway's illustration of

146:. Today, paleoart is a globally-recognized genre of scientific art, and has been the subject of international contests and awards, galleries, and a variety of books and other merchandise. 115:. Paleoart developed in scope and accuracy alongside paleontology, with "classic" paleoart coming on the heels of rapid increase in dinosaur discoveries resulting from the opening of the 178:

effort between artists, paleontologists and other specialists in gaining access to information for generating accurate, realistic restorations of extinct animals and their environments.

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attempts to restore the animal "from scratch" without influence from these popular reconstructions, instead depicting it as a naturalistic, birdlike animal perched at its nest.

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in life. For this reason, depictions of dinosaurs at the time were heavily based on living animals such as frogs, lizards, and kangaroos. One of the most famous examples,

3680: 371:. Similarly, authors have speculated that the huge, unified nasal opening in the skull of fossil mammoths could have inspired ancient artwork and stories of the one-eyed 1484:" established and proliferated by others in the field is thought to have been a stimulus for the "All Yesterdays" movement of injecting originality back into paleoart. 99:

of Europe, typically portraying mythical creatures, are more plausibly inspired by fossils of prehistoric large mammals and reptiles that were known from this period.

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suffering, death, and the harsh realities of survival that emerged as themes in his paleoart were unique at the time. Original Burian paintings are on exhibit at the

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and the Canadian wilderness brought with it a renewed interest in artistic reconstructions of paleontological findings. This "classic" period saw the emergence of

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In addition to contests and art exhibitions, paleoart continues to play a significant role in public understanding of paleontology in a variety of ways. In 2007,

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of the same name, relied heavily on Knight's dinosaur paintings to produce suitable dinosaur models that were realistic for the time. The special effects artist

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In 1830, the first "fully realized" paleoart scene, depicting prehistoric animals in a realistic geological setting, was painted by British paleontologist

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Paleoart emerged as a distinct genre of art with unambiguous scientific basis around the beginning of the 19th century, dovetailing with the emergence of

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was further opened up in the latter half of the nineteenth century, the rapidly increasing pace of dinosaur discoveries in the bone-rich badlands of the

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A 2013 study found that older paleoart was still influential in popular culture long after new discoveries made them obsolete. This was explained as

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that may have been informed by fossil finds of the day, many of which came from quarries and caves. Some of these may have been the bones of large

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Throughout the 1920s, '30s and '40s, Knight went on produce drawings, paintings and murals of dinosaurs, early man, and extinct mammals for the

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Rudolph Zallinger and Zdeněk Burian both went on to influence the state of dinosaur art while Knight's career began to wind down. Zallinger, a

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Taquet, P.; Padian, K. (2004). "The earliest known restoration of a pterosaur and the philosophical origins of Curvier's Ossemens Fossiles".

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organizes the annual International Dinosaur Illustration Contest for promoting the art of dinosaur and other fossils. In fall of 2018, the

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article in 1975. One of the first major shows of dinosaur art was published in 1986 by Sylvia Czerkas, along with the accompanying volume

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is thought by some researchers to bear a depiction of an observed fossil skull. This so-called "Monster of Troy", the beast fought by the

1190:, however, Ostrom had laid out the strongest evidence yet of the close link between birds and dinosaurs. The artistic reconstructions of 810:, published in 1863, was the first to feature a series of works of paleoart documenting life through time. Illustrated by French painter 717:

because the only known fossils of the dinosaur—the jaws and teeth—were thought to resemble those of the living lizard. With Owen's help,

464:, the author who published the image posthumously in 1749. This rendering represents the oldest known illustration of a fossil skeleton. 365:, with the mythical chimera of lion and bird anatomy superficially resembling the beak, horns and quadrupedal body plan of the dinosaur 1350:, as well as the establishment of an internet community that would enable paleoartists and enthusiasts to network, share digitized and 750:-like animal, as Owen was putting forward, but had slender forelimbs; his death left him unable to participate in the creation of the 2206: 186:

has offered the definition of paleoart as, "the scientific or naturalistic rendering of paleontological subject matter pertaining to

2119: 2095: 623:, a fossil-rich region of the British Isles. This painting, based on fossil discoveries along the coast of Dorset by paleontologist 4184: 1527: 3831:(1987). "The scientific approach of the art of bringing dinosaurs back to life". In Czerkas, Sylvia J.; Olson, Everett C. (eds.). 1048:. He began his most iconic piece of paleoart, a five-year mural project for the Yale Peabody Museum, in 1942. This mural, titled 3688: 1017:

would continue basing his movie dinosaurs on Knight illustrations up through the sixties, including for films such as the 1966

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and the Reverend George Howman's noctivagous flying dragon: the earliest restoration of a pterosaur in its natural habitat".

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fossils", a definition considered unacceptable by some for its exclusion of non-vertebrate subject matter. Paleoartist

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and a greater access to scientific resources and to a sprawling scientific and artistic community made possible by the

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revealed by reflectance transformation imaging (RTI) and UV light and the auspicious beginnings of paleo-art"

560: 544: 123:, the first to depict dinosaurs as active animals, dominated the paleoart landscape through the early 1900s. 734:, in South London. Owen famously hosted a dinner for 21 prominent men of science inside the hollow concrete 1563: 4028:

Petrifications and their teachings: or, a handbook to the gallery of organic remains of the British Museum

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inspired many subsequent derivatives, one of which was produced by Nicholas Christian Hohe in 1831 titled

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may be required to create scientifically-rigorous paleoart by filling in restorative gaps parsimoniously.

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is generally considered one of the key figures in paleoart during this time. His birth three years after

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accuracy in paleoart, and 87% of respondents recognized an increase in accuracy of paleoart over time.

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was illustrating natural history articles, including a series accompanying articles by science writer

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in the late 1990s and early 2000s, was perhaps foreseen by artist Sarah Landry, who drew the first

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archosaurs. For example, artists that pioneered anatomically rigorous reconstructions of fossil

1278:, Bob Walters, and others, including an expanding body of sculpting work led by artists such as 2172: 1898: 1629: 1019: 924: 484: 76: 532:-like, raised enough scientific interest in the specimen that the drawings were later sent to 399:

that dates to 1590. Writings from the time of its creation specifically identify the skull of

4628: 4350: 3828: 1990: 1985: 1932: 1593: 1587: 1557: 1215: 996: 948: 657: 252: 88: 3833: 4521: 4499: 4379: 4266: 4111: 4056: 1823: 1511:

Paleoart has enjoyed increasing exposure in globally recognized contests and exhibits. The

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mammals common to these European caves. Others may have been based on far older fossils of

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in a hyena den, intended to honor Buckland's groundbreaking analysis of fossils found at

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and many other major magazines of the time, culminating in his last major mural for the

4282: 4134: 4014: 3667: 1938: 1850: 1689: 1683: 1497: 1343: 1299: 1148: 1007: 727: 497: 456:, Germany in 1663. These artworks are of uncertain origin and may have been created by 415: 45: 3918: 1128: 460:, the German naturalist who first described the "unicorn" remains in his writings, or 4623: 4529: 4507: 4485: 4463: 4404: 4356: 4315: 4286: 4211: 4163: 4139: 4081: 4031: 3979: 3878: 3859: 3840: 3814: 3792: 3773: 3754: 3735: 3709: 3624: 3616: 2309: 1913: 1868: 1665: 1635: 1617: 1611: 1551: 1259: 1228: 942: 863: 856: 835: 831: 823: 681: 671: 608: 591: 472: 457: 323: 154: 120: 116: 50: 4018: 3917:

Jäger, Kai R.K.; Tischlinger, Helmut; Oleschinski, Georg; Sander, P. Martin (2018).

1811: 1454: 4434: 4387: 4330:"Society of Vertebrate Paleontology: Lanzendorf-National Geographic Paleoart Prize" 4274: 4247: 4129: 4119: 4064: 4006: 3937: 3659: 3647: 1892: 1838: 1739: 1623: 1605: 1477: 1138: 1089: 1025: 827: 731: 564: 548: 431: 284: 4333: 4010: 1659: 1318: 1075: 839: 674:, was later vindicated with certainty by 21st-century imaging technology, such as 4588: 4560:"Czym jest paleosztuka? Przegląd Geologiczny, Górnicki S. vol. 65, nr 3, 161-167" 4203: 4068: 2219: 2034: 1775: 1599: 1283: 1202: 1133: 1124: 1060: 1014: 938: 596: 341: 328: 31: 3854:

Henderson, Douglas (2012). "Chapter 16: Restoring Dinosaurs as Living Animals".

811: 781: 738:

on New Year's Eve 1853. However, in 1849, a few years before his death in 1852,

27:

Art genre attempting to depict prehistoric life according to scientific evidence

4477: 4455: 4391: 4303:

Scenes from Deep time: early pictorial representations of the prehistoric world

2241: 2197: 2188: 2150: 2106: 2050: 1918: 1874: 1695: 1653: 1500: 1470: 1407: 1380: 1370: 1068: 915:), the first commissioned restoration of an extinct animal by Charles R. Knight 872: 867: 739: 616: 533: 259: 235: 166: 1201:

Bakker's influence during this period on then-fledgling paleoartists, such as

1180:

about the link between dinosaurs, modern birds, and the then-newly discovered

228:

An example of the skeletal reconstructions on which many paleoartists depend:

169:

in 1812. For instance, its reconstruction was used as a basis for some of the

158:

Paleoart has historically depended on fossil reconstructions, such as that of

39: 4617: 4584: 2081: 2009: 1956: 1908: 1886: 1793: 1781: 1757: 1733: 1442: 1398: 1263: 1250: 1237: 1195: 1182: 1177: 1143: 1115: 881: 803: 666: 568: 552: 367: 248: 160: 84: 4124: 4401:

The Art of the Dinosaur: Illustrations by the Top Paleoartists in the World

4143: 4035: 3806: 3727: 2075: 1962: 1944: 1856: 1799: 1751: 1721: 1641: 1569: 1466: 1402: 1279: 1267: 1045: 1041: 963: 928: 790: 747: 703: 628: 493: 476: 213: 131: 103: 92: 3919:"Goldfuß was right: Soft part preservation in the Late Jurassic pterosaur 1769: 1248:

climax of this period perhaps best marked by the 1990 novel and 1993 film

3638:

Ariew, R (1998). "Leibniz on the unicorn and various other curiosities".

2236: 2167: 2146: 2055: 2005: 1950: 1832: 1763: 1421: 1417: 1410:: Unique and Speculative Views of Dinosaurs and Other Prehistoric Animals 1385: 1351: 1347: 1324: 1275: 1206: 1173: 1168: 1072: 969: 636: 624: 601: 578: 525: 453: 423: 353: 191: 139: 96: 4314:. By Currie, Philip J.; Padian, Kevin (first ed.). Academic Press. 3753:. By Currie, Philip J.; Padian, Kevin (first ed.). Academic Press. 536:

and eventually led to excavation and study of the rest of the specimen.

3995:"A basal ornithopod dinosaur from the Cenomanian of the Czech Republic" 3671: 2258: 2214: 2193: 2111: 1805: 1375: 896: 887: 632: 427: 392: 230: 187: 4206:(2000). "A quick history of dinosaur art". In Paul, Gregory S. (ed.). 4178:"Paleo Artists: Bringing Dinosaurs to Life! A Grade 3–5 Unit of Study" 1198:, remain iconic of what came to be known as the Dinosaur Renaissance. 378: 224: 4278: 3608:

Vorzeitliche Tierreste im Deutschen Mythus, Brachtum und Volksglauben

2101: 1727: 1338: 1233: 1151:, culminating in his lavishly illustrated and controversial treatise 1078:. These illustrations brought him to the attention of paleontologist 982: 907: 755: 709: 690: 643: 480: 358: 276: 217: 3909: 3663: 902: 876:, along with the "Bone Wars" between rival American paleontologists 2029: 1787: 1438: 1313: 1291: 1271: 851: 759: 661: 507: 388: 349: 345: 268: 143: 4482:

The Palaeoartist's Handbook: Recreating prehistoric animals in art

1709: 1141:, produced a large number of sketches and ink drawings related to 846: 586: 4544:"Yale Peabody Museum of Natural History: Rudolph Franz Zallinger" 4439: 3942: 2059: 1508:

poster show at the opening reception of the annual SVP meetings.

1093: 571:, known for its Ice Age mammal remains, amidst a scene of fossil 539: 520: 512: 449: 442: 435: 396: 372: 362: 333: 292: 3959: 3617:"Paleoart: term and conditions (A survey among paleontologists)" 1085: 418:

in 1678, features a number of illustrations of giant humans and

4603: 4078:

The First Fossil Hunters: Paleontology in Greek and Roman Times

3615:

Ansón, Marco; Fernández, Manuel H.; Ramos, Pedro A. S. (2015).

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Boltunov's sketches of the animal, which depicted it without a

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word for "old", and "art"–was introduced in the late 1980s by

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Ross, Robert M.; Duggan-Haas, Don; Allmon, Warren D. (2013).

4183:. The Children's Museum of Indianapolis. 2007. Archived from 3749:

Czerkas, Sylvia J. (1997). "Reconstruction and Restoration".

1295: 767: 763: 670:. This observation, which was rejected by scientists such as 572: 263: 135: 4097:"Dinosaur art evolves with new discoveries in paleontology" 1481: 1110: 817: 529: 3875:

Zdeněk Burian - pravěk a dobrodružství (rodinné vzpomínky)

519:

Similarly, private sketches of mammoth fossils drafted by

337: 467: 316: 3993:

Madzia, Daniel; Boyd, Clint A.; Mazuch, Martin (2017).

1160: 615:, this watercolor painting represents a scene from the 4418:

Witton, Mark P.; Naish, Darren; Conway, John (2014).

1209:

animals like mammals and birds. Bakker's drawings of

126:

The modern era of paleoart was brought first by the "

107:

interest of the general public, such as the landmark

4227:"How dinosaurs are brought back to life—through art" 3811:

Imaginative Realism: How to Paint What Doesn't Exist

2686:

Henderson in Brett-Surman, Holtz & Farlow (2012)

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Henderson in Brett-Surman, Holtz & Farlow (2012)

2626:

Henderson in Brett-Surman, Holtz & Farlow (2012)

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Henderson in Brett-Surman, Holtz & Farlow (2012)

1534: 1113:. In 2017, the first valid Czech dinosaur was named 2921:

Jäger, Tischlinger, Oleschinski & Sander (2018)

746:, of which he was the discoverer, was not a heavy, 441:Eighteenth century skeletal reconstructions of the 4210:. New York: Byron Preiss Visual Productions, Inc. 4160:Charles R. Knight: The Artist Who Saw Through Time 3832: 4310:Sarjeant, William A.S. (1997). "Crystal Palace". 656:. This piece, published by German paleontologist 4615: 2062:Paleorrota produced by paleoartist Clovis Dapper 1517:New Mexico Museum of Natural History and Science 1314:Modern (and post-modern) paleoart (2010–present) 515:, based on frozen carcass he observed in Siberia 4252:: Why do student views lag behind the science?" 4080:(second ed.). Princeton University Press. 3894:"Drawing dinosaurs: how is palaeoart produced?" 3770:Paleoimagery: The Evolution of Dinosaurs in Art 2200:for the Royal Society's 350th anniversary, 2010 1710:Modern (post–Dinosaur Renaissance) paleoartists 1504:occasional/annual "PaleoArt Poster Exhibit", a 1044:around the time that the United States entered 941:of Scranton, Pennsylvania, in 1951. Biologist 1036:-born American painter, began working for the 4526:Dinosaur Art II: The Cutting Edge of Paleoart 4352:Charles R. Knight: Autobiography of an Artist 3906:"International Dinosaur Illustration Contest" 3120:Yale Peabody Museum of Natural History (2010) 3097:Yale Peabody Museum of Natural History (2010) 1365:Dinosaur Art II: The Cutting Edge of Paleoart 563:in 1822. This cartoon depicts paleontologist 3621:Current trends in Paleontology and Evolution 1540:Past (pre–Dinosaur Renaissance) paleoartists 1058:, which grew out of a painting published in 758:of various prehistoric animals built out of 4504:Dinosaur Art: The World's Greatest Paleoart 3960:"Welcome to the World of Charles R. Knight" 3839:. Seattle: University of Washington Press. 1361:Dinosaur Art: The World's Greatest Paleoart 1119:in honor of both Burian and Josef Augusta. 4049:Proceedings of the Geologists' Association 3813:. Kansas City: Andrews McMeel Publishing. 511:Roman Boltunov's 1805 reconstruction of a 452:and rhinoceros bones found in a cave near 336:vase painted sometime between 560 and 540 30:For art created in prehistoric times, see 4484:. U.K.: Ramsbury: The Crowood Press Ltd. 4438: 4208:The Scientific American Book of Dinosaurs 4133: 4123: 3976:Paleoart: Visions of the prehistoric past 3941: 3908:. Museu da Lourinhã. 2009. Archived from 3872: 3791:. Bloomington: Indiana University Press. 3768:Debus, Allen A.; Debus, Diane E. (2002). 3681:"'Picturing the Past' Explores Paleo-Art" 3142: 1680:Benjamin Waterhouse Hawkins (1807 – 1894) 891:, to accompany its fossil display at the 91:for art that depicts subjects related to 4355:. By Knight, Charles Robert. G.T. Labs. 3704:Colagrande, John; Felder, Larry (2000). 3557:Children’s Museum of Indianapolis (2007) 2303: 1369: 1317: 1221: 1186:. With the discovery and description of 1084: 981: 962: 901: 845: 776: 680: 585: 538: 506: 471: 377: 241: 223: 153: 38: 1067:Zdeněk Burian, working from his native 726:, but 33 were eventually produced when 613:Duria Antiquior — A more Ancient Dorset 597:Duria Antiquior - A more Ancient Dorset 119:in the nineteenth century. Paleoartist 14: 4616: 3789:A History of Paleontology Illustration 2979:Sarjeant in Currie & Padian (1997) 2304:Bednarik, Robert G. (21 August 2017). 713:, was depicted as a resembling a huge 348:, somewhat resembles the skull of the 298: 206: 4349:Stout, William (2005). Introduction. 4229:. National Geographic. Archived from 3772:. Jefferson, N.C.: McFarland and Co. 3478:Ross, Duggan-Haas & Allmon (2013) 2614:Czerkas in Currie & Padian (1997) 2590:Czerkas in Currie & Padian (1997) 1528:The Children's Museum of Indianapolis 1342:dinosaur discoveries and the various 468:Early scientific paleoart (1800–1890) 445:are thought to have been inspired by 3623:. XIII EJIP Conference Proceedings. 1161:The Dinosaur Renaissance (1970–2010) 990:created in 1904 by Charles R. Knight 4225:Pickrell, John (16 November 2018). 3999:Journal of Systematic Palaeontology 3708:. Alexandria, VA: Time-Life Books. 3580:Ansón, Fernández & Ramos (2015) 2542:Ansón, Fernández & Ramos (2015) 2530:Ansón, Fernández & Ramos (2015) 2482:Ansón, Fernández & Ramos (2015) 2446:Ansón, Fernández & Ramos (2015) 2400:Ansón, Fernández & Ramos (2015) 2365:Ansón, Fernández & Ramos (2015) 2280:Ansón, Fernández & Ramos (2015) 1322:Birdlike illustration of feathered 1242:Denver Museum of Nature and Science 24: 3873:Hochmanová-Burianová, Eva (1991). 3835:Dinosaurs Past and Present (vol 1) 3679:Brummett, Chad (8 November 2018). 3454:Conway, Kosemen & Naish (2012) 3442:Conway, Kosemen & Naish (2012) 3430:Conway, Kosemen & Naish (2012) 1494:Society of Vertebrate Paleontology 1355:were published post-2010, such as 1236:mounted in a "leaping posture" by 921:American Museum of Natural History 893:American Museum of Natural History 870:'s publication of the influential 752:Crystal Palace dinosaur sculptures 676:reflectance transformation imaging 184:Society of Vertebrate Paleontology 25: 4645: 4576: 3650:(1986). "The Dinosaur Heresies". 3490:Witton, Naish & Conway (2014) 2308:. Cambridge Scholars Publishing. 1535:Notable, influential paleoartists 3584: 3573: 3561: 3550: 3539: 3528: 3517: 3506: 3494: 3483: 3471: 3459: 3191:Madzia, Boyd & Mazuch (2017) 2249: 2227: 2205: 2180: 2158: 2139: 2118: 2094: 2067: 2042: 2017: 1998: 1976: 1416:examines the small, four-winged 1000:film and the 1925 production of 4259:Journal of Geoscience Education 3958:Kalt, Roda Knight (2002–2008). 3892:Hone, Dave (3 September 2012). 3447: 3435: 3423: 3411: 3399: 3387: 3375: 3364: 3352: 3340: 3328: 3316: 3304: 3292: 3280: 3268: 3256: 3244: 3232: 3220: 3208: 3196: 3184: 3172: 3160: 3148: 3136: 3124: 3113: 3101: 3090: 3078: 3067: 3056: 3044: 3032: 3020: 3008: 2996: 2984: 2972: 2961: 2949: 2937: 2925: 2914: 2903: 2891: 2879: 2867: 2855: 2843: 2832: 2820: 2808: 2796: 2785: 2773: 2761: 2750: 2738: 2726: 2715: 2703: 2691: 2679: 2667: 2655: 2643: 2631: 2619: 2607: 2595: 2583: 2571: 2559: 2547: 2535: 2523: 2511: 2499: 2487: 2475: 2463: 2451: 2439: 2428: 2416: 2405: 2393: 1397:and Nemo Ramjet (also known as 1109:and at the Anthropos Museum in 1092:'s hypothesized bird ancestor " 899:of various fossils on display. 75:The term "paleoart"–which is a 4305:. University of Chicago Press. 4176: 4094: 3853: 3590: 3556: 2944:Colagrande & Felder (2000) 2932:Colagrande & Felder (2000) 2685: 2649: 2625: 2601: 2382: 2370: 2358: 2346: 2334: 2322: 2297: 2285: 2273: 1702:Mikhail Mikhaylovich Gerasimov 1487: 818:"Classic" paleoart (1890–1970) 197:paleontologically-inspired art 149: 13: 1: 4460:Recreating an Age of Reptiles 4398: 4309: 4224: 4011:10.1080/14772019.2017.1371258 3957: 3786: 3678: 3605: 3598: 3545: 3534: 3370: 3062: 2978: 2897: 2885: 2756: 1401:), along with paleontologist 4476: 4454: 4348: 4300: 4069:10.1016/j.pgeola.2013.03.003 4042: 3973: 3827: 3748: 3706:In the Presence of Dinosaurs 3567: 3500: 3417: 3405: 3393: 3381: 3346: 3322: 3298: 3274: 3262: 3226: 3214: 3202: 3178: 3166: 3154: 3084: 3050: 3038: 3002: 2990: 2909: 2873: 2861: 2849: 2838: 2826: 2802: 2779: 2767: 2744: 2732: 2709: 2697: 2673: 2661: 2637: 2613: 2589: 2577: 2565: 2553: 2505: 2493: 2469: 2457: 2422: 2376: 2352: 2340: 2328: 2267: 2085:locked in mortal combat, by 600:, based on fossils found by 594:'s 1830 watercolor painting 567:entering the famous British 7: 4520: 4498: 4369: 4157: 4026:Mantell, Gideon A. (1851). 3992: 3921:Scaphognathus crassirostris 3805: 3734:. London: Irregular Books. 3703: 3646: 3465: 3286: 3250: 3238: 3190: 3143:Hochmanová-Burianová (1991) 3073: 3026: 3014: 2943: 2931: 2814: 2517: 2127:Zhejiangopterus linhaiensis 1576:Benjamin Waterhouse Hawkins 923:, where he was mentored by 719:Benjamin Waterhouse Hawkins 686:Benjamin Waterhouse Hawkins 479:'s 1800 restoration of the 317:"Proto-paleoart" (pre-1800) 10: 4650: 4427:Palaeontologia Electronica 4392:10.1016/j.crpv.2004.02.002 4202: 4075: 3930:Palaeontologia Electronica 3916: 3787:Davidson, Jane P. (2008). 3767: 3640:Early Science and Medicine 3637: 3614: 3579: 3358: 3334: 3310: 3130: 3107: 2955: 2920: 2815:Taquet & Padian (2004) 2791: 2721: 2541: 2529: 2481: 2445: 2411: 2399: 2364: 2291: 2279: 1969: 1308:Dinosaurs Past and Present 688:'s 1850s sculptures of an 678:, used on this specimen. 311: 29: 4609:Paleoartists Hall of Fame 4542: 4312:Encyclopedia of Dinosaurs 4245: 4025: 3891: 3751:Encyclopedia of Dinosaurs 3477: 3119: 3096: 2967: 2388: 2262:by Emily Willoughby, 2017 1582:Ferdinand von Hochstetter 1363:(2012) and its "sequel", 462:Gottfried Wilhelm Leibniz 4558: 4420:"State of the palaeoart" 4417: 4399:Terakado, Kazuo (2017). 4328: 4158:Milner, Richard (2012). 4076:Mayor, Adrienne (2011). 4043:Martill, D. M. (2014). " 3904: 3877:. Prague: Magnet-Press. 3610:. Jena (Gustav Fischer). 3524:Museu da Lourinhã (2009) 3523: 3512: 3489: 2434: 2412:Debus & Debus (2012) 2306:Palaeoart of the Ice Age 1983:Skeletal restoration of 1107:National Museum (Prague) 808:La Terre Avant le Deluge 796:La Terre Avant le Deluge 794:engaged in combat, from 784:'s 1865 illustration of 724:Great Exhibition of 1851 696:Crystal Palace Dinosaurs 171:Crystal Palace Dinosaurs 111:sculptures displayed in 4594:considered for deletion 4506:. London: Titan Books. 4125:10.1073/pnas.2000784117 4095:McDermott, Amy (2020). 3722: 3453: 3441: 3429: 1829:Petr Modlitba (b. 1966) 1521:Albuquerque, New Mexico 1469:, Emily Willoughby and 1447:Alfons and Adrie Kennis 402:Coelodonta antiquitatis 382:The Klagenfurt Lindworm 109:Crystal Palace Dinosaur 4372:Comptes Rendus Palevol 4301:Rudwick, M.J. (1992). 4030:. London: H. G. Bohn. 3606:Abel, Othenio (1939). 3466:Switek in White (2017) 3051:Stout in Knight (2005) 3039:Stout in Knight (2005) 1630:William Diller Matthew 1389: 1333: 1244: 1116:Burianosaurus augustai 1097: 1020:One Million Years B.C. 991: 979: 925:Henry Fairfield Osborn 916: 860: 798: 698: 604: 555: 516: 488: 485:Pterodactylus antiquus 414:, authored by scholar 383: 238: 174: 134:and likely related to 54: 4403:. PIE International. 3974:Lescaze, Zoë (2017). 3856:The Complete Dinosaur 1991:Othniel Charles Marsh 1986:Brontosaurus excelsus 1588:Othniel Charles Marsh 1373: 1321: 1302:for Bakker's seminal 1294:province of northern 1225: 1216:The Dinosaur Heresies 1157:, published in 1926. 1131:on earth history for 1088: 985: 966: 905: 849: 780: 684: 658:Georg August Goldfuss 589: 542: 510: 475: 381: 273:functional morphology 242:Scientific principles 227: 157: 42: 4233:on November 17, 2018 4162:. New York: Abrams. 3685:KRQE: Fox New Mexico 958:Dinosaur Renaissance 502:Baron Georges Cuvier 408:The German textbook 128:dinosaur renaissance 4384:2004CRPal...3..157T 4271:2013JGeEd..61..145R 4116:2020PNAS..117.2728M 4061:2014PrGA..125..120M 1845:Velizar Simeonovski 1304:Scientific American 1154:The Origin of Birds 1051:The Age of Reptiles 1038:Yale Peabody Museum 973:from the 1925 film 934:National Geographic 878:Edward Drinker Cope 547:'s 1822 cartoon of 411:Mundus Subterraneus 299:Artistic principles 289:species recognition 207:Aims and production 4634:Visual arts genres 3691:on 13 January 2019 1939:Stephen A. Czerkas 1851:Julius T. Csotonyi 1690:Charles W. Gilmore 1684:Richard Swann Lull 1498:John J. Lanzendorf 1390: 1334: 1300:feathered dinosaur 1245: 1172:by paleontologist 1098: 1064:magazine in 1953. 1056:The Age of Mammals 1008:Arthur Conan Doyle 992: 980: 917: 861: 799: 742:had realized that 728:the Crystal Palace 699: 694:pair, some of the 605: 556: 517: 498:Strasbourg, France 489: 416:Athanasius Kircher 384: 342:mythological Greek 239: 175: 55: 4462:. Crowood Press. 4362:978-0-9660106-8-8 4250:Tyrannosaurus rex 4087:978-0-691-15013-0 3884:978-80-85434-28-6 3726:; Kosemen, C.M.; 3630:978-84-606-7282-1 2315:978-1-5275-0071-6 1914:Michael Skrepnick 1869:Sergey Krasovskiy 1666:Rudolph Zallinger 1636:Charles R. Knight 1618:Alice B. Woodward 1612:Joseph M. Gleeson 1552:Henry De la Beche 1513:Museu da Lourinhã 1449:, as well fossil 1260:Michael Skrepnick 1256:Douglas Henderson 1229:Tyrannosaurus rex 943:Stephen Jay Gould 931:, as well as for 857:Charles R. Knight 836:Rudolph Zallinger 832:Charles R. Knight 730:was relocated to 672:Hermann von Meyer 609:Henry De la Beche 592:Henry De la Beche 561:William Conybeare 545:William Conybeare 458:Otto von Guericke 326:'s 1830 painting 324:Henry De la Beche 253:paleobiogeography 121:Charles R. Knight 117:American frontier 51:Charles R. Knight 16:(Redirected from 4641: 4597: 4571: 4569: 4567: 4555: 4553: 4551: 4539: 4517: 4495: 4473: 4451: 4449: 4447: 4442: 4424: 4414: 4395: 4366: 4345: 4343: 4341: 4336:on July 28, 2018 4332:. Archived from 4325: 4306: 4297: 4295: 4293: 4279:10.5408/11-259.1 4256: 4248:"The posture of 4242: 4240: 4238: 4221: 4204:Paul, Gregory S. 4199: 4197: 4195: 4190:on 6 August 2019 4189: 4182: 4173: 4154: 4152: 4150: 4137: 4127: 4110:(6): 2728–2731. 4101: 4091: 4072: 4039: 4022: 3989: 3970: 3968: 3966: 3954: 3952: 3950: 3945: 3927: 3913: 3901: 3888: 3869: 3850: 3838: 3824: 3802: 3783: 3764: 3745: 3719: 3700: 3698: 3696: 3687:. Archived from 3675: 3643: 3634: 3611: 3593: 3591:McDermott (2020) 3588: 3582: 3577: 3571: 3565: 3559: 3554: 3548: 3543: 3537: 3532: 3526: 3521: 3515: 3510: 3504: 3498: 3492: 3487: 3481: 3475: 3469: 3463: 3457: 3451: 3445: 3439: 3433: 3427: 3421: 3415: 3409: 3403: 3397: 3391: 3385: 3379: 3373: 3368: 3362: 3356: 3350: 3344: 3338: 3332: 3326: 3320: 3314: 3308: 3302: 3296: 3290: 3284: 3278: 3272: 3266: 3260: 3254: 3248: 3242: 3236: 3230: 3224: 3218: 3212: 3206: 3200: 3194: 3188: 3182: 3176: 3170: 3164: 3158: 3152: 3146: 3140: 3134: 3128: 3122: 3117: 3111: 3105: 3099: 3094: 3088: 3082: 3076: 3071: 3065: 3060: 3054: 3048: 3042: 3036: 3030: 3024: 3018: 3012: 3006: 3000: 2994: 2988: 2982: 2976: 2970: 2965: 2959: 2953: 2947: 2941: 2935: 2929: 2923: 2918: 2912: 2907: 2901: 2895: 2889: 2883: 2877: 2871: 2865: 2859: 2853: 2847: 2841: 2836: 2830: 2824: 2818: 2812: 2806: 2800: 2794: 2789: 2783: 2777: 2771: 2765: 2759: 2754: 2748: 2742: 2736: 2730: 2724: 2719: 2713: 2707: 2701: 2695: 2689: 2683: 2677: 2671: 2665: 2659: 2653: 2647: 2641: 2635: 2629: 2623: 2617: 2611: 2605: 2599: 2593: 2587: 2581: 2575: 2569: 2563: 2557: 2551: 2545: 2539: 2533: 2527: 2521: 2515: 2509: 2503: 2497: 2491: 2485: 2479: 2473: 2467: 2461: 2455: 2449: 2443: 2437: 2432: 2426: 2420: 2414: 2409: 2403: 2397: 2391: 2386: 2380: 2374: 2368: 2362: 2356: 2350: 2344: 2338: 2332: 2326: 2320: 2319: 2301: 2295: 2289: 2283: 2277: 2253: 2231: 2209: 2184: 2162: 2143: 2122: 2098: 2071: 2046: 2021: 2002: 1980: 1893:Danielle Dufault 1839:Davide Bonadonna 1740:Robert T. Bakker 1624:Ernest Untermann 1606:Gerhard Heilmann 1594:Amédée Forestier 1496:has awarded the 1492:Since 1999, the 1478:cultural inertia 1461:, Mark Hallett, 1258:, Mark Hallett, 1194:by his student, 1139:Gerhard Heilmann 1103:Dvůr Králové Zoo 1090:Gerhard Heilmann 1026:Valley of Gwangi 986:Illustration of 927:, and Chicago's 828:American Midwest 824:western frontier 762:sculpted over a 565:William Buckland 549:William Buckland 285:thermoregulation 216:, known for the 21: 4649: 4648: 4644: 4643: 4642: 4640: 4639: 4638: 4614: 4613: 4582: 4579: 4574: 4565: 4563: 4549: 4547: 4536: 4528:. Titan Books. 4514: 4492: 4478:Witton, Mark P. 4470: 4456:Witton, Mark P. 4445: 4443: 4422: 4411: 4363: 4339: 4337: 4322: 4291: 4289: 4254: 4236: 4234: 4218: 4193: 4191: 4187: 4180: 4170: 4148: 4146: 4099: 4088: 4005:(11): 967–979. 3986: 3964: 3962: 3948: 3946: 3925: 3885: 3866: 3847: 3821: 3799: 3780: 3761: 3742: 3716: 3694: 3692: 3664:10.2307/3514623 3631: 3601: 3596: 3589: 3585: 3578: 3574: 3566: 3562: 3555: 3551: 3546:Pickrell (2018) 3544: 3540: 3535:Brummett (2018) 3533: 3529: 3522: 3518: 3511: 3507: 3499: 3495: 3488: 3484: 3476: 3472: 3464: 3460: 3452: 3448: 3440: 3436: 3428: 3424: 3416: 3412: 3404: 3400: 3392: 3388: 3380: 3376: 3371:Terakado (2017) 3369: 3365: 3357: 3353: 3345: 3341: 3333: 3329: 3321: 3317: 3309: 3305: 3297: 3293: 3285: 3281: 3273: 3269: 3261: 3257: 3249: 3245: 3237: 3233: 3225: 3221: 3213: 3209: 3201: 3197: 3189: 3185: 3177: 3173: 3165: 3161: 3153: 3149: 3141: 3137: 3129: 3125: 3118: 3114: 3106: 3102: 3095: 3091: 3083: 3079: 3072: 3068: 3061: 3057: 3049: 3045: 3037: 3033: 3025: 3021: 3013: 3009: 3001: 2997: 2989: 2985: 2977: 2973: 2966: 2962: 2954: 2950: 2942: 2938: 2930: 2926: 2919: 2915: 2908: 2904: 2898:Davidson (2008) 2896: 2892: 2886:Davidson (2008) 2884: 2880: 2872: 2868: 2860: 2856: 2848: 2844: 2837: 2833: 2825: 2821: 2813: 2809: 2801: 2797: 2790: 2786: 2778: 2774: 2766: 2762: 2757:Otheniol (1939) 2755: 2751: 2743: 2739: 2731: 2727: 2720: 2716: 2708: 2704: 2696: 2692: 2684: 2680: 2672: 2668: 2660: 2656: 2648: 2644: 2636: 2632: 2624: 2620: 2612: 2608: 2600: 2596: 2588: 2584: 2576: 2572: 2564: 2560: 2552: 2548: 2540: 2536: 2528: 2524: 2516: 2512: 2504: 2500: 2492: 2488: 2480: 2476: 2468: 2464: 2456: 2452: 2444: 2440: 2433: 2429: 2421: 2417: 2410: 2406: 2398: 2394: 2387: 2383: 2375: 2371: 2363: 2359: 2351: 2347: 2339: 2335: 2327: 2323: 2316: 2302: 2298: 2290: 2286: 2278: 2274: 2270: 2263: 2256:Restoration of 2254: 2245: 2234:Restoration of 2232: 2223: 2220:Julius Csotonyi 2212:Restoration of 2210: 2201: 2185: 2176: 2165:Restoration of 2163: 2154: 2144: 2135: 2123: 2114: 2099: 2090: 2072: 2063: 2058:are animals of 2047: 2038: 2035:Heinrich Harder 2022: 2013: 2003: 1994: 1981: 1972: 1967: 1923: 1863:Robert Nicholls 1818:Ricardo Delgado 1776:Gregory S. Paul 1712: 1707: 1671: 1600:Heinrich Harder 1542: 1537: 1490: 1316: 1284:Stephen Czerkas 1203:Gregory S. Paul 1163: 1149:avian evolution 1134:Die Gartenlaube 1129:Wilhelm Bölsche 1125:Heinrich Harder 1015:Ray Harryhausen 1006:, based on the 954:Leaping Laelaps 939:Everhart Museum 911:(then known as 820: 770:framework; two 650:Duria Antiquior 470: 329:Duria Antiquior 319: 314: 301: 244: 209: 152: 35: 32:Prehistoric art 28: 23: 22: 15: 12: 11: 5: 4647: 4637: 4636: 4631: 4626: 4612: 4611: 4606: 4578: 4577:External links 4575: 4573: 4572: 4556: 4540: 4535:978-1785653988 4534: 4518: 4513:978-0857685841 4512: 4496: 4491:978-1785004612 4490: 4474: 4469:978-1785003349 4468: 4452: 4415: 4410:978-4756249227 4409: 4396: 4378:(2): 157–175. 4367: 4361: 4346: 4326: 4321:978-0122268106 4320: 4307: 4298: 4265:(1): 145–160. 4243: 4222: 4217:978-0312262266 4216: 4200: 4174: 4169:978-0810984790 4168: 4155: 4092: 4086: 4073: 4055:(1): 120–130. 4040: 4023: 3990: 3985:978-3836555111 3984: 3971: 3955: 3914: 3912:on 2009-02-06. 3902: 3889: 3883: 3870: 3865:978-0253357014 3864: 3851: 3846:978-0938644248 3845: 3825: 3820:978-0740785504 3819: 3803: 3798:978-0253351753 3797: 3784: 3779:978-0786464203 3778: 3765: 3760:978-0122268106 3759: 3746: 3741:978-1291177121 3740: 3732:All Yesterdays 3720: 3715:978-0737000894 3714: 3701: 3676: 3658:(5): 523–525. 3644: 3635: 3629: 3612: 3602: 3600: 3597: 3595: 3594: 3583: 3572: 3560: 3549: 3538: 3527: 3516: 3505: 3493: 3482: 3470: 3458: 3446: 3434: 3422: 3410: 3398: 3386: 3374: 3363: 3351: 3339: 3327: 3315: 3303: 3291: 3279: 3267: 3255: 3243: 3231: 3219: 3215:Lescaze (2017) 3207: 3203:Lescaze (2017) 3195: 3183: 3179:Lescaze (2017) 3171: 3167:Lescaze (2017) 3159: 3155:Lescaze (2017) 3147: 3135: 3123: 3112: 3100: 3089: 3077: 3066: 3055: 3043: 3031: 3019: 3007: 2995: 2983: 2971: 2968:Mantell (1851) 2960: 2948: 2936: 2924: 2913: 2910:Rudwick (1992) 2902: 2890: 2878: 2866: 2862:Martill (2014) 2854: 2842: 2839:Rudwick (1992) 2831: 2819: 2807: 2795: 2784: 2772: 2760: 2749: 2737: 2725: 2714: 2710:Lescaze (2017) 2702: 2690: 2678: 2666: 2654: 2642: 2630: 2618: 2606: 2594: 2582: 2570: 2558: 2546: 2534: 2522: 2510: 2498: 2486: 2474: 2462: 2450: 2438: 2427: 2415: 2404: 2392: 2381: 2377:Hallett (1987) 2369: 2357: 2353:Lescaze (2017) 2345: 2333: 2329:Hallett (1987) 2321: 2314: 2296: 2284: 2271: 2269: 2266: 2265: 2264: 2255: 2248: 2246: 2242:Mark P. Witton 2233: 2226: 2224: 2211: 2204: 2202: 2198:Mark P. Witton 2189:Quetzalcoatlus 2186: 2179: 2177: 2164: 2157: 2155: 2151:Mauricio Anton 2145: 2138: 2136: 2124: 2117: 2115: 2107:Eobalaenoptera 2100: 2093: 2091: 2073: 2066: 2064: 2051:Staurikosaurus 2048: 2041: 2039: 2023: 2016: 2014: 2004: 1997: 1995: 1982: 1975: 1971: 1968: 1966: 1965: 1960: 1954: 1948: 1942: 1936: 1929: 1922: 1921: 1919:Mark P. Witton 1916: 1911: 1906: 1901: 1896: 1890: 1884: 1878: 1875:Andrey Atuchin 1872: 1866: 1860: 1854: 1848: 1842: 1836: 1830: 1827: 1821: 1815: 1812:Mauricio Antón 1809: 1803: 1797: 1791: 1785: 1779: 1773: 1767: 1761: 1755: 1749: 1746:Doug Henderson 1743: 1737: 1731: 1725: 1718: 1711: 1708: 1706: 1705: 1699: 1696:Vasily Vatagin 1693: 1687: 1681: 1677: 1670: 1669: 1663: 1657: 1654:Alexey Bystrov 1651: 1648:James E. Allen 1645: 1639: 1633: 1627: 1621: 1615: 1609: 1603: 1597: 1591: 1585: 1579: 1573: 1567: 1561: 1555: 1548: 1541: 1538: 1536: 1533: 1501:PaleoArt Prize 1489: 1486: 1471:Mark P. Witton 1459:Jason Brougham 1455:Mauricio Antón 1431:All Yesterdays 1414:All Yesterdays 1408:All Yesterdays 1381:Arambourgiania 1315: 1312: 1162: 1159: 1069:Czechoslovakia 1003:The Lost World 976:The Lost World 949:Wonderful Life 873:Descent of Man 868:Charles Darwin 864:Charles Knight 819: 816: 740:Gideon Mantell 654:Jura Formation 617:Early Jurassic 534:St. Petersburg 469: 466: 361:depictions of 318: 315: 313: 310: 300: 297: 243: 240: 236:Andrey Atuchin 208: 205: 167:Georges Cuvier 151: 148: 60:(also spelled 26: 9: 6: 4: 3: 2: 4646: 4635: 4632: 4630: 4627: 4625: 4622: 4621: 4619: 4610: 4607: 4605: 4601: 4595: 4591: 4590: 4586: 4581: 4580: 4561: 4557: 4545: 4541: 4537: 4531: 4527: 4523: 4519: 4515: 4509: 4505: 4501: 4497: 4493: 4487: 4483: 4479: 4475: 4471: 4465: 4461: 4457: 4453: 4441: 4436: 4432: 4428: 4421: 4416: 4412: 4406: 4402: 4397: 4393: 4389: 4385: 4381: 4377: 4373: 4368: 4364: 4358: 4354: 4353: 4347: 4335: 4331: 4327: 4323: 4317: 4313: 4308: 4304: 4299: 4288: 4284: 4280: 4276: 4272: 4268: 4264: 4260: 4253: 4251: 4244: 4232: 4228: 4223: 4219: 4213: 4209: 4205: 4201: 4186: 4179: 4175: 4171: 4165: 4161: 4156: 4145: 4141: 4136: 4131: 4126: 4121: 4117: 4113: 4109: 4105: 4098: 4093: 4089: 4083: 4079: 4074: 4070: 4066: 4062: 4058: 4054: 4050: 4046: 4041: 4037: 4033: 4029: 4024: 4020: 4016: 4012: 4008: 4004: 4000: 3996: 3991: 3987: 3981: 3977: 3972: 3961: 3956: 3944: 3939: 3935: 3931: 3924: 3922: 3915: 3911: 3907: 3903: 3899: 3895: 3890: 3886: 3880: 3876: 3871: 3867: 3861: 3857: 3852: 3848: 3842: 3837: 3836: 3830: 3829:Hallett, Mark 3826: 3822: 3816: 3812: 3808: 3807:Gurney, James 3804: 3800: 3794: 3790: 3785: 3781: 3775: 3771: 3766: 3762: 3756: 3752: 3747: 3743: 3737: 3733: 3729: 3728:Naish, Darren 3725: 3721: 3717: 3711: 3707: 3702: 3690: 3686: 3682: 3677: 3673: 3669: 3665: 3661: 3657: 3653: 3649: 3648:Bakker, R. T. 3645: 3641: 3636: 3632: 3626: 3622: 3618: 3613: 3609: 3604: 3603: 3592: 3587: 3581: 3576: 3569: 3568:Witton (2018) 3564: 3558: 3553: 3547: 3542: 3536: 3531: 3525: 3520: 3514: 3509: 3502: 3501:Witton (2018) 3497: 3491: 3486: 3479: 3474: 3467: 3462: 3455: 3450: 3443: 3438: 3431: 3426: 3419: 3418:Witton (2018) 3414: 3407: 3406:Witton (2016) 3402: 3395: 3394:Witton (2018) 3390: 3383: 3382:Witton (2018) 3378: 3372: 3367: 3360: 3355: 3348: 3347:Witton (2018) 3343: 3336: 3331: 3324: 3323:Witton (2018) 3319: 3312: 3307: 3300: 3299:Witton (2018) 3295: 3288: 3283: 3276: 3275:Witton (2018) 3271: 3264: 3263:Witton (2018) 3259: 3252: 3251:Bakker (1986) 3247: 3240: 3235: 3228: 3227:Witton (2018) 3223: 3216: 3211: 3204: 3199: 3192: 3187: 3180: 3175: 3168: 3163: 3156: 3151: 3144: 3139: 3132: 3127: 3121: 3116: 3109: 3104: 3098: 3093: 3086: 3085:Witton (2018) 3081: 3075: 3074:Milner (2012) 3070: 3064: 3059: 3052: 3047: 3040: 3035: 3028: 3027:Milner (2012) 3023: 3016: 3011: 3004: 3003:Witton (2018) 2999: 2992: 2991:Witton (2018) 2987: 2980: 2975: 2969: 2964: 2957: 2952: 2945: 2940: 2933: 2928: 2922: 2917: 2911: 2906: 2899: 2894: 2887: 2882: 2875: 2874:Witton (2018) 2870: 2863: 2858: 2851: 2850:Witton (2018) 2846: 2840: 2835: 2828: 2827:Witton (2018) 2823: 2816: 2811: 2804: 2803:Witton (2018) 2799: 2793: 2788: 2781: 2780:Witton (2018) 2776: 2769: 2768:Witton (2018) 2764: 2758: 2753: 2746: 2745:Witton (2018) 2741: 2734: 2733:Witton (2018) 2729: 2723: 2718: 2711: 2706: 2699: 2698:Witton (2018) 2694: 2687: 2682: 2675: 2674:Witton (2018) 2670: 2663: 2662:Witton (2018) 2658: 2651: 2646: 2639: 2638:Witton (2018) 2634: 2627: 2622: 2615: 2610: 2603: 2598: 2591: 2586: 2579: 2578:Witton (2018) 2574: 2567: 2566:Witton (2018) 2562: 2555: 2554:Witton (2018) 2550: 2543: 2538: 2531: 2526: 2519: 2518:Gurney (2009) 2514: 2507: 2506:Witton (2018) 2502: 2495: 2494:Witton (2018) 2490: 2483: 2478: 2471: 2470:Witton (2018) 2466: 2459: 2458:Witton (2018) 2454: 2447: 2442: 2436: 2431: 2424: 2423:Witton (2016) 2419: 2413: 2408: 2401: 2396: 2390: 2385: 2378: 2373: 2366: 2361: 2354: 2349: 2342: 2341:Witton (2018) 2337: 2330: 2325: 2317: 2311: 2307: 2300: 2293: 2288: 2281: 2276: 2272: 2261: 2260: 2252: 2247: 2243: 2239: 2238: 2230: 2225: 2221: 2217: 2216: 2208: 2203: 2199: 2196:, created by 2195: 2191: 2190: 2183: 2178: 2174: 2173:Todd Marshall 2170: 2169: 2161: 2156: 2152: 2148: 2142: 2137: 2133: 2129: 2128: 2121: 2116: 2113: 2109: 2108: 2104:pursuing two 2103: 2097: 2092: 2088: 2084: 2083: 2082:Protoceratops 2078: 2077: 2070: 2065: 2061: 2057: 2053: 2052: 2045: 2040: 2036: 2032: 2031: 2026: 2020: 2015: 2011: 2010:Ernst Haeckel 2007: 2001: 1996: 1992: 1988: 1987: 1979: 1974: 1973: 1964: 1961: 1958: 1957:Michael Trcic 1955: 1952: 1949: 1946: 1943: 1941:(1951 - 2015) 1940: 1937: 1934: 1931: 1930: 1928: 1927: 1920: 1917: 1915: 1912: 1910: 1909:Josef Moravec 1907: 1905: 1902: 1900: 1899:Todd Marshall 1897: 1894: 1891: 1888: 1887:C. M. Kosemen 1885: 1882: 1879: 1876: 1873: 1870: 1867: 1864: 1861: 1858: 1855: 1852: 1849: 1846: 1843: 1840: 1837: 1834: 1831: 1828: 1825: 1822: 1819: 1816: 1813: 1810: 1807: 1804: 1801: 1798: 1795: 1794:Wayne Barlowe 1792: 1789: 1786: 1783: 1782:Peter Trusler 1780: 1777: 1774: 1771: 1768: 1765: 1762: 1759: 1758:William Stout 1756: 1753: 1750: 1747: 1744: 1741: 1738: 1735: 1734:Jay Matternes 1732: 1730:(1932 – 2013) 1729: 1726: 1724:(1924 – 2014) 1723: 1720: 1719: 1717: 1716: 1704:(1907 – 1970) 1703: 1700: 1698:(1883 – 1969) 1697: 1694: 1692:(1874 – 1945) 1691: 1688: 1686:(1867 – 1957) 1685: 1682: 1679: 1678: 1676: 1675: 1668:(1919 – 1995) 1667: 1664: 1662:(1905 – 1981) 1661: 1660:Zdeněk Burian 1658: 1656:(1899 – 1959) 1655: 1652: 1650:(1894 – 1964) 1649: 1646: 1644:(1875 – 1946) 1643: 1640: 1638:(1874 – 1953) 1637: 1634: 1632:(1871 – 1930) 1631: 1628: 1626:(1864 – 1956) 1625: 1622: 1620:(1862 – 1951) 1619: 1616: 1614:(1861 – 1917) 1613: 1610: 1608:(1859 – 1946) 1607: 1604: 1602:(1858 – 1935) 1601: 1598: 1596:(1854 – 1930) 1595: 1592: 1590:(1831 – 1899) 1589: 1586: 1584:(1829 – 1884) 1583: 1580: 1578:(1807 – 1894) 1577: 1574: 1572:(1804 – 1892) 1571: 1568: 1566:(1801 – 1876) 1565: 1564:Edward Newman 1562: 1560:(1789 – 1854) 1559: 1556: 1554:(1796 – 1855) 1553: 1550: 1549: 1547: 1546: 1532: 1529: 1524: 1522: 1518: 1514: 1509: 1507: 1502: 1499: 1495: 1485: 1483: 1479: 1474: 1472: 1468: 1464: 1463:Scott Hartman 1460: 1456: 1452: 1448: 1444: 1443:Jay Matternes 1440: 1434: 1432: 1428: 1424: 1423: 1419: 1415: 1411: 1409: 1404: 1400: 1396: 1387: 1383: 1382: 1377: 1372: 1368: 1366: 1362: 1358: 1353: 1349: 1345: 1340: 1331: 1327: 1326: 1320: 1311: 1309: 1305: 1301: 1297: 1293: 1287: 1285: 1281: 1277: 1273: 1269: 1265: 1264:William Stout 1261: 1257: 1253: 1252: 1251:Jurassic Park 1243: 1239: 1238:Robert Bakker 1235: 1231: 1230: 1224: 1220: 1218: 1217: 1212: 1208: 1204: 1199: 1197: 1196:Robert Bakker 1193: 1189: 1185: 1184: 1183:Archaeopteryx 1179: 1178:Thomas Huxley 1175: 1171: 1170: 1158: 1156: 1155: 1150: 1146: 1145: 1144:Archaeopteryx 1140: 1136: 1135: 1130: 1126: 1120: 1118: 1117: 1112: 1108: 1104: 1095: 1091: 1087: 1083: 1081: 1080:Josef Augusta 1077: 1076:Eduard Štorch 1074: 1073:archaeologist 1070: 1065: 1063: 1062: 1057: 1053: 1052: 1047: 1043: 1040:illustrating 1039: 1035: 1030: 1028: 1027: 1023:and the 1969 1022: 1021: 1016: 1012: 1009: 1005: 1004: 999: 998: 989: 984: 978: 977: 972: 971: 965: 961: 959: 955: 951: 950: 944: 940: 936: 935: 930: 926: 922: 914: 910: 909: 904: 900: 898: 894: 890: 889: 883: 882:Othniel Marsh 879: 875: 874: 869: 865: 858: 854: 853: 848: 844: 841: 840:Zdeněk Burian 837: 833: 829: 825: 815: 813: 809: 805: 804:Louis Figuier 797: 793: 792: 787: 783: 779: 775: 773: 769: 765: 761: 757: 753: 749: 745: 741: 737: 733: 729: 725: 720: 716: 712: 711: 705: 697: 693: 692: 687: 683: 679: 677: 673: 669: 668: 667:Scaphognathus 663: 659: 655: 651: 647: 645: 638: 634: 630: 626: 622: 618: 614: 610: 603: 599: 598: 593: 588: 584: 581: 580: 574: 570: 569:Kirkdale Cave 566: 562: 554: 553:Kirkdale cave 550: 546: 541: 537: 535: 531: 527: 522: 514: 509: 505: 503: 499: 495: 487: 486: 482: 478: 474: 465: 463: 459: 455: 451: 448: 444: 439: 437: 433: 429: 425: 421: 417: 413: 412: 406: 404: 403: 398: 394: 390: 380: 376: 374: 370: 369: 368:Protoceratops 364: 360: 356: 355: 351: 347: 343: 339: 335: 331: 330: 325: 309: 305: 296: 294: 290: 286: 280: 278: 274: 270: 265: 261: 258: 254: 251:) and space ( 250: 249:geochronology 237: 233: 232: 226: 222: 219: 215: 204: 200: 198: 193: 189: 185: 179: 172: 168: 164: 162: 161:Anoplotherium 156: 147: 145: 141: 137: 133: 129: 124: 122: 118: 114: 110: 105: 100: 98: 94: 90: 86: 85:Ancient Greek 82: 78: 73: 71: 67: 63: 59: 52: 48: 47: 41: 37: 33: 19: 4629:Paleontology 4600:Paleoartists 4587: 4564:. Retrieved 4550:December 31, 4548:. Retrieved 4525: 4522:White, Steve 4503: 4500:White, Steve 4481: 4459: 4444:. Retrieved 4440:10.26879/145 4430: 4426: 4400: 4375: 4371: 4351: 4338:. Retrieved 4334:the original 4311: 4302: 4290:. Retrieved 4262: 4258: 4249: 4235:. Retrieved 4231:the original 4207: 4192:. Retrieved 4185:the original 4159: 4147:. Retrieved 4107: 4103: 4077: 4052: 4048: 4044: 4027: 4002: 3998: 3975: 3965:December 31, 3963:. Retrieved 3947:. Retrieved 3943:10.26879/713 3933: 3929: 3920: 3910:the original 3898:The Guardian 3897: 3874: 3855: 3834: 3810: 3788: 3769: 3750: 3731: 3724:Conway, John 3705: 3693:. Retrieved 3689:the original 3684: 3655: 3651: 3639: 3620: 3607: 3586: 3575: 3563: 3552: 3541: 3530: 3519: 3508: 3496: 3485: 3480:pp. 145–160. 3473: 3461: 3449: 3437: 3425: 3413: 3401: 3389: 3377: 3366: 3354: 3342: 3330: 3318: 3306: 3294: 3287:White (2012) 3282: 3270: 3258: 3253:pp. 523–525. 3246: 3239:White (2012) 3234: 3222: 3217:pp. 111–114. 3210: 3198: 3193:pp. 967–979. 3186: 3174: 3162: 3150: 3138: 3126: 3115: 3103: 3092: 3080: 3069: 3058: 3053:pp. ix–xiii. 3046: 3041:pp. ix–xiii. 3034: 3022: 3015:White (2012) 3010: 2998: 2986: 2974: 2963: 2951: 2939: 2927: 2916: 2905: 2893: 2881: 2869: 2864:pp. 120–130. 2857: 2845: 2834: 2822: 2817:pp. 157–175. 2810: 2798: 2792:Ariew (1998) 2787: 2775: 2763: 2752: 2740: 2728: 2722:Mayor (2011) 2717: 2705: 2693: 2681: 2676:pp. 184–213. 2669: 2664:pp. 184–185. 2657: 2645: 2640:pp. 184–185. 2633: 2621: 2609: 2604:pp. 306–308. 2597: 2592:pp. 626–627. 2585: 2573: 2561: 2549: 2537: 2525: 2513: 2501: 2489: 2477: 2465: 2453: 2441: 2430: 2418: 2407: 2395: 2384: 2372: 2360: 2348: 2336: 2324: 2305: 2299: 2294:pp. 107–112. 2287: 2275: 2257: 2235: 2213: 2187: 2166: 2125: 2105: 2080: 2076:Velociraptor 2074: 2049: 2028: 1984: 1963:David Krentz 1945:Brian Cooley 1933:David Rankin 1925: 1924: 1895:(b. 1988/89) 1857:Darren Naish 1800:James Gurney 1752:John Sibbick 1722:Eleanor Kish 1714: 1713: 1673: 1672: 1642:Othenio Abel 1570:Richard Owen 1544: 1543: 1525: 1510: 1491: 1475: 1467:Bob Nicholls 1453:paleoartist 1435: 1430: 1426: 1420: 1413: 1406: 1403:Darren Naish 1391: 1379: 1364: 1360: 1344:pigmentation 1335: 1323: 1307: 1303: 1288: 1280:Brian Cooley 1249: 1246: 1227: 1214: 1210: 1207:warm-blooded 1200: 1191: 1187: 1181: 1167: 1164: 1152: 1142: 1132: 1121: 1114: 1099: 1066: 1059: 1055: 1049: 1046:World War II 1042:marine algae 1031: 1024: 1018: 1001: 995: 993: 987: 974: 968: 953: 947: 932: 929:Field Museum 918: 912: 906: 886: 871: 862: 850: 821: 812:Édouard Riou 807: 800: 795: 791:Megalosaurus 789: 785: 782:Édouard Riou 771: 743: 735: 708: 704:Richard Owen 700: 689: 665: 664:specimen of 653: 649: 641: 637:ichthyosaurs 629:paleoecology 612: 606: 595: 577: 557: 518: 494:Jean Hermann 490: 483: 477:Jean Hermann 440: 409: 407: 400: 385: 366: 352: 327: 320: 306: 302: 281: 260:plant tissue 245: 229: 214:James Gurney 210: 201: 180: 176: 159: 132:warm-blooded 125: 104:paleontology 101: 93:paleontology 89:Mark Hallett 80: 74: 69: 65: 61: 57: 56: 43: 36: 4237:17 November 4194:17 November 4045:Dimorphodon 3978:. Taschen. 3949:January 11, 3695:15 November 3642:(3): 39–50. 3359:Paul (2000) 3335:Paul (2000) 3311:Paul (2000) 3131:Paul (2000) 3108:Paul (2000) 3063:Kalt (2002) 2956:Paul (2000) 2389:Hone (2012) 2379:pp. 97–113. 2331:pp. 97–113. 2292:Paul (2000) 2237:Dimorphodon 2168:Anatosuchus 2132:John Conway 2087:Raúl Martín 2056:rhynchosaur 2006:Eurypterids 1951:Paul Sereno 1904:Raúl Martín 1881:John Conway 1833:Nobu Tamura 1824:Steve White 1764:John Gurche 1558:John Martin 1488:Recognition 1427:Microraptor 1422:Microraptor 1418:dromaeosaur 1399:C.M Kosemen 1395:John Conway 1386:Mark Witton 1378:pterosaurs 1357:Steve White 1352:open access 1348:digital art 1330:John Conway 1325:Deinonychus 1276:John Gurche 1211:Deinonychus 1192:Deinonychus 1188:Deinonychus 1174:John Ostrom 1169:Deinonychus 988:Triceratops 970:Triceratops 897:watercolors 633:plesiosaurs 625:Mary Anning 602:Mary Anning 579:Dimorphodon 454:Quedlinburg 428:plesiosaurs 424:Pleistocene 354:Samotherium 192:Mark Witton 173:sculptures. 150:Definitions 140:digital art 97:Middle Ages 18:Paleoartist 4618:Categories 3599:References 3570:pp. 13–14. 3513:SVP Online 3444:pp. 64–65. 3396:pp. 35–36. 3277:pp. 32–33. 3145:pp. 22–23. 3087:pp. 28–29. 3029:pp. 10–12. 2782:pp. 20–21. 2770:pp. 19–21. 2580:pp. 37–43. 2472:pp. 10–11. 2448:pp. 28–34. 2435:SVP Online 2367:pp. 28–34. 2282:pp. 28–34. 2259:Serikornis 2215:Linhenykus 2194:South Bank 2192:models in 2112:Karen Carr 2110:whales by 1926:3D artists 1806:Karen Carr 1715:2D artists 1674:3D artists 1545:2D artists 1376:azhdarchid 913:Elotherium 888:Elotherium 756:sculptures 644:Coprolitic 590:Geologist 543:Geologist 434:region of 393:Klagenfurt 334:Corinthian 293:camouflage 231:Olorotitan 188:vertebrate 4592:is being 4433:(3): 5E. 4287:162343784 3936:(3): 4T. 2268:Footnotes 2149:fauna by 2102:Megalodon 2037:, ca 1916 1959:(b. 1960) 1953:(b. 1957) 1947:(b. 1956) 1935:(b. 1946) 1889:(b. 1984) 1883:(b. 1981) 1877:(b. 1980) 1871:(b. 1975) 1865:(b. 1975) 1859:(b. 1975) 1853:(b. 1973) 1847:(b. 1968) 1841:(b. 1968) 1835:(b. 1966) 1826:(b. 1964) 1820:(b. 1964) 1814:(b. 1961) 1808:(b. 1960) 1802:(b. 1958) 1796:(b. 1958) 1790:(b. 1955) 1784:(b. 1954) 1778:(b. 1954) 1772:(b. 1953) 1770:Jan Sovák 1766:(b. 1951) 1760:(b. 1949) 1754:(b. 1949) 1748:(b. 1949) 1742:(b. 1945) 1736:(b. 1933) 1728:Alex Ebel 1405:, called 1339:archosaur 1234:AMNH 5027 1232:specimen 997:King Kong 967:Still of 908:Entelodon 786:Iguanodon 772:Iguanodon 748:pachyderm 744:Iguanodon 736:Iguanodon 710:Iguanodon 691:Iguanodon 611:. Dubbed 481:pterosaur 277:phylogeny 257:lignified 218:Dinotopia 70:paleo art 66:paleo-art 62:palaeoart 4624:Paleoart 4585:template 4566:March 5, 4524:(2017). 4502:(2012). 4480:(2018). 4458:(2016). 4446:July 28, 4340:July 27, 4292:July 28, 4149:April 7, 4144:32047097 4019:90008574 3809:(2009). 3730:(2012). 3289:pp. 8–9. 2700:pp. 7–8. 2425:pp. 7–8. 2030:Niolamia 1788:Luis Rey 1439:hominids 1374:Pair of 1367:(2017). 1292:Liaoning 1272:Luis Rey 1268:Ely Kish 1226:Cast of 1096:" (1916) 852:Smilodon 760:concrete 732:Sydenham 662:holotype 631:, shows 389:Lindwurm 363:griffins 350:giraffid 346:Heracles 269:ontogeny 144:Internet 77:compound 58:Paleoart 44:Leaping 4380:Bibcode 4267:Bibcode 4135:7022217 4112:Bibcode 4057:Bibcode 4036:8415138 3672:3514623 3652:PALAIOS 3361:p. 111. 3337:p. 111. 3313:p. 112. 3205:p. 110. 3181:p. 163. 3169:p. 166. 3157:p. 165. 3133:p. 110. 3110:p. 110. 2981:p. 162. 2958:p. 107. 2946:p. 170. 2934:p. 168. 2688:p. 306. 2652:p. 305. 2628:p. 305. 2616:p. 628. 2147:Ice Age 2060:Geopark 1970:Gallery 1441:, like 1240:at the 1094:Proavis 822:As the 806:titled 521:Yakutsk 513:mammoth 450:mammoth 447:Ice Age 443:unicorn 436:Bavaria 420:dragons 397:Austria 373:cyclops 359:Grecian 312:History 163:commune 46:Laelaps 4604:Curlie 4598: 4589:Curlie 4562:. 2017 4546:. 2010 4532: 4510: 4488: 4466: 4407: 4359: 4318: 4285: 4214: 4166: 4142: 4132: 4084: 4034: 4017: 3982: 3881: 3862: 3843: 3817: 3795: 3776: 3757: 3738: 3712: 3670: 3627: 3503:p. 35. 3456:p. 10. 3432:p. 64. 3420:p. 36. 3384:p. 34. 3349:p. 34. 3325:p. 33. 3301:p. 33. 3265:p. 32. 3229:p. 32. 3005:p. 26. 2993:p. 26. 2900:p. 52. 2888:p. 51. 2876:p. 22. 2852:p. 22. 2829:p. 22. 2805:p. 21. 2747:p. 18. 2735:p. 18. 2712:p. 17. 2568:p. 38. 2556:p. 13. 2544:p. 31. 2532:p. 29. 2520:p. 78. 2508:p. 10. 2496:p. 37. 2484:p. 32. 2460:p. 10. 2402:p. 29. 2355:p. 11. 2343:p. 17. 2312: 2244:, 2015 2222:, 2012 2175:, 2009 2153:, 2008 2134:, 2006 2025:Relief 2012:, 1914 1993:, 1896 1506:juried 1451:mammal 1388:, 2017 1332:, 2006 1105:, the 1034:Russia 859:(1903) 838:, and 715:iguana 646:Vision 621:Dorset 573:hyenas 432:Swabia 291:, and 275:, and 113:London 83:, the 53:, 1897 4583:‹The 4423:(PDF) 4283:S2CID 4255:(PDF) 4188:(PDF) 4181:(PDF) 4100:(PDF) 4015:S2CID 3926:(PDF) 3668:JSTOR 3468:p. 6. 3408:p. 8. 3241:p. 9. 3017:p. 9. 1989:, by 1482:memes 1384:, by 1296:China 1011:novel 768:brick 764:steel 526:trunk 344:hero 264:coral 136:birds 81:paleo 68:, or 4568:2022 4552:2018 4530:ISBN 4508:ISBN 4486:ISBN 4464:ISBN 4448:2018 4405:ISBN 4357:ISBN 4342:2018 4316:ISBN 4294:2018 4239:2018 4212:ISBN 4196:2018 4164:ISBN 4151:2020 4140:PMID 4104:PNAS 4082:ISBN 4032:OCLC 3980:ISBN 3967:2018 3951:2019 3879:ISBN 3860:ISBN 3841:ISBN 3815:ISBN 3793:ISBN 3774:ISBN 3755:ISBN 3736:ISBN 3710:ISBN 3697:2018 3625:ISBN 2310:ISBN 2089:2003 2079:and 2054:and 1445:and 1147:and 1111:Brno 1061:Life 880:and 788:and 766:and 635:and 530:boar 528:and 262:and 4602:at 4435:doi 4388:doi 4275:doi 4130:PMC 4120:doi 4108:117 4065:doi 4053:125 4007:doi 3938:doi 3660:doi 2240:by 2218:by 2171:by 2130:by 2033:by 2027:of 2008:by 1519:of 1429:in 1359:'s 1328:by 855:by 619:of 496:of 391:in 338:BCE 234:by 165:by 79:of 49:by 4620:: 4596:.› 4431:17 4429:. 4425:. 4386:. 4374:. 4281:. 4273:. 4263:61 4261:. 4257:. 4138:. 4128:. 4118:. 4106:. 4102:. 4063:. 4051:. 4013:. 4003:16 4001:. 3997:. 3934:21 3932:. 3928:. 3896:. 3683:. 3666:. 3654:. 3619:. 1465:, 1310:. 1282:, 1274:, 1270:, 1266:, 1262:, 1029:. 960:. 834:, 642:A 504:. 438:. 395:, 295:. 287:, 271:, 199:. 64:, 4570:. 4554:. 4538:. 4516:. 4494:. 4472:. 4450:. 4437:: 4413:. 4394:. 4390:: 4382:: 4376:3 4365:. 4344:. 4324:. 4296:. 4277:: 4269:: 4241:. 4220:. 4198:. 4172:. 4153:. 4122:: 4114:: 4090:. 4071:. 4067:: 4059:: 4038:. 4021:. 4009:: 3988:. 3969:. 3953:. 3940:: 3900:. 3887:. 3868:. 3849:. 3823:. 3801:. 3782:. 3763:. 3744:. 3718:. 3699:. 3674:. 3662:: 3656:2 3633:. 2318:. 247:( 34:. 20:)

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Index