Natural history dioramas : a popular art idiom in the museum context
| dc.contributor.author | Wonders, Karen Elizabeth | en_US |
| dc.date.accessioned | 2024-08-15T20:19:08Z | |
| dc.date.available | 2024-08-15T20:19:08Z | |
| dc.date.copyright | 1985 | en_US |
| dc.date.issued | 1985 | |
| dc.degree.department | Department of History in Art | en_US |
| dc.degree.level | Master of Arts M.A. | en |
| dc.description.abstract | This study examines the natural history diorama as a unique exhibition technique which proliferated in North American museums during the twentieth century, Chapter 1 concludes that, despite its many derivations, current usage of the term "diorama" is most commonly applied to three-dimensional, life-scaled exhibits which feature wildlife specimens posed in simulated environmental habitats. In Chapter 2, early nineteenth century illusionistic spectacles are investigated as popular predecessors of the modern museum diorama, This inquiry into the diorama's historical origins also includes a review of the first, natural history collections, the popularization of natural history for public consumption, and the evolution of the natural history museum in North America. Chapter 3 examines the development of the group method of exhibiting wildlife specimens. A growing concern with the disappearing wilderness and the new educational goals of museums are viewed as factors which contributed to the emergence of the habitat concept as an exhibition technique in the early twentieth century. Natural history dioramas are compared to the American school of nineteenth century panoramic landscape painting in Chapter 4. Because of their affinity in style and subject matter , it is proposed that dioramas be consider ed a popular continuation of a fine arts convention in landscape painting. Chapter 5 explores dioramas as a n art form that transformed the course of museological exhibition. To demonstrate the skill and creativity involved in producing a diorama, the careers of several background painters are discussed, together with the personal views of some contemporary museum artists. Argument i s presented that museums have tended to overlook the special qualities that make the art of dioramas unique. In the final chapter it is concluded that natural history dioramas have not received the recognition they deserve as a popular art form that has dominated the history of museological exhibition in North America. | |
| dc.format.extent | 330 pages | |
| dc.identifier.uri | https://hdl.handle.net/1828/20233 | |
| dc.rights | Available to the World Wide Web | en_US |
| dc.title | Natural history dioramas : a popular art idiom in the museum context | en_US |
| dc.type | Thesis | en_US |
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