Grahic Jump Location
Like a segmented mummy, "Suspended Self Portrait" (left) welcomes
visitors to the National Library of Medicine's new exhibit, "Dream Anatomy."
A detail of the portrait's legs (right) shows bone (white), marrow (pink),
muscle (red), and adipose tissue (yellow). Carolyn Henne, artist.
(Photo credits: Carolyn Henne, left, and Brian Vastag, right)
La dissection des parties du corps humain . . . ,
a 1546 French woodcut, exemplifies an early modern era of anatomy in
which the boundary between art and science was ill-defined. Anatomical renderings
from this period often display cadavers in whimsical poses superimposed on
classical backdrops. Charles Estienne, author. Étienne de la Rivière,
anatomist. (Photo credit: National Library of Medicine, National Institutes
of Health)
In the late 18th century, the fanciful style of earlier anatomists
gave way to a gritty realism. In "The Anatomy of the Gravid Human Uterus,"
a 1774 English copper-plate engraving, the dissection of the cadaver of a
woman who died late in pregnancy is rendered in fine, gruesome detail. William
Hunter, anatomist. Jan van Riemsdyk, artist. (Photo credit: National Library
of Medicine, National Institutes of Health)
The early 19th century saw the rise of a new realism in which anatomists
and artists sought to communicate the growing body of anatomical knowledge
using vivid, hyperrealistic colors. This Italian hand-colored copper-plate
engraving is one of several on display from the masterwork "Anatomia Universale"
(1833). Pablo Mascagni, anatomist. Antonio Serantoni, artist. (Photo credit:
National Library of Medicine, National Institutes of Health)
Grahic Jump Location
Like a segmented mummy, "Suspended Self Portrait" (left) welcomes
visitors to the National Library of Medicine's new exhibit, "Dream Anatomy."
A detail of the portrait's legs (right) shows bone (white), marrow (pink),
muscle (red), and adipose tissue (yellow). Carolyn Henne, artist.
(Photo credits: Carolyn Henne, left, and Brian Vastag, right)
La dissection des parties du corps humain . . . ,
a 1546 French woodcut, exemplifies an early modern era of anatomy in
which the boundary between art and science was ill-defined. Anatomical renderings
from this period often display cadavers in whimsical poses superimposed on
classical backdrops. Charles Estienne, author. Étienne de la Rivière,
anatomist. (Photo credit: National Library of Medicine, National Institutes
of Health)
In the late 18th century, the fanciful style of earlier anatomists
gave way to a gritty realism. In "The Anatomy of the Gravid Human Uterus,"
a 1774 English copper-plate engraving, the dissection of the cadaver of a
woman who died late in pregnancy is rendered in fine, gruesome detail. William
Hunter, anatomist. Jan van Riemsdyk, artist. (Photo credit: National Library
of Medicine, National Institutes of Health)
The early 19th century saw the rise of a new realism in which anatomists
and artists sought to communicate the growing body of anatomical knowledge
using vivid, hyperrealistic colors. This Italian hand-colored copper-plate
engraving is one of several on display from the masterwork "Anatomia Universale"
(1833). Pablo Mascagni, anatomist. Antonio Serantoni, artist. (Photo credit:
National Library of Medicine, National Institutes of Health)
Grahic Jump Location
Like a segmented mummy, "Suspended Self Portrait" (left) welcomes
visitors to the National Library of Medicine's new exhibit, "Dream Anatomy."
A detail of the portrait's legs (right) shows bone (white), marrow (pink),
muscle (red), and adipose tissue (yellow). Carolyn Henne, artist.
(Photo credits: Carolyn Henne, left, and Brian Vastag, right)
La dissection des parties du corps humain . . . ,
a 1546 French woodcut, exemplifies an early modern era of anatomy in
which the boundary between art and science was ill-defined. Anatomical renderings
from this period often display cadavers in whimsical poses superimposed on
classical backdrops. Charles Estienne, author. Étienne de la Rivière,
anatomist. (Photo credit: National Library of Medicine, National Institutes
of Health)
In the late 18th century, the fanciful style of earlier anatomists
gave way to a gritty realism. In "The Anatomy of the Gravid Human Uterus,"
a 1774 English copper-plate engraving, the dissection of the cadaver of a
woman who died late in pregnancy is rendered in fine, gruesome detail. William
Hunter, anatomist. Jan van Riemsdyk, artist. (Photo credit: National Library
of Medicine, National Institutes of Health)
The early 19th century saw the rise of a new realism in which anatomists
and artists sought to communicate the growing body of anatomical knowledge
using vivid, hyperrealistic colors. This Italian hand-colored copper-plate
engraving is one of several on display from the masterwork "Anatomia Universale"
(1833). Pablo Mascagni, anatomist. Antonio Serantoni, artist. (Photo credit:
National Library of Medicine, National Institutes of Health)
Grahic Jump Location
Like a segmented mummy, "Suspended Self Portrait" (left) welcomes
visitors to the National Library of Medicine's new exhibit, "Dream Anatomy."
A detail of the portrait's legs (right) shows bone (white), marrow (pink),
muscle (red), and adipose tissue (yellow). Carolyn Henne, artist.
(Photo credits: Carolyn Henne, left, and Brian Vastag, right)
La dissection des parties du corps humain . . . ,
a 1546 French woodcut, exemplifies an early modern era of anatomy in
which the boundary between art and science was ill-defined. Anatomical renderings
from this period often display cadavers in whimsical poses superimposed on
classical backdrops. Charles Estienne, author. Étienne de la Rivière,
anatomist. (Photo credit: National Library of Medicine, National Institutes
of Health)
In the late 18th century, the fanciful style of earlier anatomists
gave way to a gritty realism. In "The Anatomy of the Gravid Human Uterus,"
a 1774 English copper-plate engraving, the dissection of the cadaver of a
woman who died late in pregnancy is rendered in fine, gruesome detail. William
Hunter, anatomist. Jan van Riemsdyk, artist. (Photo credit: National Library
of Medicine, National Institutes of Health)
The early 19th century saw the rise of a new realism in which anatomists
and artists sought to communicate the growing body of anatomical knowledge
using vivid, hyperrealistic colors. This Italian hand-colored copper-plate
engraving is one of several on display from the masterwork "Anatomia Universale"
(1833). Pablo Mascagni, anatomist. Antonio Serantoni, artist. (Photo credit:
National Library of Medicine, National Institutes of Health)