‘New scenes drawn by the pencil of Truth’: Joseph Banks' northern voyage

Bonehill, John

doi:10.1016/j.jhg.2012.05.018

Cited by 6 publications

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“…On his voyage to Iceland, passing near the Morven peninsula, on the West coast of Scotland, Banks was so moved by the scenery that he recalled the poems of Ossian and wished that he could stop to read these works under the shade of the Scottish woods. 44 Recent scholarship on Sir Joseph Banks has sought to encompass his varied interests among a range of cultural practices, including the fine arts but, as with William Hunter, his activities as an art collector or patron of the arts continues to be obscured by his role as President of the Royal Society, his working relationship with the Royal Academy of Arts is also less well known. Clearly, as a member of the Dilettanti Society, and a patron of the Royal Academy of Arts, Banks is a crucial figure in the eighteenth-century art world.…”

Section: Naturalism: Empirical and Autopsiamentioning

confidence: 99%

Joseph Banks and William Hunter: where the Royal Society meets the Royal Academy

McCormack

2019

Journal for Maritime Research

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The physician, anatomist and man-midwife, Dr William Hunter (1718-1783) and the gentleman-scientist, Sir Joseph Banks (1743-1820) shared similar objectives for the advancement of the natural sciences in the second half of the eighteenth century. Both men were naturalists, engaged in personal and organisational pursuit of collecting and disseminating various forms of early scientific information. While Hunter concentrated on developing anatomy as a form of useful knowledge, Banks's efforts centred on botany, a field of natural history crucial to Enlightenment ideas of improvement, of 'knowledge and social utility combined'. 1 This essay describes their interconnected associations, affiliations and dealings, as patrons and collectors, and principal advisors in these emergent disciplines. Together, both Banks and Hunter contributed to Enlightenment views of public discourse surrounding the production of useful knowledge, in gathering and distributing the visual and material artefacts of exploration, forensic investigation, collation, and categorisation. Importantly, in their professional and personal activities both men highlighted developing forms of artistic practice and nascent theories of visual arts and how these would enhance and increase the circulation of natural knowledge. There is no doubt that Banks and Hunter exercised comparable approaches, supporting the integration of written descriptions and images, and how this aided comprehension but, as this essay suggests, their opinions often diverged on the methods and purposes of the visual arts, within a more generalised cultural sphere amongst members of the Royal Society and the Royal Academy of Arts, during the period.From Soho Square to Great Windmill Street As for many eighteenth-century collectors, Banks and Hunter prioritised finding individual houses in London where they could establish their museums. These Two 'centres of calculation' were situated within a short walking distance of each other, in the city of Westminster. 2 (fig. 1 and fig. 2). The sites of both houses were located within the major developments taking place in London at this time, and typical of these re-designs of the city are John Gwynn's London and Westminster Improved, 1766, incorporating: 'new royal parks and palaces, open quays along the Thames with a new bridge, a grid of squares and thoroughfares, and the meticulously detailed straightening of the crooked streets and alleys of the old metropolis.' 3 Gwynn's plans sought to articulate a response in urban design to the collaborative nature of economic and social conservativism, characteristic of both Banks's and Hunter's sense of Enlightenment improvement. 4 Among the newly-paved, clean and well-lit streets of Westminster, Joseph Banks's house, 32 Soho Square, and William Hunter's home, 16 Great Windmill Street, dominated the corresponding cultural landscapes of natural history and anatomy, supplying a burgeoning early scientific community access to an increasingly dynamic range of resources. The homes of both men included impr...

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Section: Naturalism: Empirical and Autopsiamentioning

confidence: 99%

Joseph Banks and William Hunter: where the Royal Society meets the Royal Academy

McCormack

2019

Journal for Maritime Research

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“…Loosely composed, and quickly executed, these landscape images lack the studied qualities of compositions produced by professional artist‐travellers who accompanied official expeditions. They painted with a keen eye on the scientific and commercial value of their work (Bonehill ). Wheeler‐Cuffe was not operating under those constraints and thus her images are often more intimate in scale and free in style, composed on site and reflective of her immediate reaction to a scene.…”

Section: Prelude To Ascending Mount Victoriamentioning

confidence: 99%

On the colonial frontier: gender, exploration and plant‐hunting on Mount Victoria in early 20th‐century Burma

Johnson

2017

Trans Inst British Geog

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In April 1922 Charlotte Wheeler‐Cuffe was elected a Fellow of the Royal Geographical Society. This honour was in recognition of her contribution to plant hunting and exploration, botanical illustration and anthropological knowledge accumulated about Burma during the quarter of a century (1897–1922) she spent there with her husband as part of the colonial service. While historical geographers have acknowledged that the colonies, in particular, often afforded women the space for practising science, the work of female naturalists in the field has received limited detailed scholarly attention. For Charlotte Wheeler‐Cuffe, her plant‐hunting expeditions across Burma allow us to extend the epistemic reach of a spatial perspective developed by geographers and to demonstrate how the web of connections she developed in the colonies enabled her to circulate scientific knowledge across the globe. By focusing on a major expedition to Mount Victoria undertaken by Wheeler‐Cuffe, this paper unravels the complexity of the practice of natural history within a global imperial framework through an examination of the private correspondence and pictorial archive maintained during her time in Burma.

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Curating collapse: performing maritime cultural heritage in Iceland’s museums and tours

Antonova

Rieser

2018

Maritime Studies

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Professional fishing and fisheries quota systems can affect women and men differently, yet gender analysis of quota systems is rare. In this article, we use a feminist framing and a mixed methods approach to examine the long-term gendered effects of the introduction of the 1990 quota system in Norway. Using statistics from the National Fishery Registry and the Directorate of Fisheries, we found that the number of women and men registered as fishers has declined since 1990 (an overall decline of 59%). Over this period, men have consistently outnumbered women among registered fishers (2.7-3.2% women), among boat owners (2.23% women in 2017) and particularly among owners of larger boats (> 11 m), which can have multiple quotas (0.35% women in 2017). However, changes in the age and geographic location among women fishers reflect changes to fisheries overall, as well as highlighting the gender-blind entry barriers that disproportionately impact women. In addition, contextualising statistical data with participant interviews conducted in North Norway, especially in Finnmark, enables us to examine more closely why the gender gap remains. This mixed method approach also identifies changes women and men working in fisheries have undergone, while also addressing women fishers' political efforts to improve gender equity in Norwegian fisheries. Our study contributes to a more nuanced understanding of Norwegian coastal fishing, and particularly women's small but significant presence.

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‘New scenes drawn by the pencil of Truth’: Joseph Banks' northern voyage

Cited by 6 publications

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Joseph Banks and William Hunter: where the Royal Society meets the Royal Academy

Joseph Banks and William Hunter: where the Royal Society meets the Royal Academy

On the colonial frontier: gender, exploration and plant‐hunting on Mount Victoria in early 20th‐century Burma

Curating collapse: performing maritime cultural heritage in Iceland’s museums and tours

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