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With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s. With its fittingly dramatic design, Courbet and the Modern Landscape accompanies the first major museum exhibition specifically to address Gustave Courbet's extraordinary achievement in landscape painting. Many of these carefully selected works produced from 1855 to 1876--gathered from Asia, Europe, and North America--will be new to readers. The catalogue--which accompanies an exhibition at the Getty Museum to be held from February 21 to May 14, 2006--highlights the artist's expressive responses to the natural environment. Essays by the curators examine Courbet's distinctly modern practice of landscape painting. Mary Morton's essay situates his landscapes in relation to his work in other genres, his critical reputation, and his role in establishing a new pictorial language for landscape painting. Charlotte Eyerman's essay investigates how later generations of nineteenth- and twentieth-century artists responded to Courbet's example. The catalogue also includes an essay by Dominique de Font-Reaulx, curator of photographs at the Musee d'Orsay, on the relationship between Courbet's work and landscape photography of the 1850s and 1860s.

Gisela Kutzbach has provided an unparalleled account of the mainstream of meteorological thought during the nineteenth and early twentieth centuries. This book takes us from the era of attempts to describe disturbances as mechanistic interactions of air currents, through Espy's introduction in the 1830's of the proposition that cyclones are convective systems driven by heat of condensation in central rainy areas, up to the distinctively different polar front theory of 1920, often considered as the birth of modern meteorology. Follies and controversies as well as successes are recounted, and in the tale the cast of characters, many of them acute observers or experimenters as well as theoreticians, and some crusty and dogmatic, are brought to life. The period was one in which basic concepts of thermodynamics, hydrodynamics, and energy conversions emerged with parallel accommodations to the special needs of meteorology. Influences of the development of synoptic meteorology and early aerology are thoroughly treated, essential mathematical expositions are presented in their original forms with explications, and theories and analyses are illuminated by numerous well-chosen figures and quotations. Concise but complete, and written in a style easy to comprehend, the treatise is a lively account of a lively time in the development of science. Kutzbach has succeeded well in her objectives, to provide "an insight in the particular problems and methods of problem solving in nineteenth century meteorology" and to illustrate "that science is a human activity and that its development is an open-ended process involving the constant testing of hypotheses."