Paleoart

Source: Wikipedia. Pages: 29. Chapters: Gregory S. Paul, Crystal Palace Dinosaurs, Charles R. Knight, William Stout, Zdenek Burian, Duria Antiquior, Gerhard Heilmann, Robert T. Bakker, Benjamin Waterhouse Hawkins, March of Progress, The Age of Reptiles, Amédée Forestier, John Sibbick, James Gurney, Julius T. Csotonyi, Luis Rey, John Lanzendorf, Karen Carr, Mauricio Antón, Heinrich Harder, Rudolph F. Zallinger, John Gurche, Jan Sovák. Excerpt: Gregory Scott Paul (24 December 1954) is a freelance researcher, author and illustrator who works in paleontology, and more recently has examined sociology and theology. He is best known for his work and research on theropod dinosaurs and his detailed illustrations, both live and skeletal. Professionally investigating and restoring dinosaurs for three decades, Paul received an on-screen credit as dinosaur specialist on Jurassic Park and Discovery Channel's When Dinosaurs Roamed America and Dinosaur Planet. He is the author and illustrator of Predatory Dinosaurs of the World (1988), The Complete Illustrated Guide to Dinosaur Skeletons (1996), Dinosaurs of the Air (2001), The Princeton Field Guide To Dinosaurs (2010), Gregory S. Paul's Dinosaur Coffee Table Book (2010), and editor of The Scientific American Book of Dinosaurs (2000). Paul's recent research on the interactions of religion and society has received international press and media coverage. Stegosaurus stenops and Allosaurus fragilis mounts posed after illustrations made by Gregory S. Paul, Denver Museum of Nature and SciencePaul helped pioneer the "new look" of dinosaurs in the 1970s. Through a series of dynamic ink drawings and oil paintings he was among the first professional artists to depict them as active, warm-blooded and - in the case of the small ones - feathered. Many later dinosaur illustrations are a reflection of his anatomical insights or even a direct imitation of his style. The fact that he worked closely with paleontologists, did his own independent paleontological research and created a series of skeletal restorations of all sufficiently known dinosaurs, lead many to regard his images as a sort of scientific standard to be followed. This tendency is stimulated by his habit of constantly redrawing older work to let it reflect the latest finds and theories. Much of it is in black-and-white, in ink or coloured pencil. Paul popularized the black flesh on white bones skeletal dinosaur images emp