Wildlife art in the 18th to 19th C. In 1743, Mark Catesby published

 his documentation of the flora and fauna of the explored areas of the New World, which helped encourage both business investment and interest in the natural history of the continent. In response to the decadence of the Rococo period, neo-classicism arose in the late 18th Century (1750-1830 ).

 This genre is more ascetic, and contains much sensuality, but none of the spontaneity which characterizes the later Romantic period. This movement focused on the supremacy of natural order over man's will, a concept which culminated in the romantic art depiction of disasters and madness. Francois Le Vaillant (1769-1832) was a bird illustrator (and ornithologist) around this time. Georges Cuvier, (1769-1832), painted accurate images of more than 5000 fish, relating to his studies of comparative organismal biology. Edward Hicks is an example of an American wildlife painter of this period, who's art was dominated by his religious context. Sir Edwin Henry Landseer was also painting wildlife at this time, in a style strongly influenced by dramatic emotional judgments of the animals involved.

 This focus towards nature led the painters of the Romantic era (1790 - 1880) to transform landscape painting, which had previously been a minor art form, into an art-form of major importance. The romantics rejected the ascetic ideals of Neo-Classicalism.The practical use of photography began in around 1826, although it was a while before wildlife became a common subject for its use. The first color photograph was taken in 1861, but easy-to-use color plates only became available in 1907. In 1853 Bisson and Mante created some of the first known wildlife photography. In France, Gaspar-Felix Tournacho, "Nadar" (1820-1910) applied the same aesthetic principles used in painting, to photography, thus beginning the artistic discipline of fine art photography. Fine Art photography Prints were also reproduced in Limited Editions, making them more valuable. Jaques-Laurent Agasse was one of the foremost painters of animals in Europe around the end of the 18th C and the beginning of the 19th. His animal art was unusually realistic for the time, and he painted some wild animals including giraffe and leopards. Romantic wildlife art includes "zebra", "cheetah, stag and two Indians", at least two monkey paintings, a leopard and "portrait of a royal tiger" by George Stubbs who also did many paintings of horses. One of the great wildlife sculptors of the Romantic period was Antoine-Louis Barye. Barye was also a wildlife painter, who demonstrated the typical dramatic concepts and lighting of the romantic movement. Delacroix painted a tiger attacking a horse, which as is common with Romantic paintings, paints subject matter on the border between human (a domesticated horse) and the natural world (a wild tiger). In America, the landscape painting movement of the Romantic era was known as the Hudson River School (1850s - c. 1880). These landscapes occasionally include wildlife, such as the deer in "Dogwood" and "valley of the Yosemite" by Albert Bierstadt, and more obviously in his "buffalo trail", but the focus is on the landscape rather than the wildlife in it. Wildlife artist Ivan Ivanovitch Shishkin demonstrates beautiful use of light in his landscape-oriented wildlife art. Although Romantic painting focused on nature, it rarely portrayed wild animals, tending much more towards the borders between man and nature, such as domesticated animals and people in landscapes rather than the landscapes.

 themselves. Romantic art seems in a way to be about nature, but usually only shows nature from a human perspective. Audubon was perhaps the most famous painter of wild birds at around this time, with a distinctive American style, yet painting the birds realistically and in context, although in somewhat over-dramatic poses. As well as birds, he also painted the mammals of America, although these works of his are somewhat less well known. At around the same time In Europe, Rosa Bonheur was finding fame as a wildlife artist. Amongst Realist art, "the raven" by Manet and "stags at rest" by Rosa Bonheur are genuine wildlife art. However in this artistic movement animals are much more usually depicted obviously as part of a human context. The wildlife art of the impressionist movement includes "angler's prize" by Theodore Clement Steele, and the artist Joseph Crawhall was a specialist wildlife artist strongly influenced by impressionism. At this time, accurate scientific wildlife illustration was also being created. One name known for this kind of work in Europe is John Gould although his wife Elizabeth was the one who actually did most of the illustrations for his books on birds. Post-impressionism (1886 - 1905, France) includes a water-bird in Rousseau's "snake charmer", and Rousseau's paintings, which include wildlife, are sometimes considered Post-impressionist (as well as Fauvist, see below). Fauvism (1904 - 1909.

 France) often considered the first "modern" art movement, re-thought use of color in art. The most famous fauvist is Matisse, who depicts birds and fish in is "polynesie la Mer" and birds in his "Renaissance". Other wildlife art in this movement includes a tiger in "Surprised! Storm in the Forest" by Rousseau, a lion in his "sleeping Gypsy" and a jungle animal in his "exotic landscape". Georges Braque depicts a bird in many of his artworks, including "L'Oiseaux Bleu et Gris", and his "Astre et l'Oiseau". Ukiyo-e-printmaking (Japanese.  LEG 440 Procurement and Contract Law Assignment help wood-block prints, originating from 17th C) was becoming known in the West, during the 19th C, and had a great influence on Western painters, particularly in France. Wildlife art in this genre includes several untitled prints (owl, bird, eagle) by Ando Hiroshige, and "crane", "cat and butterfly", "wagtail and wisteria" by Hokusai Katsushika. Wildlife art in the 20th Century, Contemporary art, postmodern art, etc. Changing from the relatively stable views of a mechanical universe held in the 19th-century, the 20th-century shatters these views with such advances as Einstein's Relativity and Freuds sub-conscious psychological influence. The greater degree of contact with the rest of the world had a significant influence on Western arts, such as the influence of African and Japanese art on Pablo Picasso, for example. American Wildlife artist Carl Runguis spans the end of the 19th and the beginnings of the 20th Century. His style evolved from tightly rendered scientific-