The New York “Central Park”

1867 ◽  
Vol 83 (4) ◽  
pp. 233-IN1
Author(s):  
William H. Grant
Keyword(s):  
New York ◽  
2005 ◽  
Vol 156 (8) ◽  
pp. 288-296
Author(s):  
Vittorio Magnago Lampugnani

In the first half of the 19th century scientific philosophers in the United States, such as Emerson and Thoreau, began to pursue the relationship between man and nature. Painters from the Hudson River School discovered the rural spaces to the north of New York and began to celebrate the American landscape in their paintings. In many places at this time garden societies were founded, which generated widespread support for the creation of park enclosures While the first such were cemeteries with the character of parks, housing developments on the peripheries of towns were later set in generous park landscapes. However, the centres of the growing American cities also need green spaces and the so-called «park movement»reached a first high point with New York's Central Park. It was not only an experimental field for modern urban elements, but even today is a force of social cohesion.


Soil Horizons ◽  
1984 ◽  
Vol 25 (4) ◽  
pp. 18 ◽  
Author(s):  
Gerald W. Olson

2019 ◽  
Vol 1 ◽  
pp. 1-2
Author(s):  
Nathaniel Garnett Slaughter IV

<p><strong>Abstract.</strong> In October of 2018, the first official squirrel census of New York City’s Central Park was conducted. Throughout the project’s 30-month duration, maps were a critical tool &amp;ndash; from logistical planning and data gathering, to data analysis and presentation of census results. Of these project phases, two in particular generated important cartographical work, not only to the success of the census project, but within the historical lineage of Central Park maps: the Tally Map, which was used for squirrel and park data collection, and the series of maps to be used to present the census findings in the Official Central Park Squirrel Census Report.</p>


2021 ◽  
pp. 107-119
Author(s):  
Phyllis Ellin ◽  
Lane Addonizio ◽  
Sara Cedar Miller
Keyword(s):  
New York ◽  

2021 ◽  
Author(s):  
Robert M. Peck ◽  
Stephen M. Rowland

ABSTRACT Benjamin Waterhouse Hawkins (1807–1894) was a British scientific illustrator and sculptor who illustrated many British exploration reports in the 1830s and 1840s. In the early 1850s, Hawkins was commissioned to create life-size, concrete sculptures of Iguanodon, ichthyosaurs, and other extinct animals for a permanent exhibition in south London. They were the first large sculptures of extinct vertebrates ever made, and they are still on view today. Inspired by his success in England, Hawkins launched a lecture tour and working trip to North America in 1868. Soon after his arrival, he was commissioned to “undertake the resuscitation of a group of animals of the former periods of the American continent” for public display in New York City. Had it been built, this would have been the first paleontological museum in the world. As part of this ambitious project, with the assistance of the American paleontologist Joseph Leidy, Hawkins cast the bones of a recently discovered Hadrosaurus specimen and used them to construct the first articulated dinosaur skeleton ever put on display in a museum. It was unveiled at the Academy of Natural Sciences of Philadelphia in November 1868. Hawkins worked tirelessly on New York’s proposed “Paleozoic Museum” for two years, until his funding was cut by William “Boss” Tweed, the corrupt leader of the Tammany Hall political machine, who grew hostile to the project and abolished the Central Park Commission that had made it possible. When Hawkins defiantly continued to work, without funding, Tweed dispatched a gang of thugs to break into his studio and smash all of the sculptures and molds. Although Hawkins would create several copies of his articulated Hadrosaurus skeleton for other institutions, the prospect of building a grand museum of paleontology in America was forever destroyed by Tweed’s actions.


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