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Dinosaur Imagery

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The Science of Lost Worlds & Jurassic Art(The Lanzendorf Collection)

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Page 1: Dinosaur Imagery
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e word "dinosaur" conjures up vivid images of

mtastically large and b~arre "monsters" in

~e minds of most people. The images rarely

come directly from the fossil~ed bones, and are nsualb~ derived from portrayals done by artists in drawings,

paintings, sculptures, and most recently; computer

graphics. These are disseminated through a wide range

of media, including museum displwvs, books, cartoons,

of interpretation by the artist, and combined with the

creative directives and competence of the artists, the

images are not consistent. Howeven as our scientit3c

understanding improves, so do the images.

Dinosaur art has been with us for more than a

tration of fossils, restoration of specimens, reconstruc-

tions of prehistoric animals as th<y may have appeared

in life, and fanciful work of all t~ypes that includes

dinosaurs :in fictional settings. There are early examples

some of this work had become, even in the formative

years. These include the lithographic plates that illus-

trated the scientific papers of O. C. Marsh, the superb

paintings and murals of Charles Knight, the full-size

sculptures that Waterhouse Hawkins did {br the Crys-

tal Palace. and of course the animated T~/rannosaurlzd

re.r in the 1952 movie K/ng Kot N.

i cut my teeth on the artwork of ~ g h t , which i

studied for hours in a sticker book acquired by mail

order when [ was eleven 2years old. Knight, who did Ns

first dinosaur art in 1897, worked closely with Hemry

Fairfield Osborn and other scientists to make his inter-

pretations as accurate a~s possible. Aesthetically beauti-

ful, his paintings capltMized on his knowledge of living

ammals and their en_vironments to capture an essence

of life that brought the animals to life. ~Vhen I visited

~ 0 R E ~ 0 R D ~ ~

Page 3: Dinosaur Imagery

1963, I was awestruck by his original murals. Later in

my career, as a curator at the Provincial Museum of

Alberta, I succeeded in bringing a Charles Knight art

show to Exlmonton. Sylvia Czerkas and the Los Angeles

County Museum had assembled the artwork as a trav-

eling exhibit.

The middle of the twentieth century was a rela-

tively quiet time for dinosaur research, and there was a

corresponding period of low activity in dinosaur illus-

tration. Notable exceptions were the talented and

influential book illustrator Zdenek Burian from

Prague, and Rudolf Zallinger, whose mural at Yale

University inspired a new generation of developing

paleontologists. Knight, Burian, and others had such a

profound influence on me that I can remember facing a

dilemma in high school. As I climbed higher in my

schooling, it became necessary to become progressively

more specialized. Finally, I could no longer squeeze all

of the art and science courses into my schedule. With

some regret, I dropped my last art course and all dreams

of becoming a great artist, and moved wholly into the

science and math curriculum. When I started graduate

studies under Dr. Robert Carroll at 1V~cGill University,

I fortunately found some relief for my artistic inclina-

tions because of the emphasis put on students to do

their own specimen drawings. In fact, some of my col-

leagues occasionally joke of Bob Carroll's school of art.

I have always enjoyed doing my own illustrations, par-

tially because it forces me to look at details of the speci-

men, and partially because I find it very relaxing.

With the advent of the Dinosaur Renaissance, a

new crew of dinosaur artists let their imaginations go

wild. These included Ely Kish and William Stout, who

introduced dinosaurs to a whole new audience. Many

of the artists were influenced by the "young Turk"

Robert T. Bakker, whose "heretic" ideas and illustra-

tions tore the lid off graphic interpretations of dinosaurs.

Greg Paul started off as Bakker's assistant, but soon

rose to prominence with a style that is distinctively his

own. His skeletal and body outlines have been worked

out so carefully that they have become a standard of

reference for other artists and scientists.

The success of the 1982 Charles Knight art show

encouraged Sylvia Czerkas and the Los Angeles Coun-

ty Museum to assemble a second traveling exhibit.

Whereas the first art show celebrated past accomplish-

ments of prehistoric interpretation, "Dinosaurs Past

and Present" marked the transition between old and

new. The exhibit was kicked off with a symposium at

the Los Angeles County Museum in 1986 that brought

together top dinosaur artists and scientists--dinosaur

art had "come of age."

There has never been a better time for "paleo-art" than now. With the international popularity of dinosaurs,

there is an ever-increasing demand for artists to bring

fossils "back to life." Talented artists are in demand by

F O R E W O R D x

Page 4: Dinosaur Imagery

museums and publishers and are hired by everyone

from movie production companies to toy manufactur-

ers. It has become a healthy and profitable field, so

much so that there is even a glossy magazine, Prehistoric Times (hi t i+: n+u++ll++ut++.~t',,l.,uotv+/+wct ;tncs), that largely

focuses on dinosaur artists and their art. Fortunately,

modern dinosaur artists make efforts to train new

artists to meet the growing demands.

Dinosaur art collections have been around as long

as dinosaur art, but they have never held as much respect

as they do today. To meet the growing demand, David

Alden put together a stable of painters and sculptors in

the mid-1990s under the banner of Saurian Studios.

Ultimately this spawned a more widespread network of

smaller studios, which employ some of the most influen-

tial dinosaur artists. Galleries specializing in dinosaur

art have even opened in Los Angeles and Tokyo.

Paleo-art resides in many of the world's great nat-

ural history museums, but the most notable collection

characterizing the present state of dinosaur art is that

of John Lanzendorf. It would be impossible to collect

all of the dinosaur artwork being produced today; if it

could be done, John would be the one to do it. Highly

respected by the artists he supports and the scientists

he associates with, John has built an awe-inspiring col-

lection that is representative of the genre and is the

envy of many museums. As we move into a new millen-

nium, his collection is the most appropriate source for

documenting the marriage of the creative talents of

artists and scientists. Their ideas and images contribute

to the huge popularity of dinosaurs, something that

they themselves are the product of.

P H I L I P J. C U R R I E

Royal Tyrrell Aluseum of Paleontology Drumheller, Alberta, Canada

F 0 R E W 0 R D x +

Page 5: Dinosaur Imagery

~ ifelike reconstructions of dinosaurs in ancient

habitats are now so commonplace in museums

~ a n d large-screen film that we take them [~r

granted. Nevertheless, the notion that the world has a

distant past and was once inhabited by creatures that

Scenes from "deep time," in the words of historian

Martin Rudwick, made their debut in early nineteenth-

naming of the first dinosaurs, A'feqa~,~aar;o and @az,;oJo;;.

These flrst images of" the past--and the first life-

size flesh sculptures of AIegala~aa;raJ and ICaano3on a shol~ tm~e later--wouM forever transform the public~

understanding of time and, ultimately, the centrality of

human existence. The power of the brush and sculp-

quickly' comprehend deep time and memorize facts

The drawialgs, p~ilat~ngs, and sculptures in this

volume invite viewers to step back in time and. experi-

ence the world and several of its most celebrated

inhabitants as they once were. They incorporate a vast

aiTav of factual information, from [ossil bone and

pollen to footprints and clues from the entombing sedi-

ment. They borrow from the skin and muscle anatomy

of the closest living relatives, reptiles and birds.

No longer does a single artist or palnterb~ style

predominate, as was the case decades ~ o during the

reign of master painter Charles Kmlght during the first

dinosaurs and other extinct lifh forms ha~s multiplied, so

too has the artistic interpretation of their anatomy and

habitats. Today, there is greater emphasis on accuracy

and a lot more information to incorporate. Artists and

scientists now regularly exchange ideas at annual pale-

has ever seen alive. What sets this collection apart? V~rhat criteria

P R E ~ A C E

Page 6: Dinosaur Imagery

were used to single out these artists and their work as

particularly outstanding? After all, wonderfully accu-

rate restoration may still be insipid and uninspiring

from an artistic standpoint. This collection is neither.

Nevertheless, the criteria of modern art, such as they

may be formulated, do not apply, because the objec-

tives, to a large extent, are entirely different. Few mod-

ern artists attempt to depict scenes that could have

been real or attempt to capture the essence of the dis-

tant past, a once-living animal, or once-existing envi-

ronment. Although the majesty and symbolism inherent

in bone itself, recent or fossilized, has been a source of

inspiration for some modern artists, like Georgia

O'Keefe or the work of living New Mexican artist

Gendron densen, bones and the skeletons to which

they compose constitute a very different wellspring for

the artwork in this volume. To suggest that dinosaur

images are not art, but rather scientific illustration or

merely kitsch, as recently proposed by critic Thomas

Mitchel, is myopic.

The artwork in this volume uses balance, compo-

sition, perspective, and color in concert with factual

information to create riveting images of the past that

capture the interest and imagination of a very wide

audience. This art represents a new level of excellence

and originality. Michael Trcic's "LambeoJaurud and dromaeosaurs"

(1996) brings new meaning to the sense of movement

in dinosaur sculpting (see pages 39-43). The balance of

the duckbill a t full tilt and under siege, is the work of a

master's eye and hand. The attacking dromaeosaurs,

each unique in pose, are frozen in bronze to show

lunge, impact, and engagement of the oversized prey.

Details like the deflection of the midline frill of Lam- beodaurad by the dromaeosaur and the spreading

wounds show a remarkable feel for the properties of

skin as well as knowledge of latest findings of skin

impressions. With a shimmering petina, this piece is

both balanced and dynamic.

David Krentz's "Judith" (1997), a small but

exquisitely detailed sculpting of a running GaryoJaurud [ibrattw, offers intriguing views from any angle (see

page 55). He has executed a difficult pose with perfect

balance. Subtle touches abound, like the splash of mud

away from the supporting foot. The anatomy is impec-

cable, from the proper juxtaposition of the coracoids in

the midline to the un-reversed positioning of the first

toe of the foot. Were the jaws open and menacing, it

would have been an entirely different piece. The gor-

gosaur, in the hands of this master sculptor, is not

depicted as heir to the tyrant flesh eaters but rather as

a graceful dancer.

Stephen Czerkas' "SteyoJaurud" (1997) is a land-

mark in the sculpting of this classic Jurassic plant

eater (see page 20-22). His attention to detail drew

him to study the original skeleton of SteyoJaurud Jtenops

P R E F A C E

Page 7: Dinosaur Imagery

and to sculpt a novel number and arrangement of

plates. No one sculpts folded skin more naturally than

Czerkas. To viewers familiar with its unusual skeleton

as well as the curious public unburdened by these

details, Stegosaurua comes alive at the hand of this

remarkable artist.

John Gurche, the prince of perspective, has no

equal when it comes to choosing an effective view. His

1988 study (see pages 28-30) is remarkable in the way

he cropped its central character, the huge sauropod

Ultraaaurua. By giving us a between-the-legs view, as if

from a human perspective, we gain a powerful sense of

the immensity of what lies beyond the frame. We are

left to extrapolate in our mind from juveniles in mid

ground to the titanic adults that tower overhead. The

darkened foreground that highlights the center of view

and the juxtaposition of the sauropod herd and fragile

pterosaur escort are exquisite touches.

John Sibbick, the don of detail, achieves with fine

brush the subtlety of lithography. No one surpasses

Sibbick in minutiae, as seen in his "Ceratoaaurua and

sauropods" (1994) (see page 37). The tail of the ptero-

saur could have been painted with but a few brush hairs.

In a small-sized work, a herd of close to 50 sauropods

are depicted, fading into the distant horizon. His use of

atmospheric effect and the foreshortened textural

detail on the torso of Ceratoaaurua are masterful.

Mark Hallett's "Pair ofAlloaaurua" (1986) set a

new standard in the 1980s for beauty of composition,

color, and balance (see page 53). The dust in the fore-

ground adds to the motion of the principal duo, which

are set in a gorgeously painted background of appro-

priate Late Jurassic vegetation. The piece stands as one

of the best depictions of a predator in its environment.

lViichael Skrepnick is a master in his use of color

and imaginative environmental composition. No one

paints skies or body patterns like Skrepnick. They are

stunning, effective, and believable. The wispy clouds

play to the action in his "T. rex feeding on Triceratops

corpse" (1998) (see pages 134-135). The reflection of

the tree line in the water frames the action--the foot of

T. rex on the carcass. Remarkable details, like the water

ripple caused by the snout of the Triceratops, create a

vivid sense of reality. These are not accidents of color

or composition, but the quick handiwork of a genius

with a brilliant and imaginative mind.

The Collection sampled in this volume began on a

whim, with the purchase of a sculpting of Tyrannosaurus

in 1985. It quickly became a passion. On display in

every square inch of space of the Lanzendorf apart-

ment, is an acknowledged obsession. At 420 works and

growing, there is no end in sight. For Lanzendorf, a

renowned hair stylist, dinosaurs are the most beautiful

group of animals that ever existed. A life-long craft and

eye devoted to creating or enhancing beauty, dinosaur

art exemplify the beauty of nature.

P R E F A C E ~

Page 8: Dinosaur Imagery

Sereno discovered the beauty of bones in art class

and only later became intrigued by dinosaur skeletons

and what they might teach us about evolution. We are

both moved when clues from the past are fused in the

mind and hand of an artist that can take us on that

journey back in time.

PAUL S E R E N O

and J O H N J. L A N Z E N D O R F

P R E F A C E \ \ t

Page 9: Dinosaur Imagery

you for believing in me: Ramon el, Greg Moss, Carol z%liller. Hank

_. :enshlp, Martin Gapshis, Michael Kutza, my nieces and nephews, Michael Skrepniel~, Paul Sereno, Gabe Lyon, Scott Sampson, Philip Currle and Eva Koppelhus, Stephen and Sylvla Czerkas, l~v~chael Trcic, Louis daeobs, Chris Brochu. Jeff and Greg Wilson, Hans Larsson, Chris Sidor, Rudyard Sadlelr; Matt Carrano. David Krentz, Suzi Zetkus, Richard i~%hnan, Gary Staab, Brian Cooley, John Flynn, Sarita ~Varshawsky, Allen Monti, Adrienne Lederer, Gary V~qlliams, Allan Debus. Judy Horan, ~ i t h D e ~ r , Dart and Ronn Veltman, Darren Tanke, Victor Skrebnesk:, Nancy Epstein, Mac Shievitz, Margle Korshak. Judy Neisset; Carol Wrote, Bootsie Nathan. Meta Berger, Susie Stein, Casey Bergnmn. Allison Beck, the Lubeznlk Family, Lynn Bloom. Maggie Dempsey, Adele d oseph, Jody Ellen llene Krame:5 Luba

Riley., Gall Elden, all my clients, and the Society of Vertebrate Paleontology.

JOFiN 3~ L A N Z E N D O R F

A C K N O 3,V L E D (; N ~ N T S

Page 10: Dinosaur Imagery

~ hroughout this book an effort has been made to provide the scientific context ~ ;ain'tii:gs, for the sculptures,

and drawings iDeluded. This is only

a fraction o f t he Lanzendorf collection. Where possible,

the artists and scientists, who work together to generate

glimpses of dinosaurs in life, are highlighted ~ t h brief biographical information.

I have cribbed the biographical sketches from

details provided by the artists or scientists, l fno t cred- ited to others, the figure legends are by me and I bear

exclusive responsibility for any errors of omission or

commission. Submissions of text ~)om well known

paleontologists were edited by :me. A,~y changed mean-

ings were unintentional, but are dso my responsibility.

The measurements provided for paintings and draw-

ings were taken from framed art and are accurate to the nearest 1/4". Scale is provided for soul ptures wher-

ever known.

I express m&- personal gratitude to these artists

and scientists, mad to the friends of John Lanzendorf.

Their help and John's wonderful collection has made

this book an exciting realiD: Mmny of the pieces pictured

in the following .pages comprised an exhibit at Chicago's Field Museum during the latter half of 2000. I thank

Robin Groesbeck and John W. hilcCarter, JT:, for help-

ing me coordinate the production of this book with the

opening d their exhibit. G. B. D. Smith was the book

designer and his input was invaluable.

CHARLES R. CRUMLY

A~emic Pp'e~J

E D I T O K S N O T K ~ ~,

Page 11: Dinosaur Imagery

J O H N B t N D O N

Bur[ir~gton, Oatar/o, Ca.ada

D O N N A B R A G 1 N E T Z

Bellevue, Colorado

M I C H A E L B R E T T - S U R M A N

Nadona/ A4~eum of Nat~ra[ Hblotw Smithsonian le~titution Washb,~ltot~, D. C,

C H R I S T O P H E R A. B R O C I I U

The Fie[3 2~a~eum Chlcayo, tllinola

L U I S M. C H I A P P E

t~oJ ~@~eles County 3I~;eum. of NalurM Hbtorv

f.~a AngeLes, Ca@rn~

B R I A N C O O L E Y

Ca~ea~ Alberta, Canada

P H I L I P J . C U R R I E

Ray~[ 7~rrel[ A@deum of Pateontolog.v Drumheller, Alberta, Cana?a

S T E P H E N C Z E R K A S

The Dinosaur 4Iuseam z}fontireflo, Utah

S Y L V I A C Z E R K A S

The Dinosaur ~luseam zklonl&e[lo, Utah

A L L E N D E B U S

Haemver Pare 17h~oia

P E T E R D O D S O N

Univers~ of Pematy~'ea~a~ Phi&ddphia

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Denve~ Colorado

J A M E S G U R N E Y

M A R K H A L L E T T

Salem, Oregon,

, C o N r i i ~ ~ T o R s

Page 12: Dinosaur Imagery

D O U G L A S H E N D E R S O N

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Page 13: Dinosaur Imagery

c H A P T E R I

Page 14: Dinosaur Imagery

y virtue of its drammie sail, Dinwtrodon is per- expert opinion. The skuil in p~t icular evokes a current

brate fossik In fact, its populari W has caused animal. Particularly characteristic is the step in the

upper m ~ l l a W jawline, the wedge-shaped cranium,

amniote lineage Synapsida, Dinwtro3on is known fi'om foot and other elements of the limbs have since been

lion years before present. Numerous species have been

described, from the size of a house cat to that of a full-

Synapsids are acmal~z more closely related to living

~ m a l s than most other subjects in the Lanzendorf

resent the earliest lineage of arrmiotes, the group that

includes living mammals, reptiles, birds, as well as

dinosaurs and other extinct groups. As these mamm'Mi~

l roDon (and its paridle] devdopment in other pelyco-

saurs) ranged fi'om physioio~cal to that of a behavioral

signaling device. One went so far as to suggest it as

an expression of male sexual dlmorphlsm, with the

lack of sail (in a form kimwn as &henacaJa,~) believed

to be the [~male characteristic. However provocative,

such ihypotheses didn't take irlto account the fact that

derived dlreetly f}'om primitive reptiles, the term "mam-

maldike reptile" is ~ n g out of use, but the popularity

of the unusually shaped Dbnetro2~an persists.

This rendering by Debus reflects the prevailing

for most of the twentieth eentu W. Debus represents

l-)imetro~)on as a large, topdevel carnivore ~ b u t one (hat

was constrained to a sluggish, sedentary lifes@e. The

t o g e t h e r ~ a situation that would have rendered mat-

ing rather difficult! Currently, the sail's ~unction

tion. Its webbing was well-vaseularlzed and appears

to have been suited to transmitting radiant heat to

the bo w if turned perpendicular to the sunlight, or

dumping heat if shaded or turned edge-wise into the

direction of incident light. Mthough initially and best

known from a number of North American localities

Page 15: Dinosaur Imagery

such as Utah, New M~exico, ~ d north-central

Texas, the last year of the twentieth century has

reveMecl the presence of a small species of n

ia~ central Germany as well. This suggests that the

distribution of Dimebv'c)on in the Lower Permian is

muc]~ greater than originally tlaought, and that its

international popularity will likely continue happily

un&ecked.

STUART S+ SUNtIDA

A~'lisZ: Allen Debns ~!ii ' " = U ~''==~

=~;iiiiiiiiiiiiiiiiii~i~iii ~= i~i~i =ii ~

(,,;i

Page 16: Dinosaur Imagery

Staab works fi~om Golden,

Colorado, where he sculpts arid

paints dinosaurs as well as

other modern natural history

subjects. Contributing to many

books, Ms most recent painting

book entitled Luw'a 1-~qaey '~'~ ~" ' ' (1999, Harvard University

Press).

His web site t I illustrates

the breadth of his interest in natural histo W art.

vsaurua, from the Early Triassic, is not actu-

so-called mammal-like rept~es (Synapsida:

Therapsida). The widespread distribution of Lvstra- ~,azwus fossils throughout m ~ y southern hemisphere

landmasses played a key early role as biological evi-

dence corroborating the theory of continental drift.

Date:1996 0 r~,: tW~Vx IO"H

4 D I N O S A U R I kY£ A G E K Y

Page 17: Dinosaur Imagery

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.......................................................... ~ ..................................................................... i~iiiiiiiiiiiiiiiiiiiiiiiiii ........................................................................................................................................................................................................................... iiiiiiiiiii iii£iiiiiliiii ~ ~ i = == iiiiiiiiiiiiiiiii== i i i i ! i l i i i i i i i i i i i i i i i £ i i i \ ~ : i i i i i ;;;;; iii;== iiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiii =iiiiiiiiiiiiliiiiiiiiiiiiiiiiiii iililiiiilii!iiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiiiiiliiiiiii ]~ iiiiii:i:i:iiiiiiliiiiiiiiiiliiiililiiiiiiiiii:i:i:iiiiiiiiiiiiiiiiiiiiiiiii = = = ~

i i i i i i i i i i ~ !iiiiiiiiiiiiiiiiiiiiiiiiiiii :~ [ :]~ i i i i i i i i i i i iiii i i i i i i i i i i i i i i ~ i i i i i i i i i i i i i ili!ili!ilili ii!iiiiiiiiiiiiii!i!ililiiilililili!iiiiiiililililii i i i i i i i i i i i i i i iiiiiiiiii iii i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i :~ i i i i i i i i i i i i = i iiiiiiiiiiiiiiiiiiiiiiiiiiiiiii~ ~ i i i i i i i i i iiii =iiiiiiiiiiiiiiiiiiiii = = ~ = iiiiiiiliiii = iiiliiiliiiiiiiiiiiiiiiiiiiiliiiililililiiiiiiliiiiiiliiiiiliiiiiiiliiiiiiiiii i i i i i i i iiliiiiii ~ iiiiiiiiiliiiliiiiiiiliiii iilili!ii i!iiiiiiiiiiiii "~=~iii i l i i i

liiiiiiiiiiiiiiiiiiiiiiii!iiiiiiiiiiiiiiiiiiiiiiiiii==qiil iiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiliiii= qiiiii~iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiii iliiiiiiiiiiiiiiiii!ilii ii !Ii = ~ ~ ~ iiiliiiii o ................................. = . . . . . . . . . . ============ =============== :::::::::::::::::::: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . oo ............... o ............................................... _ i i l i = i i i i l i i i i l i i i i i i i l i i i i i i i i i i i i i i i i i i i i i i ~ i i i i i i l i i i i i i i l i i i i i i l i = i i i i i i i i l i i i i l i i l i i i l i i i i i i i i i i i i i i i i i i i i i i i ii i i i i i i i i i i i = = i i i i i i i I W ~ I i i i l i i i i i i l i i i i l i i i i i l i i i i i i i i i i l i i i i i i iii ii I

i i I i i i i i i i i i i i i i i i i i i i i i i : ~ i !i!i!i!iiiii ~ ililili!ililililiiilililiiiiiiilili!iiii~ ] ~ i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i iliiiI!I!i£~C~Iili!iliiliI iiiiiiiiiiiii iiiii!iiiiii ................................................. i ............ i i i = i = = .=i i i i i i i i i i i i~i i i i i i i i i i i i i i iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii" i ; iiliiliiiiiiiiiiiiiiiiiliiilili!ililiiiiiliii ;;;====" .== = i i i i i~Ci i~ === ..... =iiliiiiiiiiiiiiiiiiiiii[====!

i iiiiiiiiiiiiiii

iiiiiii~i!iiii®iiiiiiiiiiiiiii iiiiiiiii!!iiii iiii ~ ] i i i i i i i i

= i i i i i i i i i i i i i i i i i i i i i i i iiiiiiiliiiiiiiiiiiiiiiiiiii ~ iiiililililiiiiiiiliii;iiiilili!iliiii!iliiiiililiiililii ~ ! i i i iiiiiii !iili!i~i!i! i = i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ~ i i i i i i i i i i i i i i i i i i i i i i i i i~: i i i i i~£~!i i i i i i i i i i i i i i i i i i i i i i i i .== i i i i i i i

i i i i i i l i i i i i i i i i ! i i i iiiiiililiiililililililili ~ ~ = iiliiiii!i!i!iiiiilii. . . . . . . . . . . . . . . . iilililiiiiiilililililii iiiiiiiiiii!i!i!iiliiilii~iii~:i ii i i i i i i i i i i i i i i~i i iiliiii •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ~iiiiiiiiliiii!i!ililiiililiiiii!ililiiilililii iiiiiiiiiiiiiii!i!i!i!!iiii~iiiiiiiiiiiiii ~ ~ iiiiii! !iiliiiiiiiiiiiiiiiiiiiiiiliiiiii!i!iiiiiii!iilii!i!ilililiiiiiiii iiii~ i ii~ iiiiiiii:~iiilililililiiili! ii iii ~ ~ iii !i!ilililililililili!i!ilili!ililiiiii!i!i!ilililililiiiiiiliilili!ii iiii~Eililiiiiiiiiiii i

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] i .A i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i iiii ;= iiiiiiiiiiliiiiiiliiiiiiiiililii iiiiliiiiiiii ~ ~ ~ = ~ ( ~ ~ ~ iii!i!ii!i!i!i!i!i!i!iiiiiiiiiiiii i i i i i i i i i ! i i i i ! i i ! i i i i i ii!iii i ii!i!i!i!i!i!i i i ii!i!ii!i!i ii !ii!i!ii i i i i!i i ii i i i i i!i!i!i!i!i i i ~ ~ ~ ~ ~ # ` ~

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diiii! = iiiiiiiiiiiiiiiiii iliiiiii~ ~:ili i~]~1 ~::~:~LS~]~II~+~( ii !]iiiiiiii ii!i ii L~ i i ~+i ;!i I~Q" = iiL ~ ~ ~ ;i i i i i i i i i i i i i l i i i l i i i i i i i i i l i i i i i i i i i i i i r r i ~ ~ i i i i i i i i i r~ i i i i ! i i i i i i i ~ r ! l i i i i i ~ ! i I = = i i i i i iii ~ i i i i i i i i i i i i i i i i i i ~ i i i i i i i i i i i i i i iilii i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i !

i i i i i i i i i i i . . . . . . . . . . . . . . i ~ ~ i ~ i ~ i i i i i i i i i i i i i i i i i i i ~ ii i i i i i i i i i i i l i i i i l i i i ~ i i i i i i i ~ i i i i i i i i i i i i ! i i = i i i ~ i i . . . . . . . i = ~ i ! i i i i i i i i i i i i i i i i ii i i i i ii i i i i i i i i i i i i i i i i i i , , , , , , , , , , ~ i i i , , , , i i = . ~ i ~ , - ~ , ~ - ` ~ ` , , ~ ~ - ~ ( ~ , - ` ~ ` ~ ~ ~

i i i i i i i i 4 q i i i i i i i i i i i i i i ~ : ¢ i ~ i i i i l i i i ~ 9 i ~ i i ~ ] ~ i i i i i ~ : ~ : ~ i i i i i i i i iiiiiiiiiiiiiiiiiiiiiiiiiiii i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i

iiiiii iiiiiiii i i i i i i i i i i i i i i i i i ii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i i i i i i i i i i i i i i i i i i i i i i i ii iiiiiiiiiiii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . = ~ ~ ~ ~ ~ : : : ~ ~ ~ : ~ : ~ ~ ~

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i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ! ! i i i i i i i i i i i i i i i l i i i £ ii i i h i i i i i ! i i i i i i i i ! ~ i i i i i i i i i i i i i i i i ! i i i i i i i i i i i ® i i i i i i i i i i i i i i i ! i i i i i i i i ! i i i i i i ! i i i i i i l i i i i i i i i i i i i i i i ! i i i i i i i i i i ! i i i i i i i i i i i i i i i i i i i i i i i l i i i i i i l i i i i i i i i i i i i l i i i i l i i i == i i i i i i i i i i i l i i i i ; ; " = iiii,i,ii,i,i,i,i,i,i,i,i,i,i,i,i,i,i,i,i,i,i,i,i,i,,,i,i,i,i,,, ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ,i,i,i, ,i, !i,i,i, ,i,i,,, •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• i ~ i i i i i i i i i ! i i i i i i i i i ! i i i i i i i i i i i i i i i !® ~ ( i i i i i ~>; i B~ i

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i i iii! i i i i i i i i i i i i i i i i i i ~ i i i i i i I i i i i i i i i i i i i i i i i i i i i i i iiiiiiiiii!iiiiiiiiiiiiiiiiiiiii i i i i ~ i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ~ ~ ~ ; ~ ; ~ ; ~ ; ~ ; ~ ; ~ ; ~ ; ~ ; ~ ; ~ ~ ; ~ ; ~ i i i i i ~5iiiiiiililiiilililiiilii + ! i i i i l i a i ~ , i i i I ~ ~ ~ ~ ~ ~ ~ ~ i i i i~= . . . . . . ===~==== ..................... ~ ~ ~ ~ ~ ~ ~

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~iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i iiiii iiiiiiiiiiii iiiiiiiiiiiiiiii~iii iiiiiiiiiiiiiiiiiiiiiiiiiiiiii::~ iiiiiii i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i iii = I ~ i I Iliiiiiiliii! = i i i i i i i i i i i i i i i i i i i i l i i i i i iiii= =~ i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ( ~ E ~ S i i i i i i i i i i i i i i i i i i i i i i i i i i l i i i l i ! i i i i i i i = i ==~£ ! i i i i i i ! i i i i i i i i i i i i i i i i i i i i i i i i i l i ~ i iiiiiiiiiiiliiiiliiiiiiiiiiiiiiiiiiliiiiilii,~ iliiiiiiiiiiiiililiiiiiiiiiili iilililiiiiiiiiiiiiililiiiiiiiiiiiiililililili!i~ i i i i~]~ iiiiililiiliiiiilililiiili!i!i!i!iiii i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i iiiiiililiiiliiii!ii!i~ i ii!iii ==iiiiiii iiiiiiiliiiii ~iii!ii!i!i!iiiiiiiili!iii i ~ ........... i i ! i i i i i i . = . . . . . . . . . . . . . . . . . . . •

iiiiiiiiiiiiiiliiiiiiiililiiiiililiiiiiliiiiiiiiiiiiiii~( i i iilii = iiiililiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiililiiiiiii i # ~ i i i i i i i i i l i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i~i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i I (~iiiii iiliiiiiiiiiiliiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiliiiiiiiiiiiiiii • i . i iii!iiiliiililililiiiiiiiiiliiiiiiililiiiiiiiliilililili!iliiiilili!i~ii!i i£ii!iiiliiiiiliiiliiiiiiili iiiiiiilii=i=iiiiiiii!i!iiiili iiii!iiiiiiiiiiiiiiiiiliiiiiiliiiiiiiii=iili i ~iiiiiiiiii!i!iiiiiiiiililiiiiii~(([i ~ i i i .~ i~ii!i i i l i l i i i i i l i i i i i i i l i i~i= .. . . . . . . . ~ • = ~ = i==. • ===ii=i=iiiii= ....

i l i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i l i .~miiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii i i i i i i i i i i i i i i i i i i i !m i i i i i i i i i i i i i i i i i i i i l i i i iiiii!iiiiiiiiii ===i!iii!iiiiiiiiiiiiiiiiiiiiiiiiiiiiE ~ l i = i q i i i i i i i i i i i i i i i i i ~ = i i i i i i i i i = ; • .iiiiii = • = " L ~ i i i i i i i ~ I i i i i £ iiliiiiiii .... ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• iii!iililililii!iilililiiiii ~ . . . . . . . iiiiiiiliiliiii!iiliii== == iii!iililililii!iiliiii .... iii=====i, i i i~:~iiiiiiiiiiiiilii • i i ! ~ === i i i i i i i i i i ~ : i . . . . ~ ~ = ~ i i i i i i i i i i i i i i i l i i i i i i i i i i ii i s = i ! i l i i i i l i i ! i i i i i i i i i i = = i ........... I i i i i i i i i i i i i i i i i i i i i i i = i i i i l i i i i i i i i= i i i i i i i i i= i i i i i i i i i i i i i i i i l i i i i i i i i i i i i= i i i l i i ..... i i ii = === i i ===i =i=i= =i i = i = = ====iiii = i i =iii====iii i i i i i= == = ........................................ i . . . . .............. i i i = = ¢ ~ ( = i i . . . . . iiiiiiiiiiiiiiiiiiiiiiiiiiiii!iiiiiiiimiiiiiiiiiim iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiii i imii i i i i i i i i i i i~] i =]~iiiiiiiiiiim!£imiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiiLLLiiiiiiiiiiiiiiiii i i i i iiimiiiiiiiiiiiiiiii ........................ == i === iilililililililiiiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii!i ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• == iii ~ i i i i l i i i i ................... =iiiiiiiiiiiiiiiiiiiiiiii ..... ==i ~ i i ( ! i ~ ! i i i l i i i i i i i i i i i i~i[ i={ ~ i i ~ I i i l i i i i i i i l i i i ! i i l i i i i iiiiiiii iiiiiiiiii=Oiiiiiii=ii i i i i i i i i i i .... i(~!i=i i =(!ii i=~ ii= iiiii=iiiiii i i i i i i i i i i i i i iilii i i i i i i i i i i i i i i iili i l i i i i i i i i iililii I i i i i i i i i i ii i i i i i l i i i i i ii iii i i i i i i i i i i i i i i i iilii i i iilii i i iii iii iii i i i i i i = i = I i=i=iiii i i i l i * ~ I iii====== = i i i i = = ~ i l i l i i i i i i i i = = i = = = i ~ i i i i i ==ii i===!Iiiii = = i l i i l i i i i i

i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ===iiliiiiili i ii ii ....... i i i ! i i l i i i i i i i i i i i i i l i i i i i l i i i i ii!!ii i i i i l i i i iii i i i i i i i i i i . . . . . . . . . . =i i = i i = i ~ i i i i i i~ = ... . . . i ! ! ii=iiiii i i ! i i i i iiii= == i= i i i i ! i i i i i . . . . . i = = . . . . . . . . . . . . . . . . . . . . . . i i i i i = i ] ~ . . . . . . . . . . . ii i i i i i i i i i i i i ii i i i i i i i i i i i i i i ii i i i i i i i i i i iii ii ii iii = iii=i i l i i i l i ii i i i i i ii=ii i i i i i i i i i i i l i i i i i i i i i i i i i i i iii i= iii i i i l i= i i . . . . . . i i i i iii===== = ==== i ==i ii=i===i= i i i i i i i l i i i i i i i i i = i i = ~ i i i == . . . . . . . . . . . . i i l i i i ....................... i i ~ = = = i i ~ = i = i i i i i i . . . . . . . . . . . . . . . i ~ i i i I ..... ~ ~ ~ ii!i!i!i!i!i!i!i!i!i!i!i!iilililii!i!i!i!i!i!i!i !i~!i!i!i!i!i!iiiii ~ ~ !i!i!iii!i!iililililii!iililililiiiliiilililiiii i = ~ i i i i i i i i i i i i i i i i i i i i i i l s ~ i=i i i i i i i i i l i ] ~ i =iii=iii i i ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••:•••• : ~ =i;iiiiliiiiiiiiiiiiiiiiili iiiiiiiiiiii=ii ®iiiii i i i i i i i i i i i i i i i i i i i i i i i i l i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i iiii i = . . . . . . i i i i i! i i i i i i i i i i i i i i i i i i l i i i i i i iiii== ~ = ~ = ~ ; = % i i i •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••" • . . . . . . ii =i = ................... ui!i!ii!i!iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii=i= i i i i i i i i i i i i i i ~ i i i i = ~ i i i i i i i i i l i i i i i i i i i i i q i i i i i ~ i i i i i i i i i i i i i i i i i i i i iiiiiiiiiiiiiiii i l i i i i i i = = ~ i i i i ~ £ i i i i i i i i i i i iliii= ii= i ~ = ~ i i i = iilililiiiliili i i ii iiiiiiiiiiiiiii i = = ~ ] ~ • iiiiliiiiliiiiiiiiiiiiiiiiiiiiiliiiliiiiiiiiiiii = . . . . . ]~ i i i iiiiiiiiiii iiii iiiiiiili!ii i i i i i i i i i i i i i iiiiiiiiiiiiiii ~ I I I ~ = ~ = = = IiiiiiiiiiiiiiiiiiililiiiiiiiiCE i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ~ I ] ] ] i ~ Q ~ { I I I ~ ( ~ i i i i i i i i i i i =~==== = i i i ~ ] ~ i ! ~ == • = ililiiiiiiiiiliiiiiiiililiii = = = . . . . . .

i !=!=i~iiii! ii(i!i=ii ii!ili]!iii ==!ii =!i iliiiii!i i =iliiiiii ]I,~AiiI=II==I i=]]=i= i[i iiiililIIA~i((I(IIII%(=(iilIIIIIII=%==== ~ ] ..... (Qi]I===~( ~ i i = = .... ~+ ~ii%iiiiiiiili== = .... ~:iiiii= == ;;•••••••••5••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••W=••••W••••••••••• === .................... ==== ====iiiiiiii i i @~== = i . . . . . . . . . . . . . . . . . . . . I i = = = ~ = = == ~ i i ; = = = = i=iiiiiliiiiii ............... ~ =

i i i =i =iii=i i i ~==iiiiii======== i i i iii i i i i i i i i i= i i i i i i iiii= ==iiiliii ii i i i i i i i i i i i i i i i i ==iii i i i i i=ii i i i i=i i i i i i ~ .................................. i== . . . . . . . . . . . . . i i i i = ~ = ~ ....................... = ~ = i i ~ i i=i i ii i = i i i i = = ~ i= !i i i ~ i ! i i i l i ............................................................. iiiii i i ! i i i i i i i i i i i i ~ i i i i i i i i i ii!i!i!i!i!i!i!ilii = ~ i i iiiiii!iiiiiii!i!i!i!ii i!iiiiiiiii iiiiiiii iiiiiiii!i i iiiiii!i!i!i!i!i!i!i!i!i!i!iiii i i i i i ! ! iiiiiiiiiiiiiiiiiiii iii i i i i iiii i i i i i ~ i i i!i!i!i i iii iii!i!iiiiiii iii i i i i i i i i i i~iiiiiiii iiiiiiiiiii i i i i i £ i iiiiiii ] ~ ] ~ i I ~ ......... i i i i i i ..... i i i i i i i i i i ! i i i i i ! i i i i i i i i i i i i i l i i

== iiiiiii=iii = i i ~ ilii= Ilii=====iiiiiiiiii===~iiiliiliiE~III=I=II! i=====iiiiiiiiiliiiiiiii ==i ~ = = = i i ~ i ~ i i i i ~ = i i i i l i i i i i i i l i i i ~ i r ~ i i i i i i l i i i ii=iiiii i iLq4~\: i i i i i i i i i~: i =='===iii ii!iiiiii ~ { ~ i l I =~i(~(iiiiii!ii!miiiiiiiiiiii ~ W i i i i i i i i i = = = = ~ ~ : ( i ! i i i i i i i i i i i i i i i ! i i ! ! ! i i : i ~ : i : ~ iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii : ~ .................. i = ~ Z i i i i= ] i i i~ i~ i i i i i i i i i i i i i=~ i i i i = i i i i • === i = ............................................... ===== = ~ > =!iii iiiiii!iS=ii iAi i i i i i i i iq i i i i i i i i i i l i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i ~ ( ~ ] ~ ( ~ i l i i i i i i i l i i i i i = i i i ~ i i i l i i i i l i i i i i i i i i i i l i i l i i i ~ ] i i i i = = i = i i i i i i i i ~ / i ] ~ i i i i i i i i i l i i i i i i i i i i ~ i i i i l i i l i i i . i===ii i i i l i i i i i i i l i i i l i i i i i i i i l i i i i i i i~ ]

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Page 18: Dinosaur Imagery

vertebrates has evolved more t h ~

. . . . . . . . . n porm:ies of dinosaurs, a l though not

dinosaurs themselves, gteranodon sternberqi was named

after the S te rnberg family, well known fbssil collectors

~ Masoni te

Date: I994

~iil; D i ¸̧ ̧N 0 ~ ~ U K t ~ ~ ~ Ei ~ ¥

Page 19: Dinosaur Imagery

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Page 20: Dinosaur Imagery

Sylvia Czerkas

with their latest

cl~v sculpture of

~ranaosal~u~, rex. Stephen has

ato?s protecting a smaller juvenile. Like so many of

Knight's remarkable works, this image was the original

versions and

this one reflects

his latest

completely covering the teeth. These glandular lips

monitor lizard. The above clay version will be cast in

bronze for John's collection, and they dedicate it to

Sylvia are on display at many museums world wide

including Chicago's Field Museum, the CalifOrnia

Academy of Sciences, and the Los Angeles County

Director of The Dinosaur Museum and also Head of

Research and Foss~ Excavations. The web site of the

museum ) attests to the

commitment made by both these artists/scientists.

available. It was his ve,~ion which dlen became popular-

ized in books, magazines, and espedalfy motion pictures.

Surprisingly, the Tyr~m±,oaaLwaa in the 1925 silent

mo~e~.e vernon of Sir Arthur" C~nan Doyle~ The Loot

tg/or[9, was no different than one of ma~\v A/&~aurt~ created for ~(he film. The talented model maker, 2Vlarcd

amazing sculptures were articulated and poskionable

so that they could be animated one frame at a time, and

brought to life by the hands of special efibcts genius,

VQllis H. O'Brien. These dinosaurs were among the

first to be com fncingty portrayed for the general pub-

llc. Nevertheless, Knight~ ciasmc image E rex was not

presented in all of lts glo W until the original 1933

motion picture, I({n.a Kong. The team of O'Brlen and De/gado presented in

E~g Kang even more impressive restorations of what

living, breathing dinosaurs may, have looked like.

Nong with a flying Pteranagon and aquatic snake-

necked Ehzsmasaarus, there was the classic swamp

::# ~ N :0 ~ ~ u R : :M A C Y

Page 21: Dinosaur Imagery

dwelling ~ ' t~ and an O. C, version of a woHd of paleontoloKy. My mien'ted wii~ Sylvia and I

&e#,~attrua unqulataa with extra tail spikes. %rhile these have dedicated ourselves to cre . t ing models of

herbivores were ansahing but harmless, it was the bat- dinosaurs in life. Such models are often a few feet in

tie between King Kong and the ~¢rannadaurua rex that length, but sometimes the models are lifh-size, eliciting

was the most spectacular sequence of the film. Photo- a dif}brent sense of reMity.

of motion picture history'. Seen lay rnill;ons of people

for well over sixty years, this remarkable film did much

more than sire ply entertain; it was a source of inspira-

ing of TyrannoaauruJ rex and the film Ah)~y/G.zq, with all

of its dinosaurs, I knew wha t i wanted to do in my life.

models of dinosaurs and making short films utilizing

went [-~y, more accurate interpretations of what

dinosaurs looked like brought me into the ~rofessional

Artizt: Stephen Czerkas

3lea&m: Bronze

Date: 1998

Scale: 1/10

E T i N ¢ T ~ i~ U '3? N 0 T i3 0 iS :AI F K

Page 22: Dinosaur Imagery

thing of a novelW. It is a historical piece. The original

model by Delgado has been lost, but this bronze model

is to the same scale as the an~af ion model. Its pose is

stands his ground, hissing a roar at Kong. Clearly, it no

have changed. For e ~ p l e , the hand of/7. rex has only

two fingers, not three. The tall didn't &ag on the ground.

by Charles R. Knight, with Marcel Delgado and ~;qllis

H. O'Brien. remains the classic li, rannaaaurue rex in the

talent, and to the tyrant king of the dinosaurs.

S T E P H E N C Z E R K A S

The D ~ J a z ~ A ~ a t m

z~Iont~el/a, Utah

E~iter,,~ :\ate: "Ngnq rex was included m this chapter

because, as Czerkas indicates, this depiction does not

~ccuratety reflect what is known of the posture of

today's dino-art]sts is nevertheless gI~rious -- the

Czerkas touch is evident.

D I N 0 S A U k I 1¢~ ~ G ?t~ ¥

Page 23: Dinosaur Imagery

C H A P T E R I I

'Tearfully Great Lizards" of the Triassic

Page 24: Dinosaur Imagery

H ertm'asau~ is part of an early lineage of dinosaurs from the l s c ~ t o Formation of Argentina. These fossils are considered

Carnian in age and harken back to over 225 MYBP, and the dawn of dlnosaurs. This image, briefly part ofthe Lanzendorf collection, was given to Michael Skrepnick as a g i ~

Herrerasaurus Artbt: John Sibbick

M ~ m . " Graphite on Illustration Board Date: 1992

Diom~i~ns: 22"W x 13-1/2"H

1 2 D I N O S A U R I ~ A G E It Y

Page 25: Dinosaur Imagery

r

. " ~ O o .

o " ~ : •

,-" , .

d P ~ . r a w ~ . . L ~

" F E A It F U L L Y G K E A T L I Z A K D $ " O F T H E T X I A 8 8 I C I 3

Page 26: Dinosaur Imagery

Artiat: Michael Skrepniek

Mediatr~" Acrylic on Canvas

Date: 1993

Dimenaiona: 15-1/2"W x 19-1/2"H

1 ~ D I N O S A U R I M A G E K •

Page 27: Dinosaur Imagery

F E A R F U L L Y G R E A T L I Z A R D S " O F T H E T R I A S S I C 1 5

Page 28: Dinosaur Imagery

CoaopA~;~ l,o~i i Artidt: Gary Staab !

Medium: Acrylic on Masoni te I Date:1997 1

Dimensions: 16-1/2"W x I0-3/4"H i

I 6 D I N O S A U R I M A G E K ¥

Page 29: Dinosaur Imagery

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Page 30: Dinosaur Imagery

C H A P T E R I I I

,Jurassic Art

Page 31: Dinosaur Imagery

~ S tegaJa;;r;a, is an icon, unmistakable with plates rising from its back, the epitome of what was

once thought of popularly as having a small

brain in the head and another at the base of the tail.

The first view of this magnificent animal has a stun-

ning impact, evoking those memories, and yet this

sculpture, weighing some 180 pounds and standing

two feet tall and four feet long, reflects new thoughts

and understandings, the vitality of dinosaurs as living

animals, its form deriving specifically from the

detailed research of the artist, Stephen Czerkas. First

to catch the eye are the plates protruding from along

the back of the body. They are aligned in a single row

along the midline, not double as seen in some recon-

structions. Each plate is canted to the opposite side

from adjacent plates. The skin drapes heavily in sag-

ging folds, all but obscuring the ribs, expressing its

great weight. The lines of the skin and the decreasing

height of the dorsal plates guide the viewer's eyes

down the gentle curve of the neck to the small and

pointed head. The eyes are clear and round, the nos-

trils large, the mouth agape. Toward the tail the plates

of the back decrease in size toward the tip where

defensive spikes arm the muscular tail. The tail is long

and held high off" the ground, complimenting the neck

and extending the sinuous curve of the body profile.

The hind legs are long and heavy, bearing weight bal-

anced on them by the pelvis. The long legs reflect the

bipedal ancestry of all dinosaurs. The smaller fore-

limbs are splayed at the elbows. The beast is in a

standing position with all four feet planted on a

bronze foot plate resting on a walnut base; staring,

alert, poised. The plates have a honey bronze patina, repre-

senting the keratinous covering of a bony interior, and

show a surface texture of parallel ridges. The color seems to flow viscously down from the pointed tips of

the plates, darkening to maple, then merging with the

torso. The surface of the body is textured to reflect

scaly skin with hunks of bony armor scattered across

the surface. The skin texture is real, reflecting what is

known from impressions and bony dermal elements in

the fossil record. The patena of the body is bluish

green, unpatterned except for the texture of the skin.

The color is understated and subtle, reflecting the

style of the artist, showing an animal without gaudy

displays of color in contrast to its garish skeleton. The

mouth lacks cheeks, another example of the artist's

research and interpretation of dinosaur anatomy.

Stegosaurus Arti.~t: Stephen Czerkas

zIlec)ium" Bronze

Date: 1997

Scale: 1/5

2 0 D I N O S A U R I M A G E R Y

Page 32: Dinosaur Imagery

J U R A S S I C A R T 2 ]

Page 33: Dinosaur Imagery

Substituting for cheeks is an extended, turtle-like

beak that continues to the line of the tooth row. The

side of the jaw rises in a ridge that hides the teeth

from view.

This piece reflects a renaissance of dinosaur art

extrapolated to the point where art interfaces with sci-

ence. The artist is scientist, gathering data to test

hypotheses of body shape and form, and generating

results published in scientific peer-reviewed journals.

L O U I S L. ,JACOBS

Sbtt[er /Y[thqettm of Paleontology, Sotttbetvz 3Ietbo3L~t Univel:lity

Dallaa, Texaa

Carnotaurus

ArtLJt: Stephen Czerkas

34e3htm: Bronze

Date: 1986

Scale: 1/10

2 2 D I N O S A U R I M A G E R Y

Page 34: Dinosaur Imagery

J U R A S S I C A R T ~ 3

Page 35: Dinosaur Imagery

~ auropods are familiar giant, lumbering, elephant- legged herbivores, with long necks and tails. Shunosaurua lived 160 to 170 NIYBP during the

Jurassic and are found in Bathonian/Cullovian sedi- ments of Sichuan, China.

S•I•IIOS•UFUS Artist." Mike Jones

ll/[edi.m: Painted Primo Date: 1999

Dimensions: 10"L

2 4 D I N O S A U R I M A G E R Y

Page 36: Dinosaur Imagery

I~ icraeosaurus is from the Late Jurassic of Tanzania and is found in Kimmeridgean Age Tendaguru rocks. This sauropod had a neck

held up by longer than typical dorsal vertebral spines as indicated by the relatively deeper neck.

Camarasaurus is a possible contemporary but has been unearthed mostly from North American Kimme- ridgean/Tithonian Age (145 to 155 MYBP) Late Jurassic rocks and is also found in Oxfordian/Kimme- ridgean sediments of Portugal.

D;. . . .o . . . . . . (top)

Artist: Mike Jones Medium: Painted Primo

Date: 1999 Dimensions: IO"L (top)

11"L (bottom)

J U R A S S I C A R T 2 6

Page 37: Dinosaur Imagery

j~ llosaurusfragilis is known from Late Jurassic Kimmeridgean and Tithonian Age (145 to 155

MYBP) rocks of western North America and

Tanzania. This theropod represents the majority of

remains taken from the Cleveland-Lloyd Dinosaur

Quarry, a famous national landmark located in east--central Utah.

Allos. s f .gili Art~t: William Monteleone

Alediam: Bronze

Date: 1996 Dimensions: 21 "L

2 6 D I N O S A U R I M A G E R Y

Page 38: Dinosaur Imagery

J U R A S S I C A R T 2 7

Page 39: Dinosaur Imagery

• / - • h e beautiful drawing to the right shows a juve-

nile sauropod dinosaur traveling in, and protect-

ed by, a herd of adults, very much the way baby

elephants are protected by their adults. Just outside the

herd are two predator theropods, allosaurs, seeking to

find food among their much larger plant-eating contem-

poraries. The painting raises two questions concerning

what we know about these animals: (1) did theropods

prey on sauropods, and if so was it only the young? and

(2) did young sauropods indeed travel with the adults?

The answer to the the first question was partially pro-

vided at the turn of the century when collectors from the

American Museum of Natural Histo W in New York

City collected the rear half of a skeleton of an

Apatosaurus (Popularly known as Brontosaurus) in strata

of Late Jurassic Age (some 145 million years ago) in

southeastern Wyoming. Tooth-mark scars on a number

of the tail vertebrae were spaced in such a way as to

make it clear that the animal had been preyed upon by a

large carnivore, probably an Allosaurus. Thus when in

1907 the museum mounted its beautiful skeleton of that

animal, the Allosaurus was placed over the Apatosaurus in

a feeding position. This classic mount of the two animals

has been maintained in the recent renovation of the

dinosaur halls at the American Museum of Natural His-

tory in New York City. So Allosaurl~ (and probably Cer- atosaurus and other Jurassic predator dinosaurs) did

indeed feed on adult sauropods, but could they attack

and kill them, or did they merely scavenge dead ani-

mals? The answer to this question is much less certain

since the gigantic sauropods with their tough scaly Skin

would surely have been formidable opponents. On the

other hand, the sauropod babies and "youngsters" would

have been fair game and, like baby elephants open to

killing by predators. This leads to the second question,

the answer to which is still not certain. Future finds of

footprints left by sauropod herds may reveal the answer.

There is, however, a hint that sauropod mothers did tend

to their offspring. Back in 1901 when the great sauropod

expert Charles W. Gilmore was just beginning his career

collecting dinosaurs for the Carnegie Museum in Pitts-

burgh, he found a number of bones of ave W young

sauropod intermingled with those of an adult

Apatosaurua. This young animal was originally named

Elaaaurua, but some years later further study showed it to

indeed be a very young apatosaur. These animals came

from a quar W of Late Jurassic Age not far distant from

the American Museum quarries.

The drawing is of a scene in Colorado of similar age

Apatosaurus Artist." John Gurche

/lledium: Pencil Study

Date: 1988

Dimensions: 15-3/4"W x 10-1/2"H

2 8 D I N O S A U R I M A G E R Y

Page 40: Dinosaur Imagery

J U R A S S I C A R T 2 9

Page 41: Dinosaur Imagery

to that in Wyoming, and where the same types of

dinosaurs roamed. The plant eater is an Ultrasaurus, one

of the largest sauropods, but one in which the technical

validity of its name is under question. This in no way

affects the contents of the painting. Notable features

include the restorations of the fore and hind feet of the

big sauropod. Note that in the front feet the animal

walked essentially on its finger tips, technically known

as the digitigrade mode, and that only the innermost of

the five digits possessed a claw. In the hind feet, on the

other hand, the long bones of the foot (metatarsals) are

positioned more nearly horizontally, their upper ends

raised a bit above a soft fleshy pad at the rear of the

foot, the lower ends spreading outward and somewhat

downward (semi-plantigrade mode). The correct posi-

tions of these foot bones have been determined not

only from articulated sauropod feet but also from

numerous sauropod footprints in track ways. The skin

of Jurassic sauropods, here depicted as elephant-like,

is known only from a few patches. In the shoulder

region of one animal the skin was covered with small

circular scales. The color of the integument is unknown

and will probably never be known, but it probably var-

ied from animal to animal, and could possibly have

been bright and variegated.

J O H N S. M e I N T O S H

Philadelphia, Pennsylvania

John S. McIntosh was born

and grew up in Ford City,

Pennsylvania, 42 miles north-

east of Pittsburgh, in January

of 1925. Educated at Yale Uni-

versity, majoring in physics,

vertebrate paleontology has

always been an avocation. J O H N S. M c I N T O S H Although his major field of

research was nuclear theory, he

has remained active in dinosaur study, particularly of

the sauropod dinosaurs. Now in retirement, virtually

all of his research energies are devoted to sauropods.

5 0 D I N O S A U R I M A G E R Y

Page 42: Dinosaur Imagery

~ have been lucky enough to work with some great

scientific illustrators. However, sometimes they

are so backed up with other work that the only

way to get artwork done for scientific papers is to do

them myself. Such was the case when we were putting

together the first volume of scientific papers on the

Canada-China Dinosaur Project. Zhao Xijin and I were

co-authoring a paper on a magnificent theropod specimen

collected in China in 1983, but Donna Lee Sloan was

completely preoccupied with illustrating Sinraptor. We

decided to call the new animal Monolopbosaurus, which

means "Single Crested Dragon." It is not closely related

to the Early Jurassic dinosaur Dilopbosaurus, ("Double

Crested Reptile"), and it has even less affinity with the

Permian reptile Trilopbosaurus ("Triple Crested Lizard").

The name simply refers to an unusual bony crest running

down the middle of its head. Monolopbosaurus was a

medium-sized flesh-eating dinosaur that lived in Central

Asia 150 million years ago. The only known specimen

was approximately 5 meters long when it was alive. The

function of the crest is unknown, but CT scans showed

that its hollow interior was connected by air passages

with the nose. It is possible that sounds generated in

the throat were amplified in this internal chamber.

P H I L I P J . C U R R I E

Royal Tyrrell Aluseum of Paleontology Drumheller, Alberta, Canada

Monoloplnosaurusjiansi Artist: Philip J. Currie

Medium: Pen and Ink Drawing

Date: 1993

Dimen~ianJ: 8-1/2"W x 11"H

J U R A S S I C A R T 3 ]

Page 43: Dinosaur Imagery

~ ompsognathus longipes from the Kimmeridgean

Age rocks (150 to 155 million years ago) of

southern Germany. These Late Jurassic

theropods are part of a group of dinosaurs called the

Coelurosauria; other members include both Tyran- nosaurus and birds. Clearly, this is a stunningly diverse

assemblage.

Compso~nat~us ~on~ipes Artist: John Bindon

Medium: Acrylic on Board

Date: 1996

Dimensions: 7-1/4"H x 13"W

3 2 D I N O S A U R I M A G E R Y

Page 44: Dinosaur Imagery
Page 45: Dinosaur Imagery

~ llosaurus & Camptosaurus-~ Terror at Dawn,

illustrates how ambush may have been crucial

for prey capture in the Jurassic, just as it is

now at many an African water hole. The creator of this

tableau is J o h n Bindon, who is a freelance illustrator

living in Canada. His work on dinosaurs includes

paintings and drawings in books, on television, on tour

in museum exhibitions, and characterizations for Dis-

ney's future dinosaur movie. Some of his many contri-

butions to dinosaur illustration can be seen on his web

site: www.bindonillustrations.on.ca

A[[osaurus ~ Camptosaurus-- Tr at Dawn Artist." ,John Bindon

Medium: Gouache on Board

Date: 1999

Dimensions: 8-1/2"W x 7-1/4"H

5 4 D I N O S A U R I M A G E R Y

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Compso~nat lnus lon~fpes Artist: Stephen Czerkas

Medium: Bronze Date: 1996

Scale: 1/1, life-size

J U R A S S I C A R T 3 5

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C,/ eratosaurus and sauropods are depicted in an

astonishingly detailed rendition of a herd for-

aging with a predator in the vicinity. Very

much analogous to wildebeests of the African savan-

nah, this image easily suggests a lifestyle and

preda tor -prey strategy that exists today.

Ceratosaurus and sauropods Artiat: John Sibbick

/lleOium: Gouache on Paper

Date: 1994

Dimenaiana: 15-1/2"W x 12"H

. 5 6 D I N O S A U R I M A G E R Y

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C H A P T E R I V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.t~ (~retaceous ,nct

to a/ ost

Page 50: Dinosaur Imagery

M I C H A E L T R C I C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

One of the leading sculptors of

dinosaur life, Michael Trcic

now lives in Sedona, Arizona.

He was the key sculptor and

puppeteer for the Tyrannosaurus in Jurassic Park. His work has

also appeared in other movies

such as Barman Returns and 2}r-

minator 2. His work has been

published in books such as

Hunting Dinosaurs (1994, Random House), and in mag-

azines such as Earth Magazine and Prehistoric Times. His

statue of Jobaria, a newly described sauropod, is now

on exhibit at the Navy Pier in Chicago and is destined

for an exhibit at National Geographic's Explorer Hall

in Washington, D.C. His work can be seen online at

www.mothernatures, net

P r h e herd of duckbill dinosaurs slowly move out

of the area. They had just finished browsing

for food and were intent on satisfying their

thirst at the next accessible bend in the river, about a

half mile away. One straggler, a lone Lambeosaurus, has

not yet noticed the danger of solitude in a world where

one mistake, hesitation, or lack of concentration of the

immediate environment, can carry a death sentence.

The lone lambeosaur has not gone unnoticed by a

pack of dromaeosaurs. They wait patiently in the shad-

ows as the herd of herbivores moves inexorably away.

The dromaeosaurs know that it may be a difficult fight

but the rewards justify the danger. One adult Lam- beoaaurus can feed many hungry mouths, and also those

of the juveniles back in the nesting area. An attack can-

not be a haphazard affair and definitely cannot be

dragged out. A victim that is not dispatched quickly

would mean danger for all, both hadrosaur and

coelurosaur. With adults of the family Tyrannosauridae

also in the area, a scuffle and commotion could bring

one of them to the site. The herbivore would still be

killed, but the dromaeosaurs would have to abandon

the carcass and wait until the tyrannosaur had finished.

This would make the dromaeosaurs scavengers on the

leavings of their larger distant relative. They might still

get enough food, but what about their hatchlings ?

The waiting is over. The lambeosaur has wandered

toward the hiding place of the dromaeosaurs. Members

Lam~eosaurus & d r o m a e o s a u r s

Artist: Michael Trcic

Medium: Bronze

Date: 1996

Scale: 1/8

4 0 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 4 ].

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of the pack

pounce immedi-

ately in the hope

of causing the

startled lam-

beosaur to lose

its balance and

fall over. If the

lambeosaur

regains its com-

posure, it might

shake off the

dromaeosaurs

and run to safe-

ty. The only

hope of the dro-

maeosaurs is to

attack the head

and limbs before

the lambeosaur

can deliver a terrible bite of its own. Normally, size is

the best defense and the dromaeosaurs would never be

able to bring down an adult lambeosaur on their own.

But in nature, victory is handed to the one who does

not make the first mistake.

How does the battle end? The fossil record does

not record the outcome of this particular drama. In

the few million years that Lambeosaurus and the dro-

maeosaurs were

contemporaries,

such encounters

may have

occurred many

times with the

outcome going

to either side.

But in this par-

ticular case,

only the artist

knows.

This sculp-

ture, at 1/8 scale,

is Mike Trcic's

fourth bronze. It

was begun in

1994 and

finished in 1996

and it weighs

about fifty pounds. Only 11 were made before the orig-

inal clay mold was destroyed. It has been shown at sev-

eral art shows in the west.

M I C H A E L B R E T T - S U R M A N

National Museum of Natural History Smithsonian Institution

Washington, D. C.

4 2 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 4 3

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~ uch recent dinosaur art centers on the

dinosaurs themselves, and the amount of

detail given them can be staggering. In

contrast, Doug Henderson's dinosaurs often look indis-

tinct or even murky, lacking the crisp detail seen in

other artists' work. What we actually get in paleontol-

ogy are imperfect glances at the past, and just like a

real set of fossils, Henderson's work leaves something

for the viewer's imagination.

In this work, the real star of the show is not the

dinosaur, but the landscape. The dinosaur is not even at

the center of the image, and the eye is drawn toward

the light reflecting from tree trunks. The foliage is a

vibrant green, with shafts of afternoon sunlight break-

ing through the canopy. The cycle of life and death is

apparent in the magnolias and cypresses, some standing

tall and others uprooted. This is a living Cretaceous

ecosystem. That a tyrannosaur happens to be on the

scene is almost coincidental--and this is as it should be;

however exciting, dinosaurs were (and still are) only a

part of the much larger realm we call biodiversity.

This portrayal of Tyrannosaurus is generally accu-

rate. It's not as slender as those portrayed by some

other contemporary dinosaur artists, but based on my

observations of adult Tyrannosaurus bones, a robust

build may be more appropriate. The trunk may not

have tilted upward toward the head at rest, but this

animal seems to be sniffing around for something. My

only criticism is that Tyrannosaurus, like any archosaur,

would have lacked fleshy lips, and the upper teeth

would normally be exposed when the jaws were closed.

C H R I S T O P H E R A. B R O C H U

Department of Geology Field Museum of Natural History

Chicago, Illinois

T•rannosa urus Artist" Douglas Henderson

3/1edium: Pastel and Paper

Date: 1992

Dimensions: 27-1/4"W x 15"H

4 4 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 4 5

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' ~h i s painting by Michael Skrepnick portrays

Sinosauroptewx prima, a small theropod

dinosaur recently unearthed from the 124 mil-

lion-year-old, finely grained, lake deposits of Liaoning,

in the northeastern corner of China. With a tail longer

than any other theropod dinosaur, a stout thumb end-

ing in a large claw, and other skeletal features not easi-

ly seen in this reconstruction, Sinosauroptellgx is clas-

sified as a member of the compsognathid family, along

with Compsognathus [ongipes and Compaognatht~ coralleotris from the 150-million-year-old rocks of Ger-

many and France, respectively.

Like all other nonavian theropod dinosaurs,

Sinoaauropteryx walked on legs sporting three main

clawed toes (a feature inherited by theropods' avian

descendants) and had predatory habits. Skrepnick

illustrated this behavior by portraying a specimen cap-

turing a long-tailed lizard and the hawkish engage-

ment of another Sinosauropteryx specimen in the scene.

The scientific basis of this depiction rests on the dis-

covery of a comparable lizard inside the belly of one of

the available Sinosauropteryx specimens. Another speci-

men containing the remains of a small mammal in its

stomach attests for a wider range of this theropod's

prey items.

Undoubtedly, the most striking feature of

Sinosauropteryx is its body covering. All known speci-

mens have preserved a distinct row of filament-like

structures that run from the back of its head to the

tip of its tail. These structures also outlined the lower

edge of the tail. The nature of these filaments is con-

troversial. Many have argued that they are the pre-

cursors of modern feathers. Others, however, regarded

them as a dermal frill, a feature common to many

modern lizards, that became frayed through the

action of the decay process. The remnants of patches

of these filaments covering other parts of the body,

such as the forelimbs and cheeks make the frill inter-

pretation most unlikely. Skrepnick correctly illus-

trates them as soft, skin structures cloaking the

entire body of Sinosauropteryx. Whether these fila-

ments are structurally feathers, with their specific

keratin composition, remains to be analyzed but

their fluffiness, evident in the fossils, is portrayed

with precision.

Although with its body covered with a cloak of

presumably insulation structures, the metabolic

attributes of Sinosauropteryx may not have been com-

parable to those of theropods' extant counterparts,

Sinosaurop teryx prima Artiot: /V~chael Skrepnick

AleOium: Acrylic on Masonite

Date: 1997

Dimenaiona: 35-1/d"W x 23-1/2"H

4 6 D I N O S A U R I M A G E R Y

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the birds. Skrepnick portrayed two specimens of the

same size, probably basing his work on the type

specimen, with a length slightly exceeding two feet.

Perhaps this was all he knew of Sinosauropteryx when

he painted this scene. Today, however, the several

known specimens of this dinosaur greatly vary in

size; some are less than 60% the size of others. Like

for other nonavian theropods, such a size difference

in specimens lacking evident juvenile traits suggests

that the growth pattern of Sinosattropteryx was more

"reptilian" than "avian." A "reptilian" pattern of

growth need not necessarily be correlated with cold-

bloodedness, but the existence of a growth series

like in no extant, warm-blooded bird calls for cau-

tion before extrapolating the metabolic attributes of

modern birds to Sinosauropteryx and other non-avian

theropods.

A variety of plant remains have been found in the

lake deposits of Liaoning, including ferns, horsetails,

conifers, gingkoes, and primitive flowering plants. This

evidence suggests that the margins of this ancient lake

were forested. Once again, Skrepnick's depiction accu-

rately illustrates this interpretation.

This painting portrays a delightful scene of anoth-

er time. It thrills the viewer with animals and a verdant

word never to be seen by the eyes of layman and scien-

tist alike. Even after a host of very recent discoveries,

the message contained in this work is as accurate as it

can be, and the end result is a pleasure to contemplate

on any level.

LUIS M. C H I A P P E

Vertebrate Paleontology Natural History Museum of Los Angeles County

Los Angeles, California

L U I S M . C H I A P P E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Editor's Note: This image, in an earlier form, was the

cover illustration for the Encyclopedia of Dinosaurs (Aca-

demic Press, 1997). The discovery of longer "feather"

fibers in fossil specimens of Sinosauropteryx required

changes yielding the final image pictured here.

4 8 D I N O S A U R I M A G E R Y

Page 59: Dinosaur Imagery

i J ames Gurney is the author of the popular Dino- top& series of books. As both author and artist he has popularized the fanciful world that might

have existed had domestic dinosaurs lived with humans. Check out www.dinotopia.com for titles of books in the series, as well as other resources for teach- ers, and other information for Dinotopia-philes.

Tyrannosaurus rex on Dinotopia stationary Artist." dames Gurney

Medium: Marker and Pencil on Paper

Date: 1995 (autographed 1996) Dimensions: 7-1/2"W x 10"H

C R E T A C E O U S E N D T O A L O S T W O R L D 4 9

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F L O Y D E A S T E R M A N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Floyd Easterman is an experi-

enced and talented taxidermist

for the Milwaukee Public

Museum. His specialized skills

are unique and were acquired

primarily through self-teaching

and interaction with mentors

like the firm of Jonas Brothers

in Denver, Joseph Santen of

Ward's Natural Science, and

Owen J. Gromme of the Milwaukee Public Museum.

A visit to Milwaukee would not De complete without a

visit to see Floyd's work. If you can not get to Wiscon-

sin, try the web site at www.mpm.ectu

~ riceratops is neither the largest nor the earliest

nor the first known of the horned dinosaurs, but

it is certainly the among best known and most

loved of all dinosaurs, voted by the children of Wyoming

as the official state fossil of the cowboy state. It was born

under a bit of a cloud, as the wise O. C. Marsh made

one of the larger goofs of his career in 1887 by naming a

pair of horns from Colorado Bison alticornus, even though

he was clearly told that the horns were from the Creta-

ceous not the Pleistocene. The brilliant collector and sci-

entist John Bell Hatcher soon provided a steady stream

of more or less complete Triceratops skulls, a veritable

conveyor belt of fossils from southeastern Wyoming to

Yale University, and by 1892, more than 30 skulls were

sitting in New Haven, including two skulls of the much

rarer but larger Torosaurus. Professor Marsh gave Tricer- atops ("three horn face") its memorable name in 1889,

and the horned dinosaur took shape for the first time.

Triceratops skulls continue to be found from Colorado in

the south to Alberta and Saskatchewan in the north.

This is one of the 10 most common dinosaurs on earth.

The largest Triceratops skulls are about 7 feet long, while

recent gigantic Torosaurus skulls measure a whopping 9

feet in length! Unfortunately, skeletons prove to be far

less common, and it is only in very recent years that

even substantially complete skeletons have been

unearthed. All Triceratops skeletons currently exhibited

in museums are composites, mixtures of the remains of

two to four separate individuals.

A striking peculiarity of Triceratops is the solid and

rather short head frill or shield. It has made it difficult to

determine how it is related to other horned dinosaurs,

rr icera tops Artist: Floyd Easterman

Medium: Cast in Urathane Foam covered in Epoxy

Date: 1986

Scale: 1/6

.~ 0 D I N O S A U R I M A G E R Y

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members of the family Ceratopsidae, which are generally

divided into two subfamilies, the Centrosaurinae or

short-frilled horned dinosaurs, and the Chasmosaurinae,

or long-frilled horned dinosaurs. The short frill of Tricer- atops makes it resemble centrosaurines, but the structure

of the nose, the long eyebrow horns, and the form of the

frill, particularly the shape of the squamosal bone on the

side of the frill, reveal its true relationship to the chas-

mosaurines. Is the solid frill a primitive character, or did

its immediate ancestors resemble more conventional long

frills? That is, does Triceratops represent an evolutionary

reversal? Particularly puzzling is an animal described by

R.S. Lull in 1905 as Diceratops. This poorly preserved fos-

sil looks like a distressed Triceratops skull but it apparent-

ly has two holes in the frill (as most ceratopsids do). Is it

a freak of nature, an artifact of preservation, or is the

ancestral form of Triceratops? One poorly preserved skull

tantalizes but does not solve the problem.

What was the frill used for in horned dinosaurs ?

One suggestion is that it was a framework for greatly

lengthened jaw-closing muscles. There are many prob-

lems with this idea, starting with the fact that no living

animal has such strange lengthy jaw muscles. Such mus-

cles would have been terribly vulnerable to injury if

Triceratops males really did fight with each other as we

think likely. Most critically in Triceratops, there is a strik-

ing pattern of linear anastomosing grooves in the texture

of the bone of the frill that reveals an absence of jaw

closing muscles and suggests instead a network of blood

vessels. Perhaps the frill served as a heat-exchange

structure for excess body heat. Studies of oxygen iso-

topes of Triceratops bone by Reese Barrick and col-

leagues show a pattern suggestive of progressive cooling

of eyebrow horns away from the body and towards the

tips. I believe that frills of horned dinosaurs were sexual

display structures much like the tails of peacocks, per-

haps the frills were brightly colored. The teeth were

unusual, having a scissor-like jaw action rarely seen in

plant-eaters. They must have sliced fibrous plants, per-

haps woody material. Alas, there is little known and

much to learn about diet in horned dinosaurs. A current

area of discussion concerns whether ceratopsians had

muscular cheeks to help them process food in their

mouths. For three decades it was commonly believed

that they did but current studies by Larry Witmer have

re-evaluated the mouths of plant-eaters and he believes

that the evidence points away from this conclusion. Per-

haps an extension of the horny beak was all they had.

Triceratops was the last common dinosaur. When it

ceased to roam the west, the age of dinosaurs had

ended. The earth has never been the same since.

P E T E R D O D S O N

School of Veterinary zlledicine University of Pennsylvania

Philadelphia, Pennsylvania

.~ 2 D I N O S A U R I M A G E R Y

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~ B eginning with work at the San Diego Natural History Museum, Mark Hallett has been an

inspiration for other paleo-artists; indeed he

coined the title. His work has appeared in numerous

Pair of Allosaurus fr~ilis: Disputed Territory Artist: Mark Hallett

Medium: Gouache on Board

Date: 1986

Dimensions: 11"W x 11-1/2"H

magazines such as Life, Smithsonian, and National Geo-

graphic. Mr. Hallett has also been a teacher, a designer,

an art director, and a frequent consultant. He helped

create the dinosaurs of Jurassic Park.

Tyrannosa.rus-Scavenger or Predator Artist: Mark Hallett

Medium: Gouache on Board

Date: 1992

Dimensions" 20"W x 13"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 5 3

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M uch as I like the "big guy," it is refreshing

to see a tyrannosaurid other than Tyran-

nosaurus rex in sculpture form. David

Krentz's Gorgosaurus [ibratus (this species is sometimes

placed in the related genus Albertosaurus) shows well

some of the characteristic features of the tyrant

dinosaurs which are less apparent in its enormous kin.

Tyrannosaurids are specialized coelurosaurs and

share with their close relatives the ornithomimosaurs

(ostrich dinosaurs) very long slender legs and long

slender metatarsus. The metatarsi of tyrannosaurids

and ornithomimosaurs have a specialized adaptation

suggesting that they were shock absorbers. Mthough

you cannot see the internal details in the foot of this

sculpture, Krenz has captured the proper proportions

of a tyrant dinosaur. Research has shown that these

suite of features are consistent with tyrannosaurids

being running specialists; furthermore, the smaller Gor-

gosaurua probably would not be expected to incur the

considerable damage Jim Farlow and colleagues calcu-

lated for an adult T. rex tripping while running at high

speed. Thus, Gorgosaurus used its elongate legs and

shock absorbing feet to full advantage in pursuit of its

slower potential prey: hadrosaurs such as Corythosaurus

and Lambeosaurus and eeratopsians such as Centrosaurus

and Chasmosaurus. Krentz's Gorgosaurus, in its dynamic

running pose, evokes a sense of what these large preda-

tors might have looked like giving chase.

Different types of cranial ornamentation charac-

terize different species of tyrannosaurid. In Tyran-

nosaurus rex, large bulbous knobs rise up above and

behind the eye on the postorbital; in Daapletoaaurus toro-

aus the postorbital bosses are smaller and a triangular

hornlet arises vertically from the lacrimal in front of

the eye. As shown here, in Gorgoaaurus, there are no

postorbital bulges and the lacrimal hornlet points for-

w a r d .

Tyrant dinosaurs are famous for their greatly

reduced forelimbs: their arms are very short, and only

two fingers (equivalent to our thumb and pointer

finger) remain in the hand. This reduction is at its most

extreme in the last, largest, and most specialized tyran-

nosaurids: Tyrannosaurus rex and Tyrannosaurus (some-

times Tarbosaurus) bataar. In earlier forms such as Gor-

gosaurus the third metacarpal is more reduced. Krentz

has restored this stage as still showing a bit of a bulge

out of the palm of the hand. It is uncertain from the

skeletal anatomy when exactly such a bulge would

have disappeared; in fact, the forelimbs of even more

"Judith," Gorsosaurus liLrat s Artist: David Krentz

34edium: Bronze

Date: 1998

Scale: 1/18

,~ 4 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 5 5

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primitive tyrannosaurids are ve W poorly known, and it

may be that some of these still retained the third finger.

Skin impressions from a tyrannosaurid are

unknown. Most expect that tyrant dinosaurs (at least

as adults) would be covered with a mosaic of scales, as

shown in this model. However, interesting implications

for the body covering of tyrannosaurids come from the

recent discovery of Sinoaauroptewx. Sinoaauroptewx, a compsognathid dinosaur from the Early Cretaceous of

China, is famous for its body covering of very simple

feathers. Subsequently, feathers have been found in

oviraptorosaur, therizinosauroid, and dromaeosaurid

dinosaurs (and, of course, have long been known in

birds). Because both Sinoaauroptewx and birds have

feathers, the origin of feathers occurred prior to the

divergence between these two groups. However, the

skeletal anatomy of Gmyoaaurt~ and other tyran-

nosaurids suggests that they split off from the bird line

after the divergence between Sinoaauropteotx and birds.

This implies that tyrant dinosaurs were the descen-

dants of feathered creatures; indeed, without other evi-

dence to the contra W, it is implied that tyrannosaurids

had feathers! One could argue that tyrannosaurids, as

very large animals in very warm environments would

be unlikely to retain an insulating cover while adults

(and in fact it might be ve W difficult for a tyran-

nosaurid to keep its feathers clean), but baby tyran-

nosaurids were probably only a meter or so long, and

were ve W likely covered with simple feathers. In fact,

if future sculptures of Gor.qoaaurua and its kin show

patches of feathers (perhaps ornamenting the skull, or

along the short forelimbs) this would not be outside the

realm of possibility. The exact pattern and color of

such feathers, however, would be pure speculation.

THOMAS R. H O L T Z , ,JR.

DeparOnent of Geolo.qy Unk,eluity ,?f 34amjlan8

.~ 6 D I N O S A U R I M A G E R Y

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Gor~osaurus face bite Artist: Michael Skrepnick

Medium: Pen and Ink

Date: 1997

Dimensions: 9" (diameter)

A C R E T A C E O U S E N D T O A L O S T W O R L D ~5 7

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.~ 8 D I N O S A U R I M A G E R Y

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~ hen I first saw the specimens of Caudip- teryx on a trip to China in 1997, I could

hardly believe my eyes. It was cold day in

Beijing. I was visiting the Geological Museum as a guest

of J i Qiang, studying the primitive avialan Confuciusornis in the basement. The room was poorly lit and very cold.

Over an entire afternoon, J i Qiang produced slab after

slab of amazing fossils. Turtles and pterosaurs with skin

impressions, bugs that displayed color patterns, feath-

ered Confuciusornis specimens, and the unusual fluffy and

feathered theropods, Sinosauropteryx and Protarcbaeopteryx. Eventually he produced a slab containing what would

be the type specimen of Caudipteryx. Although the speci-

men of Protarcbaeopteryx was impressive, to me it was

Caudipteryx that definitively and unequivocally showed

that some non-avian dinosaurs were feathered.

Paleontologists can only dream of finding fossils

like this, with soft parts so well preserved. Here we (as

Michael Skrepnick has done) can reconstruct the animal

without the requisite speculation. It is a great specimen,

even preserving evidence that the tail feathers were

Caudipteryx Artist: Michael Skrepnick

Medium: Prismacolor on Illustration Board

Date: 1998

Dimensions: 17-1/4"W x 12"H

banded. Caudipteryx bears on two important issues: the

origin of feathers and their distribution among 'dinosaur'

groups. These points can be discussed in reference to a

phylogenetic hypothesis, or family tree of dinosaurs. Ini-

tially, when Ji Qiang, J i Shu'an, Phil Currie, and I

described Caudipteryx, we preliminarily proposed that it

was more closely related to modern Aves than to other

non-avian dinosaur groups. Later J im Clark, Peter

Makovicky, and I modified this view and placed

Caudipteryx as a close relative of oviraptorosaurs. Paul

Sereno, Phil Currie, and Tom Holtz also advocate this

Caudipteryx-oviraptorosaur relationship. What does this

mean in relation to the origin of feathers?

First because Caudipteryx is not so closely related to

Ayes, and because clearly it, nor its close relatives flew

(because, as the illustration shows, the arms were not

long enough to act as wings and the flight feathers were

symmetric, not asymmetric like in flighted avialans), we

can determine that the origin of feathers predates the

origin of avian flight. This means that the evolutionary

origin of feathers is decoupled from the origin of flight,

and we need to propose an alternative explanation for

feather origin. Like what? Such questions are notorious-

ly hard to test using the scant information that fossils

provide us; however, a couple of observations found on

Caud~oteryx and other specimens from Liaoning allow some

fantasizing and scenario building. First, feathers in Ayes

work not just to fly, but also to insulate. Aves are warm

A C R E T A C E O U S E N D T O A L O S T W O R L D . ~ 9

Page 70: Dinosaur Imagery

blooded and the feathers that cover their bodies are among

the best insulators known. If, in fact, their non-avian rel-

atives shared this metabolism, the origin of feathers could

be tied to the origin of an advanced metabolism. Yet this

can only be part of the explanation, as the wing and tail

feathers of Aves provide little if any insulatory capability.

Living Ayes show a remarkable diversity of dis-

play behavior, often using their feathers as props in

elaborate territory, threat, or courtship ritual. Hence, it

is at least plausible (albeit currently untestable) to posit

that the elongate tail and wing feathers arose via their

association with such behavior, only to be co-opted for

flight later in avialan history.

A more approachable question concerns the distrib-

ution of feathers in dinosaurs as a whole. The presence

of modern type feathers in Cau3iptewx, combined with

its current phylogenetic position as a close relative of

oviraptorosaurs has profound implications for the distri-

bution of feathers in general. Consider this analogy.

Both humans and chimpanzees have hair. Our explana-

tion for this is that both share a hairy common ancestor.

With no contrary evidence, we predict that all other ani-

mals that are descended from this common ancestor

were also hairy. Consequently when artists and scientists

reconstruct the australopithecine Lucy, or any other

cave man, they portray them as hairy, even though not a

single shred of fossil evidence directly shows this.

What about feathers? Everyone knows that mod-

ern birds have feathers and so does CauSipteryx. This is

because they are descended from a feathered common

ancestor. This predicts that the other animals descend-

ed from this same ancestor were also feathered. Sur-

prisingly, these include dromaeosaurs, troodontids, and

several less familiar and undescribed animals. While

some of these predictions have been borne out by spec-

tacular new fossils like the feathered dromaeosaur

Sinara#hadaurad, just the idea that animals like Velacirap- tar, Ovirapta~ and TrooSon were feathered was the stuff

of science fiction before CauSipteryx was studied.

Are we ready for a feathered T. rex? Maybe not

quite yet. However, if continuing studies nail down the

homology of the putative protofeathers in

SinosauroptetTtx with the true feathers found in modern

Ayes and CaudiptoTtx, we would predict that they are

descended from a fluffy common ancestor. And if the

phylogenetic position of Sinosauropteryx remains as

something close to the Compsognatht~ zone, outside of

Tetanu/'ae, other theropods descended from the com-

mon ancestor of SinosauroptetTtx and modern Ayes also

showed some type of feathers. T. rex is part of this

progeny, so as it stands now, I would predict that dur-

ing at least some of its life-cycle, it also was so adorned.

MARK N O R E L L

Department of Vertebrate Paleontology American Alu~eunz of Natural HiJtory

6 0 D I N O S A U R I M A G E R Y

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l~ romaeosaurus albertensis comes from the

Judith River Formation of Alberta and

Montana. The active nature of these Late

Campanian carnivorous Cretaceous creatures is well

illustrated.

" B i r d of P r e y , Dromaeosaurus al~ertensis

Artist: Michael Trcic

Medium: Bronze

Date: 1994

Scale: 1/8

A C R E T A C E O U S E N D T O A L O S T W O R L D 6 I

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~ ohn Sibbick is to my mind the best natural histo-

ry illustrator in England and ranks among the

top in the world. His works have a hallmark of

fastidious accuracy, realism, and incredible attention to

detail that I find quite stunning. John and I worked

together on these illustrations: he providing the origi-

nality and "life" to the subjects in the form of some

wonderful draft sketches while I, to paraphrase T. H.

Huxley, supplied a few ugly facts--when I knew them.

This particular illustration of Neovenator by John

provides an early attempt to restore the little known, but

quite well-preserved, dinosaur collected from the

Wealden (Lower Cretaceous) of the Isle of Wight. The

dinosaur was collected several years ago after its pres-

ence was revealed by a cliff fall. A considerable part of

this important and intriguing animal is now known and

is being studied by Steve Hutt (an indefatigable collec-

tor, who has the post of Curator at the Museum of Isle

of Wight Geology, based in the town of Sandown). This

is a fine example of John Sibbick's style, showing atten-

tion to detail fight across the landscape--not merely focus-

ing on the centerpiece--just look at the detail on that

cycadeoid beneath the tip of the tail of the main animal!

Although the details of the anatomy of this animal

have not yet appeared in print, a preliminary account

of the material has indicated one or two features that

have been picked up by John Sibbick. Firstly, the ani-

mal is suspected to be related to the North American

Upper Jurassic Allosaurus, which is itself extremely

well-known from a large amount of skeletal material

collected from the Morrison Formation. This has acted

as a starting point for John, and gives the overall pro-

portions to the animal shown here. There are, even

from the little that is known to date, some differences:

notably the shape of the snout, which is quite long and

tapering dorsally, which gives the animal a distinctive

profile when compared to typical allosaurs.

Time will tell how accurate this picture of Neovena- tot will prove to be. Rather crudely I could draw a

comparison with Waterhouse Hawkins/Richard Owen

and their attempts to model the Megalosaurus bucklandi for the Crystal Palace "Secondary Island" on the basis

of just a few anatomical remains; but to do so would

neither be right nor fair, we have over a century of

anatomical and systematic knowledge with which to

pad out present day speculations so I doubt that John's

restoration will be too far from the truth.

DAVID N O R M A N

Cambridge University

~eovena tor

Artist: John Sibbick

Medium: Gouache on Paper

Date: 1997

Dimensions: 18"W x 8-1/4"H

6 2 D I N O S A U R I M A G E R Y

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I~ aspletosaurus, Late Campanian (about 75 mil-

lion years ago); a tyrannosaurid, named and

described by Dale Russell in 1970, and

known from a few skulls and skeletal material.

Daspletosaurus joins Tyrannosaurus and its relatives--

some of which are often considered synonyms of each

other--such as Albertosaurus, Gorgosaurus, Tarbosaurus, and Dynamosaurus, in the tyrannosaurs, the largest

known carnivores ever to walk the earth. Michael

Trcic's sculpture conveys the principal features of the

beast that make its ferocity so vivid, even at a distance of

75 million years. First are the huge jaws set in the high

narrow skull, which has eyes able to see forward as well

as to the side. The teeth are not flattened side to side as

in other theropods, but thick and almost round in cross

section. They are anchored as deeply in the jaw as they

protrude from it, tapering at both ends in a banana-like

shape, and creating in effect a mouthful of "lethal

bananas." These teeth did not mainly slice, they punc-

tured. And the bones of their victims show evidence of a

"puncture and scrape" assault that would have removed

huge chunks of flesh and hard tissue that were swal-

lowed indiscriminately, without chewing. The powerful

neck muscles bulge for good reason. In the absence of

workable forelimbs, the neck does the work of pulling

the head from the victim, tearing meat from the bones

after the teeth have sunk in. The hips and tail look

equally powerful, because they have their roles, too. The

hips, in addition to anchoring much of the hindlimb

musculature, also root the legs to the ground during

feeding, anchoring the animal at a leverage point against

which the business end up front can work. And the tail

contains the principal muscles that pull the legs back-

ward to propel the animal forwai'd. Michael Trcic's

sculpture communicates the kinetic fury of this

magnificent predator in a very effective way. When you

look at the naked skeleton of a tyrannosaur, what usual-

ly impresses you is how huge are the skull and hips,

which probably embody the two most important joints

of the animal. It takes a special talent to integrate the

large and small components of the tyrannosaur into a

realistic, plausible whole--a creature who seems to

move with fluid grace, all parts in proportion--while

getting across the primal savagery that must have dis-

patched countless duckbills and ceratopsians in its day.

KEVIN PADIAN

Museum of Paleontology University of California, Berkeley

Dasp[etosaurus Artist: Michael Trcic

Medium: Bronze

Date: 1993

Dimensions: 4 I "L Scale: 1/8

~ 4 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 6 . 5

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(~ C~ D I N O S A U R I M A G E R Y

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Bill Parsons is an illustrator for the Buffalo Museum of

Science. His illustrations have appeared in Natura[Hl~,-

ta/> 7~)ne, and on the covers of Sciem'e and Di,,ca~,el: His

work has also been on display in museums such as

Chicago's Field Museum of Natural Histo W and the

Oklahoma Museum of Natural Histo W. In addition to

his artistic interests, Mr. Parsons is an active partici-

pant in field archaeology and paleontological research.

tl, ol,,s Artist: William Parsons

Medium:

Date: 1998

Dimensions: 16-3/4"W x 11-1/4"H

- ~ o r over a century, paleontologists have known

that a species of large predatory dinosaur, or

theropod, existed on Madagascar during the

Late Cretaceous. Yet for most of this time, knowledge

of these extinct carnivores was restricted to isolated

teeth and a few bone fragments. In 1996, an interna-

tional expedition, co-sponsored by S UNY-Stony

Brook and the University of Antananarivo, experi-

enced one of those grand "eureka" events that are all

too rare in paleontology. On the northwest part of the

island, near the town of Mahajanga, we unearthed the

virtually complete skull and partial skeleton of the

ancient dinosaurian hunter, now known as 3Iajungatb-

olus. I was fortunate enough to be the first of our team

to come across these fossilized remains, and the

absolute thrill of uncovering that first jaw element,

complete with glistening serrated teeth, is forever

ingrained in my mind.

3Iajungatbo[us is a member of an enigmatic

group of theropods known as abelisaurids. To date,

abelisaurids have been confidently identified only

from Argentina, Madagascar, and India. Based on

this distribution and that of other contempora-

neous animals, my colleagues and I have suggested

that South America may have retained land connec-

tions with other southern landmasses, such as Mada-

gascar and India, long after Africa became an island

continent. Only the discovery of further fossils,

A C R E T A C E O U S E N D T O A L O S T W O R L D 6 7

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particularly from Africa, will allow us to test this

hypothesis.

Without doubt, the Lanzendorf Collection is the

single best assemblage of dinosaur artwork in the world.

Reconstructions like those presented here ofAIajun- gatholaa stir the imagination, and bring us a giant leap

closer toward comprehending the world of dinosaurs.

S C O T T S A M P S O N

Utah Muaeum of Natural Hiatory University of Utah

Scott Sampson was a part of a

team of excavators who discov-

ered AIajungatholua in Madagas-

car. He is now curator of a new

museum of paleontology at the

University of Utah.

S C O T T S A M P S O N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

M j n at ol s head Artist." David Krentz

Aledium: Pencil and Charcoal

Date: 1998

Dimensions: 10"W x 11 "H

6 8 D I N O S A U R I M A G E R Y

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M~j~8~tLol~s Artiat: Mike Jones

zlleOium: Bronze

Date: 1998

7 0 D I N O S A U R I M A G E R Y

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Artist: John Bindon

Medium: Acrylic on Masonite

Date: 1999

Dimensions: 24" (diameter)

A C R E T A C E O U S E N D T O A L O S T W O R L D 7 1

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P A U L S E R E N O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Paul Sereno has been a long

time friend of John Lanzen-

dorf. Indeed, John volun-

teers in Paul's lab at the Uni-

versity of Chicago. Famous

for his well chronicled expe-

ditions into the Sahara and

elsewhere, Paul has con-

tributed extensively to the

scientific study of dinosaurs

as well as to their continuing popularity. Two websites

focus on his continuing scientific endeavors:

dinosaur.uchicago.edu and project exploration.org.

• l - ' • h e demands of academia and the desire to dig

in exotic locales can eliminate the free time

needed to pursue other avenues of creative

expression. I was determined not to let that happen on

Christmas Day 1995. I was inspired to sketch in pen

and ink flesh renderings of two animals that I and my

team had collected in the Sahara a short time before.

The dinosaurs are the 27 foot-long flesh-eater

Afrovenator and its prey, the 60 foot-long plant-eater

Jabaria. Both lived about 135 million years ago in

Africa. In their day, Afravenatar and Jobaria were the

dominant large-bodied carnivore and herbivore. Judg-

ing from the mix of skeletons in our graveyard site,

Jobaria must have roamed in herds. Tooth marks were

found on a juvenile skeleton of Jabaria and loose Afraee- nator teeth were buried nearby. That may be the closest

we will ever come to unearthing hard evidence of the

interaction of these magnificent animals. However, we

can imagine what that interaction may have been like,

which is what I wanted to do on that Christmas day.

The creative episode was brief. The final composi-

tion emerged almost immediately. Then followed two

days during which individually placed dots would

merge to form tones. I wanted depth of field, with as

many overlapping body parts as possible. I wanted

action and grace.

Did these animals interact as predator and prey?

Could Jobaria rear on its hind limbs? Did Afrovenator have striped body coloration? A flesh reconstruction

draws upon both science and imagination. The purpose

of doing a flesh reconstruction or scene painting of a

dinosaur is to absorb what science has to say and then to

go beyond--to depict how something might have

appeared and to imagine what may once have happened.

With regard to the three questions mentioned

above, the first involves the most science and the last

the most imagination. We found bones and teeth of

Afrovenator and Jobaria together at several sites with lit-

tle evidence of other meat eaters or plant eaters. They

were contemporaries and most likely interacted. After

7 2 D I N O S A U R I M A G E R Y

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weighing elephants, studying their rearing capability,

and measuring their bones, we suspect that Jobaria could perform a hind limb stand as well. This involves

more imagination, for this is a behavior no trace of

which has ever been preserved in the fossil record.

Finally, Afroventor'a stripes, if it had any, would proba-

bly be located on its back, as is most common in mod-

ern reptiles. Coloration, however, is likely to remain

one of the most speculative areas in a reconstruction.

The rendering follows carefully what I know

about the skeletons of these animals, as seen through

the eye and mind of a non-professional artist. It

attempts to capture their grace and perhaps a little

piece of their world.

PAUL C. S E R E N O

University of Chicago

Afrovenator &Jot, aria Artiat: Paul Sereno

Medium: Pen and Ink

Date: 1994

Dimensions: 10"W x 12"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 7 3

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A relative latecomer to paleon-

tology, Jeffrey A. Wilson's first

taste of the addictive mixture of

art, adventure, and science

came in his second year of grad-

uate studies at the University of

Chicago. He was part of a team

led by Paul Sereno that spent JEFFREY WILSON four months in the Sahara

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

excavating skeletons of sauro-

pod and theropod dinosaurs. Since then, on several

field expeditions to Africa and South America, he has

added to the knowledge of the succession of dinosaurs

on the southern continents. He is currently a visiting

assistant professor in the Museum of Paleontology at

the University of Michigan, where he teaches Verte-

brate Paleontology and Dinosaur Evolution courses. Wd-

son continues to work on sauropod evolution and plans

to lead his own expeditions to southern continents.

/~ ob Wakers' painting "Carnotaurus & Amar- gasaurus" captures a meeting between these

two dinosaurs in the Early Cretaceous of

Patagonia, more than 100 million years ago. The Creta-

ceous represents a time of fragmentation in the earth's

history: the supercontinent Pangaea was slowly but

inexorably being parceled into smaller landmasses,

eventually approaching the continental configuration

we recognize today. In the latest Jurassic, Pangaea was

divided into northern (Laurasian) and southern

(Gondwanan) landmasses by an encroaching Tethyan

seaway. Later, during the Early Cretaceous, Laurasia

and Gondwana themselves were subdivided into their

constituent continental landmasses. For studying the

effects of continental drift on dinosaur evolution, the

Early Cretaceous is crucial. It documents the transi-

tional period between the geographical connectedness

of the Jurassic and Late Cretaceous isolation--ties to

neighboring southern landmasses were severed, and

emerging island continents began to take on their own

character. Discovery of Carnotaurus and Amargasaurus provided strong evidence that by the Early Cretaceous,

South America had a distinctive character.

The dinosaurs of emerging northern island conti-

nents, particularly North America and Asia, are well

documented. Until recently, the southern continents of

Africa, South America, India, Australia, and Madagas-

Carnotaurus & Amar~asaurus Artist: Robert Wakers

Medium: Acrylic on Paper

Date: 1995

Dimensions: 14"W x 5-1/4"H

7 4 D I N O S A U R I M A G E R Y

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car were poorly known in comparison. This sampling

bias led to several tenuous biogeographical connec-

tions. For example, the discovery of peculiar tail verte-

brae from India, Madagascar, and South America led

early researchers to conclude that a single genus,

Titanosaurus, inhabited all three landmasses. These ini-

tial ideas of a common southern biogeographie

province gained currency, and southern faunas became

caricatured as "Gondwanan."

Recent field work on southern landmasses, how-

ever, has begun to show that the biogeography of

southern continents is actually more complex. Bob

Walters' painting depicts two of the prize skeletons dis-

covered by Jos6 Bonaparte in his nearly forty years of

field work in Patagonia. Discovered in the mid-1980s

in the provinces of Chubut and Neuqu6n, Carnotaurus and Amargasaurus are representative of the bizarre

menagerie of dinosaurs that inhabited the Cretaceous

of South America.

Wakers sets his scene in a conifer forest that is

punctuated by a lone cycad tree. As it emerges from

the brush at right of the painting, the bull-headed car-

nivore Carnotaurus encounters the sail-backed sauro-

pod Amargasaurus. With its abbreviate face, prominent

A C R E T A C E O U S E N D T O A L O S T W O R L D 7 6

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frontal horns, chambered vertebrae, and ridiculous

forelimbs (the forearm bones of which would fit com-

fortably in the palm of a man's hand), Carnotauraa was

to be the signature genus of a completely new family of

carnivorous dinosaurs, which Bonaparte and col-

leagues called "Abelisauridae." Despite its convergent

foreshortened arms, Carnotaarua is only distantly relat-

ed to Tyrannooaarao. Its closest northern ties are to Cer- atoJaarao, a horned predator from the Late Jurassic of

North America. Since Bonaparte's discovery of Carno-

taarao, abelisaurids have been discovered in Cretaceous

beds of Madagascar and France, as well as in museum

collections in India. The most spectacular of all is the

beautifully preserved Malagasy abelisaur/tlajungatho-

laa, which is distinguished by a single, low horn that

rises from the top of its skull.

The beds bearing the skeletons of Carnotaurao and

AmargaoaaraJ actually differ in age by approximately a5

million years, suggesting that these two genera may

never have encountered each other. Despite this age

discrepancy, though, fossil remains of what may be a

small relative of Carnotaaraa were found in the La

Amarga Formation, the beds for which Amargaoaarua

was named. Thus, the ancestors of Carnotaaraa and the

descendants Amargaoaarao may have commingled in the

Early Cretaceous.

Carnotaaraa was taller at the hip than was Amar-

gaoaarao, which is diminutive by sauropod standards.

The hind legs of the largest sauropod, Argentinosaurao, may have been twice as long. The stature of Amar-

gaoauraa is interpreted as one of the few reversals of the

gigantism that pervades dinosaur evolution in general

and sauropod evolution in particular. The other notable

reduction in body size in dinosaur evolution coincides

with the rise of birds from carnivorous dinosaurs.

Amargaoauraa'most striking feature are its tall vertebral

spines, the longest of which stretches more than half a

meter. In the neck and shoulder region, each spine is

split into left and right pairs, a condition that occurs in

other sauropods, such as Camaraoaurua and Apatosauraa. As Wa|ters' interprets, these elongate vertebral spines

probably supported a membranous sail that coursed

the most of the length of the vertebral column. Like the

spines, the sail was probably paired in the neck and

shoulder region and single in the trunk and hip region.

Neck and trunk sails have been interepreted as ther-

moregulato W devices, functioning to collect or dump

heat when profused with blood. Alternatively (or addi-

tionally), these sails may have been ornamental, serv-

ing to distiguish individuals. Other sauropods may

have had sails, such as the comparably sized African

sauropod Dicraeosaurao, which is considered the closest

relative to Amargaoaarao. Walters illustrates the forefeet

of Amargaoaurao as slightly pigeon-toed, an interpreta-

tion that is at odds with the anatomy of the arm bones

and evidence from footprints. All sauropod trackways

7 6 D I N O S A U R I M A G E R Y

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show that the hand, and to some extent the foot, were

rotated laterally relative to the direction of travel so

that the leading edge of the foot was the first or second

digit rather than the middle digit. Likewise, the shape

of the arm bones preclude the complete pronation of

the hand that we observe in many living mammals.

The shape of the skull and the form of the verte-

brae relates Amargasaurus and Dicraeosaurus to the well-

known North American diplodocids Diplodocus and

Apatosaurus. To date, dicraeosaurids have respected

their equatorial boundaries and never been found on

northern continents. Diplodocids, however, appear to

have made it to southern continents, with the remains

of a Barosaurus-like animal found in Late Jurassic sedi-

ments in Tendaguru, Tanzania. This distribution of

diplodocids is consistent with their origin at a time

when substantial continental connections still existed.

Although dicraeosaurids evolved at the same time as

diplodocids, they do not display the same cosmopolitan

distribution. We might expect to find Amargasaurus-like animals on northern continents in the future.

Bob Wakers' "Amargasaurus & Carnotaurus" brings

to life two of the spectacular newly discovered

dinosaurs of the emerging island continent South

America. These two forms, as well as their close rela-

tives on other continents, underscore the complex bio-

geographic history of dinosaurs. The origin and phylo-

genetic relationships of these and other southern

dinosaurs have forced us to look beyond the simplistic

scenario of a north-south division of Pangaea fueling

evolution of Laurasian and Gondwanan dinosaur fau-

nas during the Cretaceous. Instead, richer biogeo-

graphic scenarios are emerging that invoke several

processes, including dispersal, vicariance, and extinc-

tion, to explain the temporal distribution, geography,

and evolutionary relationships of dinosaurs.

J E F F R E Y W I L S O N

Aluseum of Paleontology University of Alichigan

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•Velociraptor mongoliensis, as the species name

indicates, is from Mongolia. Remains of this

famous movie star are of possible Late San-

tonian and Early Campanian Age (about 80 MYBP) in

the Late Cretaceous. This bronze is the model created

for Jurassic Park and Lost World. Ironically, Velociraptor is not known from Jurassic rocks. As often, the needs

of cinematic impact have taken a back seat to accuracy.

ge locirap tor m on~o liensis Artist." Stan Winston

zlledium: Bronze

Date: Undated

Dimensions: 29"L

7 8 D I N O S A U R I M A G E R Y

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Mike Jones lives in Burbank

and is a frequent contributor

and consultant to film and cine-

ma. Star Trek: The Motion Picture,

Beas tAlas ter, Space Raiders, Her-

cules, Critters, and Critters 2 are

all on his resume. His artwork

is on display at museums such MICHAEL JONES as the George C. Page Museum

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(the La Brea Tar Pits) and the

Los Angeles County Museum, as well as studios and

theme parks.

~~t~ altasaurus is a Late Cretaceous South American

sauropod found in various Campanian and

Nlaastriehtian Age sediments. Body armor,

which might have occurred in all titanosaurids, has

been found for this animal.

S d [t~S~ HFHS Artist." Mike Jones

Medium: Painted Primo

Date: 1999

Dimensions: 8"L

8 0 D I N O S A U R I M A G E R Y

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~ yrannnosaurus (left) and Albertosaurus are relat- ed and are both members of the Tyrannosauri-

dae; the former is distinguished by its relative- ly much wider posterior skull. They lived during the Campanian of Late Cretaceous North America about 75 to 80 million years ago.

Tyrannosaurus & Al~ertosaurus Artist." Garfield Minott

Medium: Painted Plaster

Date: 1995 Dimenaiona: 8-1/2"L (left), 8"L (right)

A C R E T A C E O U S E N D T O A L O S T W O R L D 8 ]

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- ~ h e lengthy spines of the post-cranial frill give

the impression that the frill of Styracosaurus is

larger than it actually is. I n fact, this ceratop- sian is a part of the Centrosaurinae, a Late Cretaceous group of short-frilled dinosaurs.

St•FO COSO 1AFtIS

Artist: Michael Trcic

Medium: Bronze

Date: 1994 Dimensions: 2 I "L

Scale: 1/8

8 2 D I N O S A U R I M A G E R Y

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D A V I D K R E N T Z

A graduate of the Character

Animation program of the Cali-

fornia Institute of the Arts,

David Krentz is now an anima-

tor for Walt Disney Feature

Animation. His work is a part

of Fantasia 2000 and Dinosaur,

both Disney animated feature

films. His sculpting is an avoca-

tional interest and his bronzes

are also available as resin kits.

F____d iniosaurus procurvicornis is a short-frilled ceratop-

sian usually found in the Late Campanian Judith

River sediments of Montana and Alberta.

"Buffalo Bull," E;nios r spcoc c ;cocn;s Artist: David Krentz

Medium: Bronze

Date: 1998

Dimensions: 14"L

Scale: 1/18

• 4 D I N O S A U R I M A G E R Y

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8 6 D I N O S A U R I M A G E R Y

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~ rodromeus makelai is a Campanian, Late Creta-

ceous dinosaur from western Montana

named for Bob Makela, who helped make the

Egg Mountain excavation so successful and revealing

of dinosaur biology.

Orodromeus ma~elai

Artist: John Bindon

Medium: Acrylic on Board

Date: 1996

Dimensions: 12"W x 6-1/2"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 8 7

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• A p a c k of the dromaeosaurid theropod Deinony-

chus on the prowl is a nightmarish image. Not

to say Steven Czerkas' sculpture is not beauti-

ful in reflecting their sleek lines and focused intent, but

think of the outcome for some dinosaur at the end of

this day's patrol; death and destruction for their intend-

ed prey and a fine meal of warm, vitamin-rich internal

organs for our Deinonychi.

Thought to be one of the most intelligent

dinosaurs, Deinonychus was highly adapted to make the

best use of its sickle-like inner toe claw. Evolutionary

processes have shortened its back and pulled its lower

pelvic bones back to bring its center of gravity more

fully over its hind legs. Additionally, evolution has stiff-

ened its tail into a slender balancing rod, which in con-

cert with its lightly built and mobile skull allowed the

animal to maintain its balance precisely. Long arms

with raptoral claws allowed it to both hold and kick its

prey with long slashing or perhaps stabbing motions. A

pack of Deinonychus attacking a much larger herbivo-

rous dinosaur is a popular image, but there is still no

physical evidence to support this behavior.

Only the famous fighting dinosaurs discovery

from the Late Cretaceous of Mongolia with Velociraptor and Protoceratops preserved in their death struggle

proves one dromaeosaurid actually attacked another

dinosaur. The association of teeth and bones of Deinony- chus with the bones of the much larger primitive orni-

thopod Tenontosaurus establishes that it certainly fed

upon this dinosaur, but does not prove it killed it, let

alone hunted it in packs. Group hunting today occurs

in much more intelligent birds and mammals, but could

it occur in dinosaurs? Certainly! Nile Monitor Lizards

mob attack crocodile nests. A few monitors will start

digging on a crocodile nest and when they are chased

away by the mother crocodile, others come in from the

other side and start digging until they are chased away

and the original monitors resume their digging. Back

and forth this goes on until the eggs are reached and

the monitors each get their prize. Now Deinonycbus is

more intellegent than are monitor lizards based on

brain size and organization, suggesting more sophisti-

cated behaviors are well within the range of possibili-

ties for these magnificent creatures. A dinosaurian

form of pack hunting perhaps based on family groups

is not out of the range of possibility for Deinonychus. As with all good paleoart, this piece reflects the

state of the science when it was rendered. Steve

Czerkas had rendered its skin based on his own

Artist." Stephen Czerkas

zIledium: Bronze

Date: 1986

Scale: 1/10

8 8 D I N O S A U R I M A G E R Y

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detailed studies of the skin of the primitive theropod

Carnotaurua, which was the only theropod for which the

skin was known. Now with the discovery that

advanced theropods had feathers or feather-like cover-

ings, including Deinonychus's close relative Sinor- nithosaurus from China, Steve is working a version of

his life-sized Deinonycbus sculpture that will include

feathers. Michael Crichton's upcoming preclude to

Jurassic Park will need to include the following line spo-

ken by one of his dinosaur cloning experts, when the

first featherless "raptor" comes out of the egg, "See, I told you we should have used bird DNA as the tem-

plate for our dinosaurs instead of frog DNA." Both art

and science move forward and a group of feathered

Utahraptor attacking a sauropod is still hard for this sci-

entist to imagine, s o . . . I'll have to wait for the art.

J A M E S I. K I R K L A N D

Utah Geological Survey Salt Lake City

9 0 D I N O S A U R I M A G E R Y

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G llimimus Artiat: William Stout

zlledium: Watercolor

Date: 1995

Dimenaiona: 7"W x 5-1/2"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 9 ]

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~ frovenator abakensis is from the Early Creta-

ceous of Niger and is a basal part of the

tetanurean lineage of theropod dinosaurs.

Afrouenator aga~ensis Artist." John Bindon

Medium: Acrylic on Board

Date: 1996

Dimensions: 14"W x 7"H

9 2 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 9 3

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L U I S V . R E Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

l ~ ictured here are three different dinosaurs. @antoJaarao and Ar#entinaJaarao are known contemporaries from Cenomanian Age (Late

Cretaceous) rocks of the Rio Limay Formation of Neuquen in Argentina. In contrast, Amar#oJaarao in the background is found in the older Hauterivian Age (Early Cretaceous) rocks of the La Amarge Formation.

•@antosaurus, Argentinosaurus & Amar~osaurus

ArtiJt: Luis V. Rey Ale3ium: Acrylic on Board

Date: 1995 DimenJior~: 29"W x 19-1/4"H

9 4 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 9 5

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9 6 D I N O S A U R I M A G E R Y

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M I C H A E L S K R E P N I C K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Michael Skrepnick lives and

works in Canada not far from

the Royal Tyrrell Museum of

Paleontology. His work is on

display around the world, in museums, and other public

and private collections. Some

of his best known paintings

appeared on the cover of

important books about

dinosaurs like the Encyclopedia of Dinosaurs (Academic

Press, 1997) and The Dinosauria (University of Califor- nia Press, 1990). The long and close friendship with

Lanzendorf explains why so many of his original paint-

ings are in the Lanzendorf Collection.

S cAo i s Artist: Michael Skrepnick

Aledium: Acwlic on Masonite Date: 1998

Dimensions: 35-1/2"W x 15-1/2"H

9 8 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D

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--'~ his Protoceratops hatching is the work of Sylvia

Czerkas. As both renown book author/editor

and artist, she has contributed to the science of

dinosaurs as well as imagery of dinosaurs. Her work

has been displayed around the world and she organized

a traveling exhibit that has visited over 45 museums.

She has also written or edited three books. Together

with Stephen Czerkas they founded The Dinosaur

Museum in Monticello, Utah.

Protoceratops Artist: Sylvia Czerkas

Date: 1975

Dimensions: 4-3/4"H from base

I 0 0 D I N O S A U R I M A G E R Y

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- ~ h e swirling leaves suggestive of expiration by a resting Tyrannosaurua rex shows that, even sleep-

ing, dinosaurs can be imposing and dynamic.

Tyrannosaurus rex

Artist: Michael Skrepnick Medium: Pen and Ink

Date: 1996 Dimensions: 14-1/2"W x 9-1/4"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 1 0 |

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~ arnotaurus sastrei has been recovered from

Mbian/Maastrichtian Age rocks of the Late

Cretaceous.

Carnosaurus sastrei

Artiat: Luis V. Rey

3IeOium: Acrylic on Board

Date: 1995

Dimenaiona: 29"W x 20-1/2"H

1 0 2 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 1 0 3

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~ arcbarodontosaurus & G~gantosaurus are theropod

dinosaurs separated by the South Atlantic.

Each is perched upon the continent that it

once inhabited. As so often happens, organisms often

converge upon similar size and shape because the eco-

logical conditions in different parts of the world are

quite similar.

Carc]ca oclontosaurus Gi ntosaurus Artist: Cliff Green

~lIedium: Bronze

Date: 1997

Scale: 1/24

1 0 4 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 1 0 6

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1 0 6 D I N O S A U R I M A G E R Y

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here is disagreement of the true nature of

Tyrannosaurus rex, here pictured over Anatoti-

tan. Were they active predators or lumbering

scavengers? Large orbits and evidence of well devel-

oped olfactory and optic nerve tracts suggest keen

senses of sight and smell. This same evidence can be

interpreted differently and thus, both alternatives are

worthy of tudy.

T y r a n n o s a u r u s rex & A n a t o t i t a n

Artist: Luis V. Rey

Medium: Acrylic on Board

Date: 1996

Dimensions: 30"W x 19-1/2"H

A C R E T A C E O U S E N D T O A L O S T W O R L D ] 0 7

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D O N N A B R A G I N E T Z . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Donna Braginetz trained at

Colorado State University and

works from her studio in north-

ern Colorado. Her work has

appeared in many books such

as the Encyclopedia of Dinosaurs (1997, Academic Press), The Complete Dinosaur (1997, Indi-

ana University Press), and the

Lerner Publications special

dinosaur series. A paleo-landscape painting for the

Denver Museum of Natural History is on permanent

display at Denver International Airport.

Omnivorous Ornit omimids Artwt: Donna Braginetz

Medium: Acrylic on Bristol Board

Date: 1994

Dimetwiotw: 23"W x 18"H

1 0 8 D I N O S A U R I M A G E R Y

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T O N Y M C V E Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tony McVey works from

San Francisco. His sculp-

tures have been created for

many companies and well

known institutions and orga-

nizations like the British

Museum (Natural History)

in London, Jim Henson

Productions, Industrial

Light and Magic, Warner

Brothers, and Amblin Entertainment, to mention a few.

His work can be seen online at www.menagerieproduc-

tions.com.

lyr~nn~s~r~s rex head and torso wall mount Artist: Tony McVey

Medium: Painted Resin

Date: 1995

Dimensions: 16-1/2" extending from base

1 I 0 D I N O S A U R I M A G E R Y

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Sty imolo a Artiat: J o h n Bindon

Medium: Acwlic on Board

Date: 1997

Dimer~ior~: 16"W x 9"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 1 l 1

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~ tahraptor, Velociraptor, Deinonychus, Dromaeo- saurus. This comparison of well known

theropods was published as a part of Raptors: The Nastiest Dinosaurs by Lessom (1996, Little Brown

and Company).

to , tor,

Deinonclnys, Dromaeosaurus Artist." David Peters

Medium: Acrylic on bristol board

Date: 1996 Dimensions: 19-1/4"W x 9-1/4"H

1 1 2 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 1 1 3

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! 1 4 D I N O S A U R I M A G E R Y

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Robert Walters has been a professional paleoartist for

twenty years. His work has appeared in more than a

dozen museums, including the American Museum of

Natural History and the Smithsonian, and in more

than twenty books and innumerable magazines

throughout the world, as well as television productions

for PBS and the Discovery Channel, and electronic

media such as Microsoft Encarta Encyclopedia. He lives

in Philadelphia. His work can be seen online at

www.dinoart.com.

Tar~osaurus and others Artist: Robert Waiters

AIeOium: Acrylic and Pen & Ink

on Watercolor Paper

Date: 1995

Dimensions: 14"W X 5-1/2"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 1 1 5

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Suc] omi us (skeleton) Artiat: Paul Sereno

llIeJium: Pen & Ink

Date: 1998

Dimenaiona: 8"W x 11 "H

1 1 6 D I N O S A U R I M A G E R Y

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S c o im s (skin) Art/,,t: Michael Skrepnick

,/1/lec)/tml: Pen & Ink Date: 1998

DbnenJ/onJ: 8 " W x 11 "H

A C R E T A C E O U S E N D T O A L O S T W O R L D 1 1 7

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Larry Felder has contributed to books such as the

Encyclopedia of DinoJaurs (1997, Academic Press) and

The Complete Dinosaur (1997, Indiana University Press)

as well as many magazines such as Earth 3/1agazine and

Current Science ~lagazine.

T•rannosanrus Artist" Larry Felder

zlledium: Oil on Masonite

Date: 1998

Dimenaiona: 31-1/2"W x 19-1/2"H

i 1 8 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 1 1 9

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Artist: Gregory Paul

Medium: Oil on Canvas

Date: 1986

Dimensions: 26-1/4"W x 33"H

1 2 0 D I N O S A U R I M A G E R Y

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CentFos~uylls Artist." Michael Skrepnick

Mediam: Acrylic on Masonite

Date: 1996

Dimensions: 8-1/2"W x 10-3/4"H

A C R E T A C E O U S E N D T O A L O S T W O R L D ] 2 1

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T F O O dO II

Artist: J o h n Sibbick

Medium: Gouache on Paper

Date: 1993

Dimensions: 9"W x 5"H

[ 2 2 D I N O S A U R I M A G E R Y

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A C R E T A C E O U S E N D T O A L O S T W O R L D 1 2 3

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C A T H E R I N E F O R S T E R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

- ~ h i s is Pentaceratopa, a large ceratopsid, or

"horned dinosaur"

from the Late Cretaceous of

southwestern North Ameri-

ca. Pentaceratopa armored

itself with an enormous

fril l--constructed by greatly

elongating the bones at the

back of its head- -s tudded

around its perimeter with triangular knobs of bone.

Accompanying this was a pair of extremely long, for-

ward curved horns above the eye sockets.

When an angry PentaceratopJ tilted its head for-

ward, like the one in this sculpture is beginning to do,

the sharp tips of the horns pointed forward, and the

frill stood tall and wide. Like a cobra flaring its neck,

or a cat with its hair standing on end, this extravagant

display must have made PentaceratopJ suddenly appear

more massive and well armed than ever to its opponent.

But who was its opponent? It's easy to imagine

PentaceratopJ using such a display to fend off a predator,

or bluff its way out of being attacked. But think about

this: it is equally likely that these formidable horns and

and expansive frill were used among Pentaceratopo indi-

viduals to fight over territory, or mates, or even food

supplies. So take another look at this sculpture and

imagine two female Pentaceratopa, bellowing and giving

each other the eye as they circle one another, each bent

on securing the rights to the one remaining water hole.

C A T H E R I N E F O R S T E R

Department of Anatomical Sciences State University of New York

Stony Brook, New York

Pen tacera tops Artist." Shane Foulkes

zlIeOium: Painted Resin

Date: 1999

Dimensions: 13-1/2"L

1 2 4 D I N O S A U R I M A G E R Y

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I~ aryonyx walkeri is an early to middle Cretaceous

theropod that has been unearthed from the

Wealden Group sediments which range in age

from about Berriasian to Berremian (about 120 to 145

MYBP). Baryonyx is also known from the Aptian Age

of Niger.

Artist." Shane Foulkes

Aledium: Painted Resin

Date: 1998

Dimensions: 2 I "L

1 2 6 D I N O S A U R I M A G E R Y

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- ~ h i s drawing of Nanotyrannus is one of the many

special one-of-a-kind pieces in the collection.

Michael Skrepnick drafted this on the occasion

of Lanzendorf's fiftieth birthday.

N a n o tyra nn us

Artist: Michael Skrepnick

Medium: Graphite on Illustration Board

Date: 1996

Dimensions: 14-3/4"W x 9-3/4"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 1 2 7

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Sean Mur tha works as an artist at the American Muse-

um of Natural History, where he has worked on such

exhibits as the Central African Rainforest and the

newly renovated Polar Bear diorama. While collecting

in Africa for the museum, a close encounter with ele-

phants inspired "Saurolophus and Albertosaurus. " Sean's

paintings of landscapes, wildlife, and prehistoric crea-

tures are in several private collections.

Sau o lopJ us and A ll)ertosa urus Artist: Sean Mur tha

3/ledium: Oil on Canvas

Date: 1997

Dimensions: 45-1/4"W x 25"H

I 2 $ D I N O S A U R I M A G E R Y

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Lam~eosaurus ActOr: Mfchael Skrepnick

W1eJium: Acrylic on Masonite

Date: 1995

Dimer~ior~: 7-1/2"W x 11-1/2"H

1 3 0 D I N O S A U R I M A G E R Y

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•••illl ccompanied by ginko and cycad leaves, this juvenile Tarbosaurus bataar is a tyrannosaurid from the Late Campanian or Early Maas-

trichtian Age rocks of Mongolia and China.

T,r162 , taar Artist." Mike Nldlbourne

3ledium: Pencil Date: 1998

Dimensions: 17-1/4" W x 13-1/4"H

A C R E T A C E O U S E N D T O A L O S T W O R L D 1 3 1

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Juvenile Coryt~OSaC2r~s Artist: D o n n a Braginetz

3IeOium: Acrylic on Bristol Board

Date: 1995

Dimenaiana: 8"W x 9"H

1 3 : 2 D I N O S A U R I M A G E R Y

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/ ~ uring the summer of 1999, I was invited to

speak at the Carnegie Museum of Natural

Histo W on the reconstruction of dinosaurs in

painted images. Mine was one of several talks in cele-

bration of the 100th anniversa W of the discovery of

Diplodocua carnegii. I had been commissioned by the

Carnegie to complete a mural of Dip[odocua in its envi-

ronment for their Dinosaur Hall. A few months earlier,

I had put the finishing touches on another painting for

Dinosaur Hall, a new restoration of Tyrannosaurus rex. In the 1940s, the Carnegie had installed a large ver-

tical format image of Tyrannosaurus showing the animal

in a very upright, menacing posture. The painting was

executed in a loose, painterly style by the artist, Ottmar

E yon Fuehrer, and was situated behind an upright, tripo-

dal, skeletal mount, reflecting what scientists of the clay

postulated to be an accurate reconstruction of the dinosaur.

Over the last 50 years, many new insights about

the anatomy and physiology of dinosaurs have revealed

a new and different picture of how they looked and

moved, and how they lived. In my Tyrannosaurus rex mural, the body posture of Tyrannosaurus is horizontal

rather than vertical. Studies of how the head of the

femur (upper leg bone) fits into the acetabulum (hip

socket) show that the most natural position for the

pelvis aligns the animal's body horizontally. In fact, the

weight of the head and body are offset by the mass of

the tail allowing for perfect balance over the hips.

Tyrannosaurus rex was a fierce predator and an

unmistakably efficient opportunistic scavenger. The

painting depicts this majestic carnivore recently over a

carcass of Triceratopa along a river embankment. In all

likelihood it didn't dispatch its unfortunate meal, as a liv-

ing Triceratopa comprising several tons of moving flesh

and bone with three sharp lance-like horns attached to

its head, would be a more than formidable adversary.

Unless the Tdceratopa itself was a victim of some debili-

tating past injury or disease, it would indeed be a hard

animal to kill. The Tyrannosaurus has just begun to feed

and has been discovered by another of its kind patrolling

the river's edge. Perhaps a skirmish over the prize will

ensue, the outcome of which will be observed by a lone

turtle, hidden amidst the shoreline detritus.

Not far from the retreating inland sea, this late upper

Cretaceous environment reflects a flat landscape crossed

by interbraided rivers populated by relatives of the modem

bald cypress in the foreground and various other conifers,

angiosperms, and scouring bushes off in the distance.

The coloration of dinosaurs remains hypothetical,

Tyrannosaurus rex & rriceratops Artbt: Michael Skrepnick

Aledium: Acyrlic on Masonite

Date: 1998

Dimer~ior~: 35-1/2"W x 20-3/4"H

1 3 4 D I N O S A U R I M A G E R Y

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derived from speculation and analogues in the modern

natural world. Crocodiles and birds are the dinosaurs

closest living relatives, and give clues as to the possibil-

ities for dinosaur pigmentation. Considering most

dinosaurs had a reptilian integument coupled with the

advantages of color vision (a trait inherited in living

avian dinosaurs), one can imagine a rich diversity in

hues adopted for species recognition. These ideas, dis-

tilled in my imagination, are incorporated into the

painted restorations with the hope they will have both

a dramatic and realistic effect on the viewer.

M I C H A E L S K R E P N I C K

Okotoks, Alberta, Canada

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: n c u ns, urus Artidt: Gregory Paul

3/le3ium: Pencil on Coquille Board

Date: 1988

Dimen~iand: 18"W x 7"H

1 3 6 D I N O S A U R I M A G E R Y

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1 3 8 D I N O S A U R I M A G E R Y

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Triceratops Artist: Brian Cooley

Medium: Bronze

Date: 1990

Dimensions: 13-1/2"L

Scale: 1/20

A C R E T A C E O U S E N D T O A L O S T W O R L D ] 3 9

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~ anonykua o[ecrana is a Mongolian Late Cre-

taceous dinosaur. Many specimens have

been recovered from Ukhaa Tolgod, a fos-

sil locality made famous by expedition of the American

Museum of Natural History and the Mongolian Muse-

um of Natural History. Many characteristics of this

fossil indicate that it is a part of Ayes--it 's a bird.

Although this image makes such a relationship seem

counter-intuitive, evidence unearthed since 1996 indi-

cates that feathers should be added.

Monony~us olecrans Artiat: Michael Skrepnick

AIeOium: Acrylic on Masonite

Date: 1996

Dimer~ior~: 8-1/2"W x 5-1/2"H

I 4 0 D I N O S A U R I M A G E R Y

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i 4 2 D I N O S A U R I M A G E R Y

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~r,cnnos~urus rex with pterosaur prey, Qu~t~.~lco.~tl.s Artist." David Peters

Medium: Acrylic on Board

Date: 1996

Dimensions: 26"W x 19-3/4"H

A C R E T A C E O U S E N D T O A L O S T W O R L D I 4 ~

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" o ~ u e

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iJ ohn Bindon's image of Tyrannaaaurua rex is fore-

boding and suggestive of the decline of the giant

dinosaurs at the close of the Cretaceous. This

extinction of dinosaurs, although scientific dogma for

decades, is now recognized as taxonomic illusion.

Today it is clear that dinosaurs are not extinct at all.

Rather theropod dinosaurs are represented by one of

the most diverse lineages of vertebrates-- the birds.

Tyrannosaurus r e x

Artiat: John Bindon

Medium: Acrylic on Board

Date: 1996

Dimenaiana: 42"W x 30"H

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