Zdeněk Burian

His illustrations of the novel The Mammoth Hunters (1937) by Eduard Štorch gained the attention of the Czech palaeontologist Josef Augusta, who collaborated with Burian as a scientific advisor. Their collaboration resulted in Burian's work being used in a number of books on prehistoric life written by Augusta, culminating in a series of six great illustrated volumes published in 1956–1966, the most famous of which was Prehistoric Animals (1956). After Augusta's death in 1968, Burian worked with numerous other scientists. He continued to produce artwork for further books, as well as for magazines and museums. It is not known precisely how many paintings Burian produced, with estimates ranging between 1,000 and 20,000. Between 500 and 800 of his paintings were prehistoric reconstructions. In total, his illustrations were published in over 500 books, out of which approximately two dozen were on prehistory. Many of his paintings have reached an iconic status; they were extensively copied by later artists and influenced conceptions of dinosaurs and how they were depicted in popular culture.

• Name — Zdeněk Burian • Born — 11 February 1905 • Birthplace — Kopřivnice, Moravia, Austria-Hungary • Died — 1 July 1981 • Place of death — Prague, Czechoslovakia • Alma Mater — Academy of Fine Arts, Prague • Occupation — Painter, illustrator • Years Active — 1921–1981 • Spouse — Františka Loudová • Children — 1

Zdeněk Michael František Burian was born on 11 February 1905 in the town of Kopřivnice, then part of Moravia in Austria-Hungary. In his youth, Burian's talent for art was noticed by his art teacher A. P. Bartoň, who encouraged him to pursue further artistic education. In 1919, Burian graduated from a municipal school and began an education in art at the Academy of Fine Arts in Prague. Burian did not complete his education at the academy. He completed his second year in July 1920 and began the third year, though dropped out in the fall of 1920. Instead of pursuing further studies, Burian began to make a living as an illustrator. The first book to be illustrated by Burian, a Czech edition of Robert Louis Stevenson's Kidnapped, was released in 1921. In the interwar period (i.e. 1918–1939), Burian became famous in Czechoslovakia as an illustrator of adventure novels and classic works. He collaborated with numerous publishers and illustrated Czech releases of the works of authors such as Jules Verne, Karl May, Jack London, Rudyard Kipling, and Daniel Defoe. Burian also illustrated books by Czech authors, such as Jaroslav Foglar, as well as explorers and travellers, such as Emil Holub, Alberto Vojtěch Frič, and Enrique Stanko Vráz. In terms of style, Burian was very much influenced by artists of the nineteenth century and never leaned towards any particular artistic movement. Although Burian continued to paint artwork for adventure novels through most of his life and such art accounts for the greatest share of his output, he is for the most part only known internationally for his palaeontological and palaeoanthropological artwork. Burian is most well-known both in the Czech Republic and internationally for his oil paintings. In addition to these, he also produced many gouache paintings and line drawings.

• Illustration — Burian (left) with Josef Augusta, looking at Burian's Iguanodon (1950) Burian began painting artwork depicting prehistoric life in the 1930s, the first completed painting being a 1935 piece depicting two temnospondyls. He is known to have been inspired to pursue palaeoart by the paintings of the American painter Charles R. Knight, with additional inspiration perhaps also coming in the form of childhood experiences at fossil sites. In the twentieth century, it was common for palaeontological reconstructions to only be produced through the efforts of paired artists and palaeontological advisors and authors. There were several such pairs, although the pairing of Burian and the palaeontologist Josef Augusta remains one of the most famous. Augusta approached Burian about collaborating after Burian illustrated the adventure novel The Mammoth Hunters (Širým světem) by Eduard Štorch in 1937. Burian's first painting known to have been completed with the advice and oversight of Augusta was a 1938 oil painting depicting Trachodons being attacked by a Tyrannosaurus rex. This painting, along with others, was published in the early 1940s in serials written by Augusta, called The Wonders of the Prehistoric World (Divy prasvěta). Prior to the end of the Nazi occupation of Czechoslovakia in 1945, Augusta and Burian's work was suppressed by the occupation authorities. Through the late 1940s, Burian illustrated several of Augusta's palaeontology-themed short stories. He would through the 1950s also go on to illustrate a number of books, collaborate with other researchers, and provide paintings for museums and other institutions. The most well-known result of Augusta and Burian's collaboration was a series of six great volumes on prehistoric life published by Atria; Prehistoric Animals (1956), Prehistoric Man (1960), Prehistoric Reptiles and Birds (1961), The Book of Mammoths (1962), Prehistoric Sea Monsters (1964), and The Age of Monsters (1966). These large-format books were first only published in Czechoslovakia but eventually reached international publishers and garnered Burian popularity worldwide in countries such as Germany, France, England, Japan, and Italy. The American palaeontologist Stephen Jay Gould assessed Prehistoric Animals as one of the three most influential books on prehistory published in the twentieth century.

• Illustration — A display showing some of Burian's palaeoart Following Augusta's death in 1968, Burian collaborated with various other scientists. This later period of his career in palaeontological art also coincided with the discoveries and art trends of the Dinosaur renaissance, to which Burian reacted positively and worked to adapt. Even before the Dinosaur Renaissance, Burian worked to depict dinosaurs as active animals with mammal or bird-like musculature and limb movements, unlike many artists of his time. Among the artwork produced by Burian in the early 1970s is a painting of Velociraptor as an active and fast-moving creature, produced at a time when Robert Bakker's arguments for such depictions were still relatively unknown. Although Burian's early paintings of sauropod dinosaurs tended to depict them as sluggish animals, in-line with conceptions at the time, his later (after c. 1970) sauropods show them as active and fully terrestrial animals. In some cases, Burian was the first to paint certain ideas about the behaviours of prehistoric life, such as scenes with pterosaurs feeding their young. Prominent scientists with whom Burian collaborated and illustrated books after 1968 include Zdeněk Špinar, Josef Wolf, Josef Beneš, and Vratislav Mazák. Under the advice of these researchers, Burian was able to incorporate new discoveries into his paintings, such as including pycnofibres on pterosaurs. Paintings produced by Burian after 1968 have sometimes been described as more "flat and uninteresting" than his previous work; he was during this time requested by publishers to portray animals in this way and to showcase them as individual figures rather than as part of a group. Many of the books published during this period nevertheless also reused many of the paintings and illustrations Burian had produced during the preceding time with Augusta, sometimes in slightly updated versions. In the 1960s, Burian also began collaborating with international authors and publishers, particularly in Italy.

Burian had no access to the actual fossil material of the different prehistoric animals he illustrated and painted. For the most part his work was based on illustrations and published descriptions of the bones. In the vast majority of cases, he only had a single photograph to serve as the basis of a painting. Despite this, Burian's work paid close attention to skeletal anatomy and form. For instance, he is considered in many cases to surpass Charles R. Knight in the adherence to the underlying skeletal anatomy of his animals, despite Knight often working more closely with museums and having access to their collections. Burian's process of reconstruction was a lengthy one. He began by creating several sketches for each scene, the most important of which were skeletal reconstructions of the animals to be depicted. These skeletal reconstructions, sometimes done in different poses, were sometimes followed by sketches of their musculature. Burian's artwork has been described as having a certain romantic touch, absent in the majority of palaeoart produced after his time. The paintings are for the most part free of scenes depicting fighting or other brutality and are almost entirely without blood. In the few cases where fighting animals are depicted, it is usually just before any damage is done. There are several scenes where the animals, although depicted in a naturalistic manner, are imbued with personality, sympathy or antipathy, such as depictions of an old and lonely Iguanodon in a "cemetery of its species" (painted in 1950) or a famous painting of a "heroic" Tarbosaurus (painted in 1970). Burian's palaeoartistic work was not limited to paintings of dinosaurs but depicted various prehistoric animals, as well as prehistoric plants and landscapes. He very rarely used the "overcrowded" format common in some historical palaeoart; this style pushed together several animal species into a confined landscape in order to be able to depict all of them. Burian's palaeoart is noteworthy for its uses of plants and environments. Many palaeoartists before (including Knight) and after Burian were highly "zoocentric", paying little attention to plants and relegating them either to simplistic renditions in the background or omitting them entirely. Compared with Knight's nearly universal use of plants such as palm trees and grass in the background, Burian's selection of plant life almost always appears plausible. His renditions of plants, although often also confined to the background, were always detailed and naturalistic. Several of Burian's paintings also include plant life as prominently as animals and some of his scenes are entirely devoid of animal life.

In the summer of 1924, Burian met Františka Loudová near Vyšehrad in Prague. The two were married on 14 February 1927. On 11 May that year, the couple had a daughter, Eva Hochmanová Burianová. Burian and his family lived in Vršovice in Prague until 1928, when they moved to an apartment in Žižkov (also in Prague). In 1956, they moved to Burian's most famous residence, a villa in Podolí. In addition to painting prehistoric life out of personal interest and commissions, Burian saw his palaeoart as socially significant in that his paintings were used to spread scientific knowledge. Burian had a particular interest in human evolution and rejected the racist ideas that were still present in scholarship during much of his life; he is quoted to have said that further studies on human origins had the potential to "prove the absurdity of racist theories." Františka died on 18 October 1979. Burian survived her by little over a year. He died on 1 July 1981 at the Na Františku hospital in Prague due to complications after surgery on the abdominal aorta.

Only a few attempts have been made to collect Burian's artwork in modern books. In addition to the volumes listed below, some of Burian's palaeoart was featured along work by several other 'classic' palaeoartists in the 2017 art book Paleoart: Visions of the Prehistoric Past by Zoë Lescaze. • Die verlorenen Welten des Zdeněk Burian (2013), German-language art book collecting 230 of Burian's palaeoartistic paintings. Since 2016, much of Burian's artwork has been collected and published in large Czech-language monographs in the series "The Worlds of Zdeněk Burian", a project headed by Ondřej Müller, Rostislav Walica, and Ondrej Neff. The series is slated to encompass six volumes, out of which four have so far been published. • Dobrodružný svět Zdeňka Buriana (2016), adventure novel artwork 1921–1947. • Podivuhodný svět Zdeňka Buriana (2018), artwork produced for Jules Verne novels 1930s–1940s. • Zapomenutý svět Zdeňka Buriana (2020), obscure and often never before published artwork. • Pravěký svět Zdeňka Buriana (2022–), three-volume set of monographs collecting Burian's palaeoart. • I: Od vzniku Země po zánik dinosaurů (2022), Palaeozoic and Mesozoic artwork. The volume includes 412 illustrations (not just paintings but also other illustrations and sketches), encompassing all of Burian's known pre-Cenozoic palaeoart. • II: Monstra Třetihor a Čtvrtohor (upcoming 2024), Cenozoic artwork. • III: Cesta k Člověku (upcoming), palaeoanthropological artwork