September 2010 volume 16, Issue 3, ISSN 1523-5165 The J ournal of The A merican Society of B otanical A rti sts

In this Issue: Botanical Art Week Proclaimed in New York City

Naming Your Specimen- Once More with Feeling!

Margaret Stones and The Flora of Louisiana

So Many Exhibitions!

“Happenings” Chronicles the Active and Artful Works of Our Busy Members

New Catalog Available

Portraying White Specimens On White Grounds - Pinus strobus Cone by Esther Klahne Great Tips from a Master American Society of Botanical Artists The Botanical Artist ©, ISSN 1523-5165, published four times Table of Contents a year, is the official Journal of the American Society of Botanical Artists, Inc., a non-profit 501(c)(3) organization dedi- Notes from the Executive Director ...... 2 cated to promoting contemporary botanical art and to encour- No really, that’s how I do it - White on White ...... 3 aging further development and appreciation of this continuing artistic tradition. Annual membership is open to individuals and Letter from the President of the Board ...... 4 institutions worldwide who share an interest in botanical art. Artwork printed in this publication has been contributed by our Science of Botanical Art: Nomenclature ...... 7 members. Reproduction for other purposes is forbidden without Exhibitions ...... 9 written permission of the artist(s).For membership information, turn to page 32. Conversations with Our Artists ...... 13 Advertising Rates: 1/2 page - $300, full page - $600. Back Botanica Collected - Elsie Margaret Stones in Louisiana ...... 15 Issues (as available) $9 each including shipping and handling. Send check or money order only, payable to ASBA. Happenings ...... 18 American Society of Botanical Artists at NYBG 200th Street & Kazimiroff Boulevard Botanical Art at the Real Jardin Botánico de Madrid ...... 21 Bronx NY 10458-5126 Color Curriculum ...... 22 Toll Free PH: 866.691.9080 Email Contact: [email protected] Hang it UP! ...... 23 The ASBA Board of Directors Pass It On ...... 24 Dick Rauh, PhD, President Lea Rohrbaugh, Vice President Calls for Entries ...... 25 Carol E. Hamilton, Secretary Studio Style ...... 26 Julius Brown, Treasurer, Finance & Development Co-Chair CyberCorner ...... 26 Bobbi Angell Workshops ...... 27 Mary Bauschelt, Awards Committee Chair Jutta Buck Grand Canyon’s Green Heart ...... 28 Joyce Cho A Brief History of Botanical Art ...... 32 Jan Denton, Finance & Development Co-Chair Marcia DeWitt, Education Co-Chair Carole M. Ely Wendy Hollender, Artistic Development Chair Patricia Jonas, Publications & Communications Chair Notes from the Executive Director Martha G. Kemp, Membership Co-Chair Barbara Macklowe Dear Colleagues; Lee McCaffree, Artist Grants Chair eptember is quite a month for Botanical Art! Let’s Jean Mikulla, Bylaws Chair, Nominating Committee Chair begin by celebrating Botanical Art Week in New York Susan Frei Nathan S Derek Norman, Wildflower Initiative Coordinator City! Three major exhibitions of botanical art are opening Carolyn Payzant, Chapter Liaison during the week of September 13: ASBA’s 13th International Rose Pellicano, Slide Show Coordinator Exhibition at the Horticultural Society of New York, the Lynne Railsback Alisa and Isaac M. Sutton Collection at The New York Terry Ruiter Botanical Garden, and Portrait of a Garden V, featuring the Alice Tangerini, Members Gallery Coordinator latest additions to the Brooklyn Botanical Garden Charlotte Staub Thomas Florilegium. Please find more info in the Exhibitions section of this issue. Catherine Watters - Membership Co-Chair Moving a bit further west, and a bit later in the month, nearly 200 ASBA Honorary Directors members will gather in Pittsburgh for the 16th ASBA Annual Meeting and Diane Bouchier (USA) Conference. Focusing, as always when in Pittsburgh, on the prestigious Hunt Jennifer Crompton-Phillips (Australia) Institute International Exhibition which is held every three years and hosted by Anne-Marie Evans, FLS (UK) Pat Kay, DEd (USA) the ASBA chapter Allegheny Highlands Botanical Art Society, the conference Kazunori Kurokawa (Japan) offers workshops, lectures, trips and tours. It provides, most importantly, a Shirley Sherwood, PhD (UK) chance to meet other artists who share your love of the plant world and your James J. White (USA) desire to create beautiful and meaningful artwork inspired by it. Executive Director September is traditionally a time for beginning – usually studies. It’s a great Robin A. Jess time to refresh ourselves with a class in botanical art, trying a new (Continued on Page 4) Exhibitions Coordinator - Carol Woodin Journal - Editor/Designer - Libby Kyer he ASBA wishes to thank The New York Botanical Garden for most gen- Administrative Assistant - Linda M. Crawford erously providing us with offices and many related services. We also WebManager -Frank Reynolds, HIBD T express our appreciation to the Hunt Institute for Botanical Documentation, Counsel to the Board - Siegmar “Sig” Silber for continuing to host our website. We are sincerely grateful for the support of Bookkeeper - Veronica Gallardo these revered institutions and for the opportunity to share our vision with them. Annual Meeting Registrar - Sandra McNicol Computer Advisor - Deborah Shaw Cover art: Pinus strobus, Cone, watercolor on goatskin vellum, 7.75x11”, ©Esther Klahne 2010 Painting Whites on White scale, habit and perspective rather than detail, as on white sub- By Elaine Searle jects I prefer to paint detail straight on to keep pencil marks to re you daunted by the thought of painting a white flower a minimum. A or vegetable on a white ground? Rise to the challenge and How composition can help have a go! You may find, as I did, that One trick I use often – which I call painting white flowers can be addicting. In strategic composition – is placing a white fact it took a great workshop on color with flower against a leaf or stem when com- Jean Emmons at the Arizona Conference in posing the image. This avoids all the white October 2008 to break my ‘white’ habit. elements falling against the white of your Sadly I am now also hooked on painting paper and provides contrast that will help vibrant dark colors....so there really is little the white flower look truly white. So think hope for me! this through when you plan your composi- In essence, success with whites on white is tion and look for opportunities for this. all about building form gradually by observ- Another benefit of using contrast areas is ing and painting tonal values and shadows where the petals are thin and delicate. You using a subject specific shadow palette, can create a convincing illusion by allowing whose subtlety and variety gives realism to small areas of the foliage or stem colour to the finished art. The watchwords are defi- show through. I usually do this in only one nitely ‘subtle’ and ‘varied’. or two areas on a painting. Last summer I was Stage 1. A shadow palette with 4 hues in dilute tints Shadow mixes commissioned to paint t puzzles me that so many of the ‘how to’ books suggest a Rosa ‘Madam Alfred Ineutral grey for shadows. White subjects are full of subtle col- Carriere’ a beautiful ors. Stamens, petal markings and foliage are often reflected into white Noisette climber them, as are the colors of your clothing and even the furnishings whose flowers blush with of your studio. pink and apricot. The Unless you have examples in this article north light, the time come from that painting. of day and weather Getting started conditions will also ood light conditions affect your percep- Ghelp enormously tion of white. when preparing to paint Sunlight will add a a white subject. I try to golden reflection that use only natural daylight would not be appar- for this, as I want to see ent on a dull day. the subtle colors that Stage 2 and 3, filling in the softest of tones in Experiment with a reflect into the white. I petals with tender washes, and creating areas range of ‘shadow’ set up with strong direc- which touch the edges of the white flower. mixes to handle these tional light from the left. A small screen from scraps of mat reflections. board, hinged with masking tape placed around the right side I work with a helps to shield your subject from stray light and intensify the Stage 4, creating form with careful attention to small china palette effect of the light source. If you need to use artificial light, go for edges where tonal values fade out. known as a tinting a daylight bulb. saucer, with four deep wells. Before I start to paint I look closely Do not place the lamp too close to the subject as this will cre- at the subtle colors in the shadow areas and mix a shadow ate too much contrast between highlights and shadows. I like palette specific to the plant or vegetable. the lighting to be fairly dramatic but also to create a good range I start by filling each of the four wells with clean water (I use of tones. I usually produce a quick tonal drawing to capture the distilled water to avoid impurities) and then slowly introduce effect of light sculpting the form – this is so useful when paint- minute amounts of pigment with the tip of a brush. Most often ing as the light can often change. I restrict my pigment to three or four hues which I mix together I produce a master drawing onto tracing paper (often this is a to get subtle tints. I aim for the strength of green tea, so they composite of several drawings) which I transfer very lightly onto are really tinted washes rather than pigment mixes. my watercolor paper. This drawing concentrates on accurate Always test out your mixes first! The shadow (Continued on Page 5)

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 3 Letter from the who have put their foot in for the first time, to pamper them President of the Board and make them especially welcome. We are a group of about 1200 by latest count, and our annual Hi Friends, meetings draw just a fraction of that number. Very often it is the s I write this I am thinking about same group that comes year after year with a sprinkling of new- A the annual meeting that is about to take place. The meeting, in Pittsburgh comers. is still weeks away, but registration has The reasons for belonging to ASBA are many, but this is one of closed already. Let’s look ahead! I the vital benefits that I want you to consider enjoying. Though encourage you in the strongest possible terms to join us for this too late for Pittsburgh, think of Boston in 2011, and the chance very special, very delightful, annual get together. to visit this historical and college-filled city, as well as to meet The ASBA is geographically all over the country, with a grow- your fellow members, and to be enriched by the classes, excur- ing representation of members outside of the US. This yearly sions and workshops they have planned. Or 2012 in Chicago, or coming together has a unique niche in the organization’s func- 2013 back in Pittsburgh. tions. It has expanded in time, adding an extra day, and in con- tent. The annual business meeting, the opening reception for the But please don’t keep putting it off; you will be denying your- art exhibit, the silent auction and the awards banquet are still self a particular treat. For me one of the bonuses of the meetings there, and they are embellished with presentations, field trips is to have an excuse to travel all over the country and to get to and workshops, even preceded and succeeded by master classes. see places that I wouldn’t ordinarily, with the added incentive of We live in a world of virtual reality, make contact with email spending this time with people that I admire and respect, and and conference calls, and this is one of the best chances to meet with whom I have become friends. I want to meet you, too, and our peers face to face. Believe me they are an exceptional group to give you a hug. (including you) and well worth getting to know. It is a wonder- ful part of the meeting for me and the board to greet members Dick

Executive Director..., continued

(Continued from Page 2) technique or honing skills in your favorite. You may take many classes, but what you learn is, to a great extent, up to you. nIf you try the ideas the instructor presents, you will learn what is truly yours in terms of botanical art. nBy accepting some ideas and rejecting others, you begin to develop who you are as an artist. nIf you subscribe to the theory that there is only one way, you may be cheating yourself out of an experience that might open a new door for your creativity. nThe important thing seems to be remaining open to different concepts, taking suggestions and listening to constructive criticism. In my opinion, the best teachers want to see you grow in a way that is authentic to you. And now, let me correct a glaring omission in the 2010 ASBA Members’ Directory. I’m sure you have all enjoyed Francesca Anderson’s beautiful pen and ink work which graces the cover and pages of the Directory. But due to an oversight, which was no doubt mine, Fran’s contact information doesn’t appear in the book! So if you want to reach Fran, please do so at: [email protected]. Her full contact info will appear in the December membership update you’ll receive in your December Journal. My apologies to Fran. Robin Robin A. Jess, Executive Director Tanacetum vulgare, Common Tansy, watercolor on paper, 10x12”, ©Lynne F. Railsback 2010

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 4 palette but mixed just a bit stronger and spread them out as No really..., continued ‘skins’ in the bottom of my china palette wells. This allows me to pick up minute amounts of pigment with the tip of a damp (Continued from Page 3) palette looks far stronger in the palette than brush. Using a dry brush technique of small adjacent strokes I on paper. Always go paler rather than stronger. You can always build detail in a very controlled way. It feels much more like add another layer. For the rose Mme Alfred Carriere I used vari- using a pencil than a brush as the color is stroked gently onto ous mixes based on a limited palette of aureolin, permanent rose the surface of the paper. The final result pulls form, detail and and French ultrama- color together to good effect. rine. If I have any areas of foliage or stem which fall behind a white flower I would paint these in first so that I can then judge the relative strength of shadow in the darkest area of the flower. Sculpting form When I am satisfied that my shadow palette is accurate and subtle enough I begin to lay down layers of wash which are intended to replicate Stage 5, creating detail in depth the effect of light on form. I like to move around the painting rather than finishing up one element at a time, I erase pencil as I go. In a large complex painting I will usually choose to work three areas up together – one in the fore- ground, one in the top left and one in the bottom left. This Rosa ‘Madam Alfred Carriere’. Watercolor on paper, © Elaine ensures that I do not go too dark too soon as I can judge the rel- Searle 2009 ative strength of the shadow in these three key areas and use them to guide the areas in between as I build the painting. As shadows often grade out into unpainted paper (our equiva- White on White Guidelines lent of local color) avoid hard joins by feathering out the edge of nW Work your composition strategically the wash with a clean damp brush. Leaves and stems strategically placed behind white When I think I am finished on this stage I find it helpful to flowers can enhance their perceived whiteness. leave the painting for a few days (preferably out of sight) so that nH Highlights matter I can come back to it with a fresh eye. I often spot that there is Remember to leave the ‘light’ – what you leave out more I can do to add impact with another layer or two in the is as important as what is painted in. most shadowed areas. nI Is white really white? Exploit every petal curl and crinkle Analyze your specimen carefully for the type of evoid of showy color, the challenge of white subjects to the white – is it cold, warm, green, creamy? Dbotanical artist can lie in capturing the unique character of nT Take care! the specimen through botanical detail and surface texture con- Keep graphite drawings light, build up color gradu- trasts. Look carefully again at the detail in your specimen. Are ally and change painting water often. the petal margins frilled or smooth? What texture are the petals nE Exploit the detail – satin or matte? Pay particular attention to flowers, stems or Every petal curl and crinkle you show can help leaves which appear in the foreground of your composition. This describe form and add interest. n is where we can exploit every petal curl, frilled margin and even S Shadows vary petal transparency to add interest and impact. Vary the intensity of your shadows according to their At this stage of the painting I change both brush size and spatial relationship (less intense in the background) paint technique. Until now I have been working with a medium and make use of subtle color tints as shadows are Kolinsky sable brush with a good point. For the detail I drop rarely just gray. down to a tiny brush 000 or 00000 so that I can get into every tiny area of overlap and crinkle. I work with the same colour

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 5 Calls for Entries

Î ASBA Calls for Entries More Thank-yous! Listings are chronological, starting with the earliest exhibition opening date. The following donors were in advertently Full information is available online at www.amsocbotartists.org not acknowledged in the June Journal. We “Small Works” 2011 ASBA Conference Exhibition thank them for their generous support and October 27 – 29, 2011 apologize for omitting them Boston Marriott Newton, Massachusetts from the list of donors. ach registered attendee at the 2011 ASBA conference may enter one Handmade Crafts: E“Small Work” in any two-dimensional original medium of any botanical Will Dacus subject, for a non-juried exhibition . The exhibition will be open to the pub- Nancy Neuman-Heiny lic and there will be a catalog. Elaine Hultgren Artists will take their artwork home after close of conference on Saturday David Knox evening. Original packing material will not be available for taking the art- Sandy Turico work home. ASBA Chapters Southwest Society of Botanical Artists Framing will be as per ASBA standards with the maximum outside frame New England Society of Botanical Artists size – no exceptions – no larger than 9” in one dimension along outer edge Rocky Mountain Society of Botanical Artists and no larger than 12” in the other dimension along outer edge. Complete Í requirements will be published in the December 2010 TBA. Submission Deadline: August 1, 2011 Contact: More information will be available on ASBA website soon or e-mail questions to: [email protected]

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 6 Nomenclature name, or species (or more correctly the “specific epithet”), pin- By Dick Rauh points the single plant that you are concerned with, and this is e have talked about this before, but the problems keep written in all lower case letters and is in italics or underlined as Wcoming up, and naming a plant correctly is one of those is the genus name. things that we are expected to do as often as we paint them. My understanding of the latest ruling is that the specific epi- Calligraphy is an art form with almost equal demands as the thet is always in all lower case letters, even if the plant is named requirements of producing a beautiful rendering and there seem for a person or particular place. Incidentally before I get on too to be fewer and fewer of us that have taken the time to master far, I am not necessarily talking through my hat. There really is this discipline. I have seen more than one exquisitely produced an International Code of Botanical Nomenclature, which is reg- painting that has been ruined by the addition of a signature or ulated by the Nomenclature Section of the International identification that wasn’t up to the level of the artwork. Botanical Congress, and there is also an International Code of Just leaving out that side of botanical painting is an option, Nomenclature for Cultivated Plants. So you can see how seri- but it doesn’t get you off the hook in terms of providing a proper ously both the scientific and horticultural communities take this. name for your flower. Somewhere along the line someone is A lot of naming gets pretty abstruse and picky, but I hope I going to insist on a name. That can make it a bit more manage- usually goes along the line of, able and easier to apply. For one “Please enter the Latin bino- thing there are classifications mial and common name of below the species, and there are your flower,” and this is what natural and cultivated hybrids finds its way into the catalog, to deal with. price list, or whatever. So flow- So, if you know what your ers come with a certain flower is, you have your Latin amount of baggage, some sup- binomial, and that’s that; plied by horticulturists, some Cattleya aurantica perhaps or by scientists and some by just Magnolia stellata. There don’t folks. seem to be any rules for where A common name (a good or how to write the common number of rare plants do not name (nv.). Just suppose you are have common names at all) is able to identify your plant to what the flower is named in genus, but are not sure of the the jargon, and this varies by species. Here it is perfectly locality and language and acceptable to use the abbrevia- other factors so that the same tion sp. So that Malva sp. would flower can have a number of work fine, much better than monikers, depending on where misidentifying to species. The you are. Wildflowers are espe- abbreviation spp. translates into cially vulnerable to this treat- species, that is to say, more than ment. For example adder’s one species. This can be used tongue and trout lily are one broadly, for example to describe and the same flower! the number of species in flower- To solve this problem scien- ing plants, some 250,000 spp. It tists have come up with the could also apply to a painting in Latin binomial. This is a set Mortonia utahensis, watercolor, © Susan Ashton 2009 from Grand Canyon’s which there was more than one name for each species, and is Green Heart exhibit. species of the same genus the same no matter where in depicted, and you weren’t sure the world you find the flower. This nomenclature had its begin- of the exact specific epithet. It could be Solanum spp. nings with the 18th century botanist Carl Linnaeus, who built But these are oddball cases and what you are more likely to on a system that you could identify each species with two run into is a variety or a subspecies of a known flower. names. FA variety is defined as a usually geographically isolated varia- The first name is a grouping of similar plants known as a tion to the typical version of a species, with characteristics that genus. When this is written it is in italics or underlined, and it is are different enough to have the designation as a variety (writ- written with an initial capital, and all the rest of the name in ten var.) but not different enough to be considered a new lower case. Rosa or Rosa are accepted examples. The second species. Whether something is listed as a vari- (Continued on Page 8)

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 7 Science..., continued single set of quotes, like a named cv. A typical cultivated orchid name might be Brasolaelio cattleya George King ‘Serendipity’. (Continued from Page 7) ety or a subspecies (written subsp. or ssp.) So put that in your pipe and smoke it! seems to be at the discretion of the botanist naming it. Gleditsia What I haven’t touched on in this article is the appearance in triacanthos var. inermis is an example of a variety listing. most botanical texts of the author, or authority. This is the name Brassica rapa subs. campestris is a subspecies listing and it usually in abbreviated form of the scientist who has the honor of could be written Brassica rapa ssp. campestris. Note that both naming the plant in the first place. and comes after the Latin the variety and subspecies abbreviations are not italicized (or binomial. There are a whole set of rules governing this, but since underlined if that is the technique you are using). we are allowed to leave out this bit of information when we Now we get to cultivars, cv. (for cultivated variety) and now name our paintings, I’m not going to bother you about this now. humans have a hand in. This is where the horticulturalist is involved, and these are the productions of human involvement generally for horticultural purposes. For example there is a culti- vated variety of Norway maple known to the trade as ‘Crimson King’. We have a choice in naming this; the Latin binomial and the cultivar name, either Acer platanoides ‘Crimson King’ (note the single quotes, the regular type and the upper and lower case) or Acer platanoides cv. Crimson King, with the cv. and no quotes. In roses, for example, the hybridization has been going on for so long and its origins have for the most part been lost in time, that is has become perfectly valid to use the genus name with the cultivar name and be correct. Rosa ‘Queen Elizabeth’ for example. This is true of any number of cultivated plants, and makes our lives much simpler. Hybrids are another story, and they can occur naturally or with human’s assistance. This is where the times sign (and you Brassica oleracea var. italica, watercolor on paper, 57x67.5 thought it was an ‘x’ all this time, just like me) shows up. If it is cm, ©Yoko Furukawa (Japan) 2009. Hunt Institute collection, a cross between two species of the same genus then the sign gift from the artist, at the current Hunt Institute Exhibition appears in front of the specific epithet, theoretically without a space. The common strawberry is just such a hybrid, and it is Celebrate Botanical Art Week written Fragaria x ananassa. That x should really be a times in NYC! sign- but who has an easily typed times sign on his keyboard - and it will have to do. To be literally correct there should be no Three major exhibitions of contemporary botanical art will space between the sign and the species, but when using an x it open in New York City during the week of September 13, would be very confusing. 2010, which ASBA, NYBG and BBG are declaring Botanical There are cases where it is the genera that are hybridized and Art Week! This will be a feast for the eyes. For students in that case there is a twofold solution. The times sign precedes and aficionados of the genre at any level, there is nothing the hybrid genus name, which is an amalgam of the two genera quite as valuable as seeing original work. Don’t miss the involved, so there is actually something named xFatshedera lizei opportunity this fall to visit New York and see over 100 of which is a cross between Hedera helix and Fatsia japonica. the best contemporary botanical artworks in the world. Find these treasures at: Which sort of leads into the very special set of rules that gov- nThe Horticultural Society of New York in Manhattan, erns the naming of orchid cultivars - those are in the thousands! for the ASBA/HSNY 13th Juried International Whereas wild orchids follow the rules for all natural plants Botanical Art Exhibition, which opens Wednesday, with a Latin binomial, the majority of cultivated orchids is arti- September 15 and continues until November ficial hybrids and is given three names. One is a generic name. It 24.(www.hsny.org) is in Latin and italicized, and can be a normal orchid genus, or, nThe Ross Gallery at The New York Botanical Garden in as so often happens, a hybrid of genera depending on what the Bronx, for Botanicals: Environmental went into the mix, sometimes more than two as in Sophrolaelio Expressions in Art, The Alisa and Isaac M. Sutton cattleya. Collection, opening on September 16, which can be The second name is a grex (meaning ‘group’ or ‘flock’ in viewed until January 9, 2011 (www.nybg.org.) Latin) epithet. It is in modern language and can be up to three nThe Brooklyn Botanical Garden Florilegium Society, words, and it is never italicized. This with the generic name is Portrait of a Garden V, with opening on Tuesday, the term applied to all the progeny directly raised from two par- September 14, continuing through November 28 ent plants with the same pair of specific names (this is a direct (www.bbg.org ) quote from The Naming of Cultivated Orchids so don’t ask me). n The third is the cultivar epithet, and is used to identify a par- ticular clone, again not in Latin, not italicized, but enclosed in a

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 8 receive an email showing an image of one of the exquisite paint- ings with an excerpt from the catalog, telling a bit of the fasci- nating story behind each of these vulnerable plants and the artists who depicted them. ASBA Exhibitions Many new connections have been established among the August 14 – December 10, 2010 artists and members of the scientific and conservation commu- Losing Paradise? Endangered Plants Here and Around nities. Links to the artists and the many organizations who sup- the World Opens at the Smithsonian ported them are here, and so much more! National Museum of Natural History, 10th Street and September 15 – November 24, 2010 Constitution Avenue NW, Washington, DC ASBA/HSNY 13th International Juried Exhibition y the time you The Horticultural Society of New York, 148 W. 37th Street, 13th Breceive this copy Floor, New York, NY 10018 of TBA, Losing Opening Reception September 15, 2010, 6 to 8 PM – All ASBA Paradise? will have members are invited opened at the his fruitful partnership continues to bring you an annual National Museum of Texhibition of contemporary botanical artworks. Now in its Natural History in thirteenth year, it just gets better. Among the 41 artworks select- Washington, DC. ed are those from many The exhibition, a new artists, hailing from collaborative effort the US, Australia, between the ASBA Japan, and the UK. and the Museum, Francesca Anderson, focuses on global Carol E. Hamilton, conservation and Dick Rauh, and Jessica the role of botanical Tcherepnine have art and illustration, served their final years and educates the as jurors for this exhibi- public about endan- tion and we have been gered, threatened fortunate to have had and extinct plants. such an experienced The Smithsonian’s and qualified team. staff, especially Artists whose works Gary Krupnick, were chosen for inclu- Head of the Plant sion are: Milly Acharya, Conservation Unit Lobelia bridgesii, colored pencil and graphite, © Elizabeth Barta- and Siobhan Starrs Ann Fleming, 2009 Cirius X, Gouache ,©Karen Kluglein, 2010 Koraus, Rebecca and Angela Roberts, Office of Exhibits, provided technical, sci- Brown-Thompson, entific, and design expertise and were major contributors to the Rosemary Donnelly, exhibition’s development. Additional custom content designed Jean Emmons, Akiko by the Smithsonian exclusively for this venue highlights the Enokido, Julio unique and provocative way scientists and conservationists are Figueroa, Ingrid approaching the loss of plant biodiversity – particularly through Finnan, Kathy Folino, their work with botanical artists whose images serve as an Nancy Gehrig, John essential historic record of plant species. Gist, Cherie Ann Every Monday between 10 AM and 1PM during the exhibi- Gossett, Asuka Hishiki, tion’s run, the Museum will be presenting “The Illustrator Is In,” Ann Hoffenberg, Eliza featuring botanical artists demonstrating and teaching their Jewett, Martha Kemp, techniques in the Losing Paradise? gallery. Over 7 million peo- Heeyoung Kim, Esther ple visit the National Museum of Natural History annually and Klahne, Karen Kluglein, it is open from 10am to 5:30pm daily. Mindy Lighthipe, Patricia Luppino, Joan Contact: www.mnh.si.edu/exhibits/losing_paradise/index.html. McGann, Julie Sims If you can’t visit, go to www.asbalosingparadise.blogspot.com. Messenger, Sherry You’ll find information about the venues and the accompanying Mitchell, Fujii Noriko, catalog edited by Carol Woodin, Exhibitions Coordinator for the Derek Norman, Eika ASBA. Okamoto, George Subscribe to Email Updates. Simply enter your email address Olson, Melinda Pahl, Foeniculum vulgare, Fennel, Watercolor, in the form in the right-hand column of the site and you will John (Continued on Page 10) ©Asuka Hishiki 2010 (Postcard Image)

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 9 Exhibitions..., continued Harriet Carotenuto, John Cody, Christina Davis, Monika E. de Vries Gohlke, Nan Dedrick, Kevin Duggan, Jean Emmons, (Continued from Page 9) Pastoriza-Piñol, Annie Patterson, Rose Margaret M. Farr, Marilyn A. Garber, Carol E. Hamilton, Pellicano, Lesley Randall, Lizzie Sanders, Judith Simon, Gertrude Hamilton, Paul Harwood, Wendy Hollender, Gina Jeannetta van Raalte, Noriko Watanabe, Andrea Wilson, and Ingoglia, Martha G. Kemp, Patricia Kernan, Libby Kyer, Dianne Carol Woodin. McElwain, Angela Mirro, Carol Ann Morley, Kate Nessler, Derek George Olson’s image Rubus allegheniensis, Blackberries, Norman, George Olson, Rose Pellicano, Kelly Leahy Radding, graces the cover of the catalog, and Asuka Hishiki’s Foeniculum Dick Rauh, Eleanor Lea Rohrbaugh, Adele Rossetti Morosini, vulgare, Fennel, enlivens the exhibition postcard. Barbara Mary Ryniec, Manabu Saito, Constance Sayas, Alice Tangerini, Macklowe, Meg Buck and Heidi Nitze lead the list of generous Jessica Tcherepnine, Catherine M. Watters, and Carol Woodin. donors who have made this year’s catalog possible. Brooklyn Botanic Garden Florilegium Society was founded in Contact: Carol Woodin at [email protected], or PH: 2000 with over 50 of the finest American botanical artists. In 866.691.9080. 2006, selections from the Florilegium, curated by Professor H. ASBA Member Institutions Exhibitions Walter Lack, were exhibited at the Berlin-Dahlem Botanical Garden and Museum to celebrate its centennial. This year is the August 28, 2010 - January 3, 2011 centennial of Brooklyn Botanic Garden and it is celebrating Portraits of a Garden, Brooklyn Botanic Garden with simultaneous Florilegia exhibitions in Brooklyn and Florilegium Society London. The Shirley Sherwood Gallery of Botanical Art, Royal Botanic Gardens, Kew. Dr. Sherwood will give a gallery talk October 14th, 2010 Contact: [email protected] For information on Brooklyn Botanic Garden Florilegium Society: www.bbg.org. September 4 – January 9, 2011 Botanicals: Environmental Expressions in Art, the Alisa and Isaac M. Sutton Collection The New York Botanical Garden’s Ross Gallery, 200th Street and Kazimiroff Boulevard, Bronx, NY

Pinus koraiensis, watercolor, Artist: Kate Nessler, ©Brooklyn Botanic Garden his is the first exhibition at the Shirley Sherwood Gallery of TBotanical Art devoted entirely to contemporary American artists. Over 30 drawings and paintings from Brooklyn Botanic Garden Florilegium Society were selected by Dr. Sherwood and the Gallery curators. The Shirley Sherwood Gallery at Royal Botanic Gardens, Kew opened in April, 2008 to great critical acclaim, and immediately became an epicenter of the interna- tional renaissance of botanical art. Members whose artworks are on display are: Francesca Anderson, Chiara Becchi, Leslie Berge, Wendy Brockman, Musa paradisiaca, watercolor on paper, ©Beverly Allen 2010

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 10 Opening Reception: September 11 - November 28, 2010 Thursday, September 16, Portraits of A Garden V, Brooklyn Botanic Garden 2010, 5 PM – 8 PM, Florilegium Society RSVP: PH: 718.817.8598 Steinhardt Conservatory Gallery, Brooklyn Botanic Garden, n display are artworks 1000 Washington Avenue, Brooklyn, NY Ofrom the private col- elebrate the first 100 years of Brooklyn Botanic Garden and lection of Alisa and Isaac Cthe first 10 years of its Florilegium Society. The artists of Sutton – one of the finest the Society have contributed over 200 drawings and paintings collections of contempo- to the collection, which is permanently housed in The Rare rary botanical paintings in Book Room. the world. A wide variety The plants portrayed are accessioned plants grown in the of plant life is documented Garden. During the right season, live specimens are sent to the in aesthetically stunning Florilegium artists across the country. They produce the paint- fashion by artists from ings in the medium of their choice. Over 30 new accessions are around the globe. displayed. The artworks featured Contact: website: www.bbg.org in this particular collection 24 September–17 December 2010 are, according to Sutton, 13th International Exhibition of Botanical Art & expressions of the purely Rosa roxburghii ‘Plena’ (China), watercol- Illustration aesthetic forms found in or on paper, ©Regine Hagedorn 2010 Hunt Institute for Botanical Documentation, Carnegie Mellon nature and a reminder University, 4909 Frew Street, Pittsburgh, PA that we are stewards of our natural resources for future genera- his event occurs once every 3 years, and this year features tions. 110 watercolors, drawings and prints representing the work ASBA members included in this exhibition are: Beverly Allen, T of 72 artists from 15 countries. The Institute established the Anita Barley, Leslie Berge, Svetlana Boucher, Beverly Duncan, International series in 1964 with the hope of supporting and Jean Emmons, Martha Kemp, Karen Kluglein, Katie Lee, Elaine encouraging contemporary botanical artists. Musgrave, Kate Nessler, Hillary Landemare Parker, John Pastoriza-Pinol, Kelly Leahy Radding, Lizzie Sanders, Muriel A full-color, illustrated catalogue with biographical data, por- Sandler, Jessica Tcherepnine, Catherine Watters, and Carol traits of the artists, and reproductions of the artworks will Woodin. accompany the exhibition. Collectively, the thirteen Contact: www.nybg.org/visit/exhibitions, PH: 718.817.8700. International catalogues include 1,088 artists and are the most comprehensive record available of contemporary botanical artists and illustrators. In conjunction with the opening, the American Society of Botanical Artists (ASBA) will hold its 16th Annual Meeting and Conference in Pittsburgh. Many botanical artists from across the United States and from around the world will be in town to attend. The exhibition artists include (ASBA members in italics): Martin J. Allen (England), Yara Anderson (United States), Sara Bedford (England), Karen Bell- Brugger (United States), Diana Carmichael (South Africa), Diana Carneiro (Brazil), Deb Chirnside Stenocactus crispatus, pen-and-ink on Strathmore (Australia), 500 series illustration board with vellum finish, Polygonatum biflorum, Solomon’s Seal, Artist: Lynne Railsback, water- 50.5x38 cm, ©Joan McGann (United States), 2007. Karen Coleman color on paper, ©Brooklyn Botanic Garden. Hunt Institute collection, gift from the artist. (Continued on Page 12)

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 11 Exhibitions..., continued huntbot.andrew.cmu.edu/HIBD/Exhibitions/Exhibitions.shtml (Continued from Page 11) (United States), Jackie Copeman (England), Member Exhibitions: Caroline Cottingham (England), Joanna Craig-McFeely (England), Rachael October 1-31, 1020 Dawson (England), Joan Frain Botanicals Rosemary Donnelly The Delaware Center For Horticulture 1810 N. DuPont St, (Australia), Wilna Wilmington,Delaware 19806 Eloff (South Africa), oan Frain’s artworks are presented in this solo display. Akiko Enokido JSubjects range from native wildflowers and bulbs, to exotic (United States), orchids. Opening Wine and Cheese reception Friday, October 1, Guy Eves (England), from 5:30 to 8 PM. Paul Fennell (England), Noriko Fujii (Japan), Yoko Furukawa (Japan), Leigh Ann Gale (England), Linda Gist (United States), Eiko Hamada (Japan), Wendy Hollender (United States), Helianthus, Last Sunflower, watercolor on paper, Sarah Howard 59x49 cm, ©Fiona Strickland (Scotland)2008. Hunt Institute collection, gift from the artist. (Scotland), Hiromi Hyogo (Japan), Yuko Inujima (Japan), Stephen T. Johnson (United States), Kyoko Katayama (Japan), Heeyoung Kim (United States), Kazuko Kohga (Japan), Hildegard Könighofer (Austria), Kumiko Kosuda (Japan), Chika Kunou (Japan), Asako Kuwajima (Japan), Eun Joo Lee (South Korea), Barbara Lewis (United States), Miriam Macgregor (England), Sally Markell (United States), Joan McGann (United States), Sue McLean (Australia), Angeline de Meester (England), Annie Morris (England), Edd Morrison (England), Maki Nishimura (Japan), Kate Nuttall Silver Vase Bromeliad, watercolor,©Joan Frain 2009 (England), Lyudmila N. Pavlova (United States), Margareta Pertl (Ireland), Kandis Vermeer Phillips (United States), October 18, 2010 - March 13, 2011 Sunitsorn Pimpasalee (Thailand), Janie Pirie (England), Butterfly Growth & Development Through Plants Thomas Reaume (Canada), Dorothee de Sampayo Garrido- Florida Museum Of Natural History, Gainesville, Florida Nijgh (Netherlands), Mary Ann Scott (Italy), Keiko Sekiya riginal watercolors by (Japan), Andrew Seward (Australia), Michiko Shibata (Japan), Oartist Mindy Lighthipe Billy Showell (England), Klei Sousa (Brazil), Ian Stephens are presented, depicting the (England), Sally Strawson (England), Fiona Strickland symbiotic relationship of (Scotland), Noriko Tobita (Japan), Lidia Vanzetti (Italy), Sue Lepidoptera with the specif- Vize (England), Catherine M. Watters (United States), Kerri ic plant or plants vital to its Weller (Canada), Sue Wickison (New Zealand), Sue J. Williams survival. Plant life plays (England), Esmée L. C. Winkel (Netherlands), Yoko Yokoyama host to the developing larva (Japan), Herman Zaage (United States), and Fátima Zagonel and/or provides food for (Brazil). adults in the form of nectar. The Hunt Institute for Botanical Documentation, a research Each painting depicts all or division of Carnegie Mellon University, specializes in the history part of the life cycle of the of botany and all aspects of plant science and serves the inter- butterfly from egg to larva national scientific community through research and documen- to pupa/chrysalis to adult. tation. To this end, the Institute acquires and maintains author- Artist Reception: October itative collections of books, plant images, manuscripts, portraits 23, 2010, 3 – 5 PM, in and data files, and provides publications and other modes of conjunction with the information service. Butterfly Festival. Contact: Lugene Bruno, PH: 412.268.2434, Email: Caligo memnon, Owl Butterfly [email protected], Website: with host plant Musa acuminata

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 12 naps! We do a different subject each week and I’m learning to speed up the process [of finishing a piece]. So my stepmother and I are having a joint show in April at the Napa Valley Museum. We do the same subjects; she jumps right in and paints the vase, I stick to botanical style. Where do you paint? My studio/guest room at my home in A conversation with Nina Antze the Napa Valley. I have my sewing in there too and quilts on the By Joyce Westner walls. I’ve been a great believer that artists need a room of their When asked to chat with TBA, Nina Antze said she was avail- own. Or I paint on my stepmother’s dining table with wonderful able to talk any day but Wednesday. “Remind me,” she said, “to art on the wall. tell you my Wednesday story.” Do you teach, and if so what special aspect of botanical “I’ve been a great believer that artists art? Yes, Drawing Nature at El need a room of their own.” Dorado Nature Center in Long How did you get into botanical Beach and at the Sebastopol art? It was kind of an accident. I was Center for the Arts and at Santa a quiltmaker, had studied art in college Rosa Junior College, also colored (San Francisco State and the College pencil at Filoli (near San Francisco). of New Rochelle in NY), including Some of what I teach is similar to fiber arts, weaving and quilting. I used quilting: if you come up with a colored pencil to plan my quilts and combination colors, write down when we moved to New York in 2000 the formula. When you run out of I signed up for colored pencil classes a fabric, you can find another one just to meet people. The instructor very much like it, or when you do retired and Corinne Lapin-Cohen took leaves, you aren’t limited to one over. And after Corinne, I took lessons green. If you don’t have one par- with Carol Ann Morley at The New ticular color of red pencil, try a York Botanical Garden. I wasn’t serious different red pencil. about the botanical art program, but What technique are you still after moving back to California I took trying to master? Working with summer classes in New York and got Rosa, colored pencil & watercolor pencil on paper,©Nina Antze 2009 watercolor and watercolor pencils my certificate. and using them in a way that Are you an artist or a plant person at heart? An artist, but helps my work – trying to control them. I’m totally fascinated by the science side of botanical illustration. What one thing do you do that would surprise other I’m reading [Sarah Simblet’s] Botany for the Artist and I took artists? I developed software for quiltmakers called PCQuilt. I Dick Rauh’s morphology class. I have my own microscope. I wanted a quilt design application so I developed it, using Basic find a connection to quiltmaking in that it’s exact and mathe- programming language, which would surprise programmers too. matical, and also in the way color is used. A conversation with Kathleen Brahney Where do you get your subjects? Anywhere I bump into By Joyce Westner them. I do container gardening and I like being out in nature When your Indonesian garden must be tended by your gardener and volunteer with school kids on nature hikes. I find wildflow- so you don’t lose face in your diplomat’s enclave, what’s a plant ers – or I find something in the grocery store. I’m interested in lover to do for fun? Head to the local market and buy a handful California natives. of orchids to paint. Now retired from the US diplomatic service, What’s your favorite medium? Colored pencil—it’s what I Kathleen paints and draws in Arlington, VA. When asked to con- do almost exclusively. I’ve been experimenting with watercolor verse with TBA, Kathleen was modestly hesitant, saying “There pencil over colored pencils; I like them after taking a class with are many more worthy artists in our local group!” Wendy Hollender. “I have a lot of ideas but not enough time to execute them!” Do you enter juried shows? Yes, I think you need to get your How did you get into botanical art? I’ve been interested in work out there. I’ve been in The Filoli exhibition and The New it for a long time. I look at these amazing paintings and wonder York Botanical Garden show in Rye, NY. how the artists do them. My degree from Michigan State When do you paint? These days, it involves “my Wednesday University was in French and art education. [And Kathleen holds story.” Because of my teaching schedule I paint sporadically; I’m a doctorate in French Medieval Literature; she taught at not one of those “I paint every day” artists. Last fall my 91- Michigan Technological University before her foreign travels year-old stepmother broke her hip and she now needs help began.] I’d traveled a lot as a member of the US diplomatic ser- every day at her Sonoma Valley home [an hour away]. My day vice but in 2002 I was in a Williamsburg, VA cooperative art is Wednesday. For years she painted in oils and was what you group, and heard about [botanical artist] Juliet Kirby who was would call a flower painter, but she stopped 25 years ago when teaching graphite and watercolor classes. It didn’t matter to me my father became ill. One Wednesday I brought my pencils over what the subject of her classes was—I loved the classes. She’s a there to work during her daily nap. She saw my piece and said, wonderful person and a wonderful teacher. After the classes “I want to do that!” Now we paint all afternoon – there are no ended, we’d meet at someone’s house and we (Continued on Page 14)

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 13 still working on mastering the techniques she demonstrated for Conversations... continued us in that workshop. (Continued from Page 13) paid her to Do you enter juried shows? As a come and coach us. She really member of the Botanical Art Society of encouraged me. [As diplomats] the National Capital Region I enter My husband and I left Virginia their juried shows, and was exhibits and went to Surabaya, Indonesia. coordinator for two years. My success On the other side of the world I has been in the Filoli exhibit twice, was on my own but I was able to including a drawing of Osage oranges buy a lot of orchids in the market and a painting of a Latvian chestnut, and I painted them. I had a small and the second time eggplants with gallery show over there. garlic and herbs. Are you an artist or a plant When do you paint? I’m at my best person at heart? That is so dif- in the morning. I have an open sched- ficult! I guess an artist but it’s ule and it’s a matter of discipline. I try almost fifty-fifty – I love my gar- to paint every day. den. Where do you paint? We have a lit- Where do you get your sub- tle Cape style house and the second jects? Mostly from my garden, floor has a bedroom and my studio. perennials and vegetables, but if It’s my sanctuary and I just revamped we don’t have any, I get them it, painting the walls taupe which is from the grocery store. I’d love to soothing and beautiful. I sit at an old do field hikes but I don’t do that oak schoolteacher’s desk with light well painting or drawing in the over my shoulder. There’s a view of field. When we were assigned to my husband’s vegetable garden and a Latvia, I started cataloguing their glimpse of my garden and my beauty- native orchids. I never met a peo- berries. ple who are more in love with flowers. Latvians sell snow drops Do you teach, and if so what spe- and hepatica in their flower mar- cial aspect of botanical art? No. kets, and while there I did a What technique are you still try- Phalaenopsis KV Charmer, watercolor on vellum, ©Kathleen ing to master? I’m very interested in graphite of a staghorn fern which Brahney 2009 I grew in a pot in my apartment. painting on vellum, took classes with Kate Nessler and Carol Woodin; medieval manuscripts were on What’s your favorite medium? I love watercolor first, and vellum. Most of mine are small. second is graphite. I use some gouache for illuminated lettering [in medieval manuscript style] but watercolor for the flowers What one thing do you do that would surprise other accompanying the letters. Nothing can beat the effect of trans- artists? I enjoy trying new materials and I like painting on parent layers of watercolor. I learned so much from my work- Yupo—at first I used it for wild abstract work but it’s so smooth shop with Jean Emmons (How to Enliven Your Leaves), and am I thought why not try it for botanicals.

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 14 Hospital in Richmond, a suburb of Melbourne. In late 1945, she contracted pulmonary tuberculosis and was hospitalized. The drawings she made of wildflowers while convalescing attracted the attention of her physician, Dr. Clive Fitts. Through his good offices, her work was seen by Daryl Lindsay, Director of the National Gallery of Victoria, and Robert Haines of Georges Gallery, Melbourne, who gave Stones her first Elsie Margaret Stones and the solo exhibition, which opened in December 1946. It was a criti- Flora of Louisiana cal success. In a remarkable burst of By Elaine Smyth productivity, she went on to produce elbourne, Australia, 1945. A young art three more gallery exhibitions within student turned nurse contracts pneu- four years, while at the same time com- monia. Doctors prescribe eighteen pleting a major commission for a pri- M vate collector, John McDonnell, attend- months of bed rest in hospital. Friends and family visit the impatient patient and find her ing botany lectures at the University of “going mad with boredom.” They bring her Melbourne, and spending three sum- paper, pencils, watercolors, and wild flowers, mers as part of a botanical expedition from the nearby Grampian Mountains, to to the Bogong High Plains of Victoria. draw. Thus begins the career of one of the Her time on the Bogong Plains was twentieth century’s most distinguished botani- the result of another important personal cal artists, which resulted in the creation of connection made by Clive Fitts, who three major bodies of work on three conti- introduced her to John Stewart Turner, nents. Professor of Botany and Plant Physiology at the University of Elsie Margaret Stones – always called Melbourne. Because of Turner, Stones Margaret – was born in Colac, Australia, began not only to study botany and its southwest of Melbourne, on August 28, 1920. historical development but also the his- Her father, Frederick Stones, had been a tory of botanical illustration, which she farmer in the district, and her mother, Agnes, has continued to focus on throughout came from nearby Terang. The 1920s and 30s her life. As her knowledge of botany were difficult times in Australia, particularly Pinus palustris, watercolor on paper, Native Flora of and botanical illustration grew, she for farmers, who suffered both economic and Louisiana Collection. Courtesy of Special grew determined to work and study at social upheaval. The Stones family struggled Collections, Louisiana State University Libraries, Baton Rouge, LA the Royal Botanic Gardens, Kew, where throughout those decades, moving from place distinguished artists had worked with to place as farms failed, sometimes unable to live noted botanists since the gardens were founded together. in 1759. As a child, Margaret loved to draw and despite the y 1951, she had saved enough to purchase upheaval of those early years, her family encouraged Ba one-way passage on a ship bound for and supported her in her artistic endeavours. After England. She made the voyage armed with a attending Swinburne Girls’ Junior Technical School in letter of introduction from Daryl Lindsay to Melbourne, she won a three-year scholarship to study Harold Wright, a Director of Painting & Industrial Art at Swinburne Technical College (now Drawing, and Colnaghi Gallery, a noted dealer Swinburne University of Technology). Already sure of in prints and drawings. Within months, her preferred profession at age fifteen, she entered her Colnaghi had given her an exhibition, and the occupation in her student records as “artist.” Forced firm continued to represent her until the to leave school when her scholarship expired, she 1970s. earned a living doing commercial art during the day, Cover of Margaret Stones volume that Shortly after arriving in London, Stones but continued to study, attending night classes at the contains her work in Louisiana found lodgings near Kew, where she continued National Gallery of Victoria Art School, until World to live until she returned to Australia in 2002. Soon she was War II intervened. engaged as a freelance artist at Kew, and in 1956 her first draw- Although Australia entered World War II in 1939, declaring ing – an analytical drawing in pen and ink – was published in war against Germany, it wasn’t until December 1941 that the Curtis’s Botanical Magazine, the journal affiliated with the war moved into the Pacific. In 1942, as part of the home-front Royal Botanic Gardens at Kew. Over the next twenty-five years, war effort, Stones began working as a nurse at the Epworth she created the first of her major bodies of (Continued on Page 16)

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 15 drawings for him. With that collection of drawings in hand, Botanica..., continued Talbot de Malahide approached John Roberts of the Ariel Press, (Continued from Page 15) work, consisting of more than 400 drawings London, with an idea for The Endemic Flora of Tasmania. With made for that magazine. botanical commentary by Dr. Winifred Curtis and outstanding When she first arrived at Kew, Stones spent many hours mak- color printing done by Ariel, the book proved a stunning success. ing pen-and-ink drawings of herbarium specimens that had As the stream of air-freighted specimens continued, Stones cre- been dried and then boiled to rehydrate them, and dissected ated 254 drawings to illustrate the six-volume work, which was under a micro- completed in 1978. scope. Writing As the Tasmanian project was drawing to a close, a about her work project in Louisiana began – her last major body of later, she noted work on a third continent. In 1976, Stones was com- that this provided missioned to create six watercolor drawings of invaluable training Louisiana native flora to be a lasting legacy of for botanical Louisiana State University’s bicentennial celebration. drawing for some- The LSU community was thrilled with the result, and one with her more the project soon blossomed with the support of people general back- throughout the state. Professor Lowell Urbatsch of ground and train- LSU was recruited as the chief botanical advisor, and ing in art. Over dozens of people from all across the state contributed time she deter- funds and time to make the project a success. mined that for her Magnolia macrophylla, original sketch, An important dif- watercolor por- showing gridding, painting transferred ference between traits of plants, she onto watercolor paper with underpaint- the Tasmanian would work only ings in progress with watercolor and the completed painting in watercolor, Native project and the from live speci- Flora of Louisiana Collection. Courtesy Louisiana work mens, eschewing of Special Collections, Louisiana State was that Stones’ the use of pho- University Libraries, Baton Rouge, LA method of working tographs. She only from live plant developed the general habit of working indoors, with material made it the specimen and a microscope at hand, but her imperative that she indoor work was frequently supplemented with field visit Louisiana reg- work that gave her a sense of plants’ natural habits ularly. Unlike the and habitats. tough Tasmanian During her flora, Louisiana native decades at Kew, plants could not survive air she pursued other shipment. Stones first visit- projects as well. In ed Baton Rouge in 1961, Milo John February, 1976, beginning Reginald Talbot, an association that pro- 7th Baron Talbot duced not only a significant de Malahide, wrote collection of botanical art to Stones to ask but also many enduring her to draw the friendships. plants of Tasmania, where Writing Beauty in Truth: he had come into The Botanical Art of possession of an Margaret Stones (the best estate in 1940. single source of information Plants were air- about the artist), Irena shipped from Zdanowicz describes Stones’ Tasmania to Kew working methods and the for her to draw. By demands made by her 1962, she had exclusive use of live speci- completed forty mens:

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 16 “She works swiftly and instinctively, they have been digitized and are avail- partly from temperament, but also from able as a digital collection at a conviction that it is crucial to portray www.lib.lsu.edu/special/stones/, in digi- the plant as a living object whose true tal files that allow the viewer to zoom in delineations must be captured before it on the smallest details. There is no sub- begins to wilt and its colours change. stitute for viewing the originals, though, Not infrequently, the plant’s behavior and they are available for viewing by demands speed of execution…. [On one appointment on site in Baton Rouge. occasion] the audible click of buds Margaret is a member of the Order of opening on a branch of magnolia – kept the British Empire and the Order of overnight in the humid atmosphere of a Australia; she received the Royal bathroom – had her leaping from bed in Horticultural Society Veitch Silver the early hours of the morning to draw Memorial Medal and the Veitch Gold them. The two sketches and the finished Memorial Medal, and Garden Club of drawing of the same specimen of America’s prestigious Eloise Payne Magnolia macrophylla … document the Luquer Medal for special achievement slight but unmistakable movement of in the field of botany. She holds hon- leaves and buds over a short period of orary degrees from the University of time – differences of detail which other- Melbourne and LSU. wise could, erroneously, be seen as a Biographical information about Margaret case of artistic licence.” Stones is drawn from Irena Zdanowicz’s wonder- By the time the Louisiana project ful essays in Beauty in Truth: The Botanical Art drew officially to a close in 1991, Stones of Margaret Stones, the catalog of an exhibition of Stones’s work at the National Gallery of had created more than 200 watercolor Victoria in 1996. Additional information about drawings of Louisiana flora. She Asclepias lanceolata, Native Flora of Louisiana Collection. the Native Flora of Louisiana Collection is avail- returned to Australia in 2002, where she Courtesy of Special Collections, Louisiana State University able from Elaine Smyth, curator and Head of still lives and works at age 90. Libraries, Baton Rouge, LA Special Collections for the LSU Libraries, [email protected]. Flora of Louisiana, The Native Flora of Louisiana Collection, as it is now known, Watercolor Drawings, by Margaret Stones with Botanical Descriptions by Orontium aquaticum, watercolor on paper, Native is administered as Lowell Urbatsch, ISBN 978-0-8071-1664-7 is available at amazon.com. Flora of Louisiana Collection. Courtesy of Special Collections, Louisiana State University Libraries, part of the LSU Baton Rouge, LA Libraries’ Special Ï Collections division, housed in Hill Memorial Library on the LSU campus in Baton Rouge. The drawings are exhibited regularly in the library (a selection is on dis- play through November 13, 2010), and they have also been exhibited at venues Nymphaea elegans, across the United watercolor on paper, States, in Great Native Flora of Louisiana Collection. Britain, and at the Courtesy of Special National Gallery of Collections, Louisiana Victoria, in State University Melbourne. Thanks Libraries, Baton Rouge, to a generous donor, LA

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 17 lishment of the CBA program. Former ASBA Board mem- ber, Sandy Adams was the motivator for the creation of the program – bringing together fine art and scientific Cooperative Effort accuracy in an integrated Produces course of study set in the A Botanical Feast Wellesley College Botanic Gardens. Using three sequen- he Creative Arts Center Tin Chatham and the tial levels of study, the cur- New England Society of riculum provides a solid back- Botanical Artists joined ground in both botanical art forces to produce A media and techniques, fosters Botanical Feast: Flowers a working knowledge of plant for the Eye, Food for the anatomy and development, Ta bl e. Established in 1969, and concludes with an in- the Creative Arts Center is depth independent study in a a non-profit organization Porcelain Berry, watercolor, 12x16”, medium of choice. For more dedicated to the teaching information, check Friends of and appreciation of the ©Sandy Adams 2010 arts. New exhibitions are mounted monthly in the Horticulture’s website: Somy and Bigelow www.wellesley.edu/WCFH, Galleries. email horticulture@welles- The New England ley.edu, or phone the Friends office at Bouquet Study 2, watercolor, ©Regina Society of Botanical Artists Gardner Milan 2010 works to promote public PH:781.283.3094. appreciation of the art and science of botanical art and illustration in New England. ASBA mem- Flora Cultivates ber Barbara Holden brought the two organizations together and this Long Island lovely exhibition was created. The exhibition was hung from July 11- By Patricia Luppino. 31, with a well-attended opening . Artworks presented botanical sub- n 2005, under the guid- jects beautifully blooming and good enough to eat! I ance and encourage- Wellesley Program Graduates First Three Botanical Art Students ment of their instructor stablished in 2006 by Wellesley College Friends of Rose Pellicano, several EHorticulture (WCFH) as a first of its kind in New England, botanical art students the Certificate in Botanical Art and Illustration (CBA) program began to organize group exhibitions of their work at Capsicum chinense, Habanero Red Peppers, graduated its inaugural class on June 7, 2010. ASBA members WC, 17x19”,©Carrie Megan Sandy Adams, Barbara public libraries and other DeGregorio, and Carrie Megan Members of Flora: D.Record,Caryn Coville, Marcia Galletti, Patricia Luppino, were presented with lovely Henriette de Bellegarde, Bruna Schuss, Mary Kane, Masako Stampf, and not hand-painted certificates before pictured, Irene Messina. an audience of family, friends, and fellow botanical artists in a ceremony led by Sarah Roche, CBA Education Director and ASBA Education Co-Chair, and Carole Ely, CBA Program Director and ASBA Board mem- ber. At the awards ceremony and the reception afterwards, the three new graduates spoke elo- Fellow botanical artists and guests quently about the varied inter- toast the three new graduates of ests and circumstances leading Wellesley College Friends of them to pursue a rigorous Horticulture’s CBA Program in front of the graduating artists’ exhibition. course of study in botanical art, Left to right: Carrie Megan, starting even prior to the estab- Barbara DeGregorio, Sandy Adams.

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 18 venues on Long Island, New York. The response from the public was so favorable that the group, now called Flora, finds them- selves in much demand, with invitations to exhibit at both new and former venues. Flora’s most recent exhibition was held in May, 2010 at the Jericho Public Library and featured a Flowers of Spring theme. In addition to their artwork, Flora’s exhibits also include attrac- tive and informational display cases (arranged by ASBA member Irene Messina) that describe both the history and process of cre- ating botanical art. Many exhibit attendees who are unfamiliar with botanical art seem drawn to the realistic simplicity of the genre and are anxious to learn more. Several commented that the exhibits were “relaxing”, “a respite” and seemed willing to linger longer than a New York minute to appreciate the natural beauty. The group continues to look forward to spreading the word and educating the Long Island public about the beauty, history An inner spread in Ireland’s Wild Orchids, illustrated by Susan Sex and significance of botanical art. They have upcoming exhibits in Cold Spring Harbor Library in December 2010, Garden City botany and horticulture, honored two brilliant resources this Library in June 2011 and Mineola Library in October 2011. year. Ireland’s Wild Orchids: a Field Guide (available at www.orchidireland.ie) by Brendan Sayers and Susan Sex and Bartron-Miscione Book Publishes published by the authors won the 2010 award in the Technical tephanie Bartron-Miscione, the book, is a selection of paint- category. In addition to being richly illustrated with exquisite Sings and drawings that were produced over a twenty-year orchid portraits created by renowned botanical artist Susan Sex, span of living and working in Maine. The signed, limited edition it also offers present day distribution maps and photographs of presents her work in these remarkable plants. The illustrations are coupled with the clear, succinct prose of Brendan Sayers to create an eminently a large-scale format useful and valuable resource. that showcases the exceptionally detailed The Brother Gardeners: Botany, Empire, and the character of what she Birth of an Obsession(available at amazon.com) by Andrea calls “slow realism.” Wulf and published by Knopf won the 2010 award in the General Interest category. According to the New York Times A strong sense of Book Review, “Wulf’s flair for storytelling is combined with place and the influ- scholarship, brio and a charmingly airy style.” is the fascinating ence of Downeast story of a small group of eighteenth-century naturalists who Maine resonate made Britain a nation of gardeners and the epicenter of horti- throughout the fea- cultural and botanical expertise. It’s the story of a garden revo- tured images in this lution that began in America.” Wulf’s compelling work focuses museum-quality col- on this passion for plants and the subsequent impact on two lector’s edition, nations of gardeners. Pat Jonas, former director of Library released August, Services at the Brooklyn Botanic Garden and member of the 2010. Award Committee, stated “The author has woven a thoroughly “Bartron-Miscione doesn’t just look at the world of coastal engaging narrative for readers of popular history, but it is as Maine, she sees right into its DNA.” Janis Goodman. entertaining for those with more specialized interest in garden We look forward to enjoying this new publication, Stephanie. history. Many U.S. readers will be surprised how rich this coun- Published by Eagull International Publications, Paris, France, 11 try’s horticultural contributions were to England’s gardens.” X11”, and available for $60 at www.SBartron-Miscione.com. Kathie Miranda Named Interim NYBG Program Coordinator Rita Hassert Presents athie Miranda has been nominated interim Program CBHL Annual Literature KCoordinator for New York Botanic Gardens Botanical Art Awards and Illustration program. A professional artist and innovative he Council on Botanical educator of natural science illustration, she is especially devoted Tand Horticultural to traditional botanical art, the seeds of this specialty being Libraries (CBHL) has planted during her undergraduate years at Pace University, and awarded Annual Literature culminating at the NYBG, where she also teaches. Awards to two exceptional A highly sought-after instructor, she conducts specialty work- works: The Annual shops around the country. She is an active member of ASBA; the Literature Award, created to Guild of Natural Science Illustrators (GNSI); and the recognize significant contri- Connecticut Invasive Plant Working Group. Best of luck, Kathie, butions to the literature of in your new work. (Continued on Page 20)

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 19 Happenings..., continued NY. Sponsored in part by Arts in the Park at Ward Pound Ridge Reservation, and New York Foundation for the Arts, a wonderful (Continued from Page 19) restored farmhouse on 10,000 acres of parkland is the setting for Tangerini’s Art and Methods Highlighted by AARP 60 recent botanical watercolors and metalpointes by Corinne ictured in her office with an enviable D.C. view, Alice is Lapin-Cohen. The watercolors are painted on paper and vellum Pinterviewed about her work and career in the April 13th using glazes of transparent pigment, while the metalpointes are AARP Bulletin. Check out www.aarp.org/personal-growth/ drawn with copper, silver, and gold. life-stories/info-04-2010/smithsonian_illustrator_draws_on_the_ The show was part of the county’s Arts in Parks program, which highlights three artists a year. A portion of sales is donated life_of_plants.1.html if you haven’t seen the article. back to the park to support the program. Lapin-Cohen’s exhibit Alice describes her methods and materials, and her passion for of her paintings and drawings is also supported by the New York her work. Congratulations, Alice, and thanks for once again pre- Foundation for the Arts and the Garrison Art Center. senting botanical artwork to a new audience. The show displayed more than 70 life-size pieces that Lapin- Carol Woodin’s Art Featured in The Artist’s Magazine Cohen has produced in the past few years, including painstak- he Artist’s Magazine featured “Beauty That Lasts” in the ingly prepared – and gorgeous – paintings of tulips, hydrangeas, TMay 2010 issue, in which four artists reveal strategies in orchids, dried leaves, ears of corn and hyacinth beans. They pastel, watercolor, colored pencil and acrylic to paint florals. range in size from 4 by 6 inches (“my little gems,” she calls Carol’s drybrush techniques on paper and vellum were featured them) to 30 by 40 inches sprouting coconut. for the watercolorist, presenting materials and methods she Typically, Lapin-Cohen has turned her new show into a commonly uses to produce uncommon results. Kudos to Carol, teaching experience, too, dividing it into four themes and rooms. for sharing her tried and true methods on a stunning In the first, you learn about the process of botanical painting. Paphiopedilum vietnamense. Then you get to see her work on vellum. The third room fea- tures her drawings using the ancient technique of metalpointe. Room 4 focuses on the importance of plants – how they are used in medicine and as a source of food, clothing and wood. Well done, Cori. A terrific independent show that encompassed the history, present and future of botanical art. Ó

Ad Rem Tulips , 12x13”, transparent watercolor on veiny vellum, ©Corinne Lapin-Cohen 2009

Paphiopedilum vietnamense, watercolor on vellum, 15x13, © Carol Woodin 2009

Lapin-Cohen Solo Exhibition Presents 70 Artworks rom May 23rd to September 6, 2010, Discoveries - FBotanical Explorations, was on view at the Gallery in the Park, Ward Pound Ridge Reservation, Route 121, Cross River,

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 20 New Kingdom of Granada, 1783-1816 (close to 4000 docu- Botanical Art at the Real ments; 6608 botanical drawings, prints and the complete Jardin Botánico de Madrid herbarium from the expedition) Hipolito Ruiz and Jose Pavon’s expedition to Peru and Chile, By Mervi Hjelmroos-Koski 1777-1788 (2230 botanical drawings of which only 1/3 were ounded in 1755 by King Ferdinand VI, the Royal etched on copper plates, the copper plates are in the collections too) Botanical Garden in Madrid (Real Jardin Botánico de  Madrid, CSIC) has been the mirror of Madrid society Martin Sesse and Jose Mariano Mocino’s expedition to New F Spain, 1787-1803 (Mexico, Guatemala and Cuba; 119 drawings) and the social and cultural life of the Spanish nation as a whole for more than 250 years. The main garden is designed in a quite Malaspina and Bustamente Royal maritime expedition to traditional European system with three main terraces: collec- Pacific Ocean, 1789-1794 ( 465 manuscripts and 264 tions of medicinal, aromatic drawings). and endemic plants; a taxo- T. Haenke collection nomic section and a roman- contains 402 documents tic section with a collection including paintings and of trees and shrubs. A large descriptions number of architectural  Mopox expedition to structures including foun- Cuba, 1796-1802 (332 tains, sculptures and tempo- drawings) rary art exhibits. It was  declared the Artistic Garden Juan Isern expedition to in 1942. Today it is experi- the Pacific, 1862-1866 encing a delayed renaissance  Juan de Cellular’s sci- after completed restoration entific commission to subsequent to the Spanish Philippines and China Peninsular War and Civil 1785-1795 (88 drawings Wars in the beginning of Ferdinand Bauer’s original 140-color chart, purchased and completed by Thaddäus from Philippines and 980 19th and 20th century. Haenke, c 1753. from Canto) Through the centuries this garden has preserved its foundation  F.J. Balmis’ collection of mission of botanical research and education. Its vast archives are Chinese drawings which he brought back from Canton in the one of the most important in the field and serve extraordinarily late 18th – early 19th century. These are over 200 large folio well the history of science, art and culture. In sheets of Chinese plants painted by Chinese the mid 18th century the Spanish Consul of painters. Sweden invited Carolus Linneaus to direct  The van Berkhey collection of vegetable the garden, demonstrating the strong scientif- kingdom: collection of Dutch botanical ic goals of this garden. Linnaeus rejected the illustrations 1646 in total. This collection invitation as he didn’t want to travel! contains the oldest drawings conserved in This summer I had the pleasure to spend the garden. two days in the library of the Royal Botanic The collection is massive and inspiring, Gardens and see some of the wealth of and includes thousands of artistic and sci- images from the scientific expeditions and entific drawings, including not only graphic special collections holdings. It is absolutely material, pencil, sepia and ink drawings unbelievable to be able to hold and study the and color plates in tempera, looking as if Systema Colorum (Systema Colorum tabulare they were painted yesterday. Also included atque comparativum pro expeditione in are copper plates, engravings and prints. itinere cum hispanis navibus circa Globum It can be overwhelming and as I attempt- Terraqueum annis 1789-1793), Ferdinand ed to take it all in, I realized that much Bauer’s original 140-color chart, which was more time should be reserved for this type purchased and completed by Thaddäus of a visit! Haenke. Bauer wanted to establish a system The archive staff is absolutely wonderful, of colors for the use of painters and designers Watercolor image from Granada created during working on scientific illustrations. fluent in English and ready to help you the Jose Celestio Mutis Expedition, c. 1783-1816 with your requests and questions. The In addition to the ‘typical’ garden records majority of the holdings are digitized and available through the kept since 1777, the archives include: internet (website is www.rjb.csic.es, and is still under extensive Per Löfling’s expedition to Venezuela and Guiana in South construction). The Garden also has an extensive publishing pro- America 1754-1761 (115 botanical subjects, 81 zoological and gram, and an effort is under way to get these image collections some maps and ethnographical drawings) out into the world to become a part of public knowledge. Jose Celestio Mutis Expedition and documentation of the

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 21 green bias and cadmium yellow PY37 made of pure cadmium sulfide which is the red (orange) bias. The hidden culprit was zinc. Transparency/Opacity Again, a no brainer! Just know, when you mix an opaque paint with another opaque or semi-opaque paint you may create mud. However, you can create luscious colors by mixing a trans- What Information Is Important on a Tube of Paint? parent or semi-transparent paint with any opaque or semi- By Carolyn Payzant opaque paint. Marketing Name Oh, if it were that simple. When mixing a transparent or semi- The marketing name doesn’t mean a thing. Manufacturers pay transparent paint with any opaque or semi-opaque paint the people to think up names to induce you to purchase. One winter transparent or semi-transparent paint is reduced to the lowest in New Hampshire I bought “Sandal Red” which turned out to common denominator – the transparent/semi-transparent paint be less than satisfactory in the lightfast category. Later I found becomes semi-opaque to opaque. Mix carefully. out it is similar to Winsor Red. But somehow in the middle of Toxicity winter Winsor Red doesn’t conjure up the same visions. One last interesting number is D4236. This refers to the Chronic “Hue” in the marketing name sometimes means the paint does Health Hazards in Pigments. ASTM requires a notation of toxi- not actually contain the pigment labeled and could be student city, but does not require the manufacturer to state what type of grade paint, which is a no-no in fine botanical art. toxicity, how serious the toxicity is, how long you must be Lightfastness (LF) exposed to the toxicity to incur significant health risk. This is a The American Society for Testing and Materials (ASTM) devel- direct quote from the ASTM website, “D4236-94 (2005) this oped standards that many manufacturers have adopted for per- standard does not purport to address all of the safety concerns, manency. This is great for the artists but there is one glitch; the if any, associated with its use. It is the responsibility of the user manufacturer must pay ASTM to do the testing. A few manufac- of this standard to establish appropriate safety and health prac- turers want to skip this cost and do their own testing and come tices and determine the applicability of regulation limitations up with their own categories. Some will use a letter designation prior to use.” My recommendation: If the tube says it is toxic, (A or AA), and some a numeric designation (using 5 as their best please use that pigment with care. Information I Wish Were On the Tube rating). As many of you are aware, I am about as market driven Percentage of drying shift, tinting strength, stainability, bias, and as anyone, but even I know not to let the fox watch the hen granulation. house. ASTM Categories LFI: Excellent under all normal lighting conditions LFII: Very good, except when exposure to ultraviolet light. All other categories are problematic: LFIII can fade. LFIV fades promptly. LFV bleaches promptly. (TBA, March 2006, p. 5.) Sometimes lightfastness is written “Not Rated.” Call me suspi- cious, but why? Some manufacturers say that a pigment has not been tested before marketing. Again I ask, why? I assume the issue is that the manufacturer wants the pigment on the market before ASTM testing. So ask yourself, do you want to take a chance with a pigment that is Not Rated? Color Index This one is a no brainer; PB = Pigment Blue, PY = Pigment Yellow, etc. Note, NR = Natural Red. By the way, each number has a specific chemical formulation assigned to it. Therefore, PR176 is always Pigment Red Benzimidazolone Carmine. The marketing name should be carmine. But not all carmine’s are created equal and some are fugitive. Carmines are made with PR5, NR5, PR83, PR146….I think you get the idea! Only purchase PR176 when purchasing carmine. Chemical Content Don’t trust the marketing name on a tube of paint. I never gave any thought to the chemical content of paint until I took Susan Fisher’s Color Mixing Workshop, and she required cadmi- um yellow. I, for one, could not get the color that she felt we should be able to mix. On examining the tubes, some in the class had PY35 cadmium yellow and I had PY37 cadmium yel- low. Cadmium yellow PY35 is cadmium zinc sulfide which is Clematis, gouache, 13x14”, ©Carrie Di Costanzo 2009

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 22 pendium. From his first acquisition in 1998, Isaac Sutton has sought to inspire and educate viewers, and his collector’s eye has sought out some of the most remarkable images being cre- ated worldwide. Working with Curators Susan Frei Nathan and By Carol Woodin Alice Marcus Kreig, Sutton selected the 54 included images from his sizeable collection of botanical art treasures. Botanical Art Week in New York City With such a wealth of contemporary art being shown at one he third week in September will see three major botanical time in New York, this is an excellent opportunity to take stock Tart exhibitions holding opening receptions in New York. of the genre. During the same month ASBA’s Losing Paradise? One is an institutional collection, one a juried international, and will be on view at the Smithsonian’s National Museum of one highlights of a private collection. Each of these exhibitions Natural History and the Hunt Institute for Botanical has an international component, demonstrating the world-wide Documentation will be opening its Thirteenth International vitality of the genre, and each contains works of many artists. Exhibition of Botanical Art and Illustration. Who could have With these three high-profile events occurring in the same anticipated such a broad and exciting exhibition schedule even week in September, Robin Jess, ASBA’s Executive Director, ten years ago? Perhaps next year we should think about a pos- thought it would be the ideal time to call attention to these sible “Botanical Art Month” in the US? exciting exhibitions. After enlisting the enthusiastic support of Find more information about each exhibition on Pages the three venue organizations: Brooklyn Botanic Garden, The 9-12. Horticultural Society of New York and The New York Botanical Garden, Botanical Art Hydrangea, watercolor, ©Margaret Best 2010 Week in New York City was born! The first reception to be held will be the Brooklyn Botanic Garden Florilegium Society’s Portraits of a Garden V, on Tuesday, September 14 from 4 – 5:30 PM in the Steinhardt Conservatory Gallery. As the name implies, this is the fifth exhibition at the Garden of new works collected for the Florilegium. Artists have portrayed plants contained in the Garden’s collection over the past 10 years and have donated them, where they are held in the Rare Book Room. Selections have also been shown in Berlin, Germany, and highlights from the collection are currently on view at the Shirley Sherwood Gallery at the Royal Botanic Gardens, Kew in the UK. The second reception will be for ASBA’s eagerly anticipated annual exhibition at The Horticultural Society of New York on Wednesday, September 15 from 6 – 8 PM. The Thirteenth Annual ASBA/HSNY Juried International Exhibition will be hung in the HSNY’s fresh, contemporary gallery space in midtown Manhattan. This exhibition always showcases a number of international artists alongside American artists. The Horticultural Society will be holding three workshops to accompany the exhibition. Instructors will be Albert Massimi in September, Karen Kluglein in October, and Carol Hamilton in November. The third reception will take place on Thursday, September 16 from 5 – 8 PM in The New York Botanical Garden’s Ross Gallery. Botanicals: Environmental Expressions in Art, the Alisa and Isaac M. Sutton Collection is the largest contemporary botanical art collection in private hands in North America, and it is a stunning com-

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 23 to accommodate the size of the subject. Once cut and taking into account the unreliable watermark issue, finding the right side inevitably becomes a matter of concern. Over the years I have had many students tell me that some teachers and also some assistants in art supply stores say it does not matter. That saddens me because it absolutely does matter on both 150 and 300 lb hotpressed papers. In the making of most reliable HP papers on the market, both surfaces are indeed coated with sizing (usually animal gelatin). This gelatin coating By Sarah Roche, with thanks to this issue’s Guest Author Margaret Best assists in the adhesion of the pigment to the surface and plays a The Right Side of the Paper major role in the capture of clean edges, smooth deposits of pig- short distance from the remarkable and world-renowned ment, fine lines and details regardless of the medium. But the A Kirstenbosch Gardens in Cape Town, South Africa, is one of surfaces are quite different in what they will allow you to the oldest schools in the country called Rustenburg School for achieve. Girls. Freshly qualified in the 1970’s, I assumed the position of art teacher there – a role that I fondly remember. The close Out of concern for my students and wanting to get my facts proximity to Kirstenbosch enabled me to strictly accurate, I took the time to talk to take groups of students to enjoy the a technical representative of one the lead- unique setting, to connect with nature ing paper brands. I was advised that one and to learn how to sketch and journal side of the paper is known as the felt some of the indigenous plants. An out- side or the “preferred” side. The other door art experience was always met side is called the wire side as it is in con- with enthusiasm, but it was the sheer tact with a wire mesh in the manufactur- abundance of subject matter that never ing process. There is a slight embossing failed to excite and inspire my pupils. At on this surface caused by the mesh. The that time I had no inkling of how a “grid-like” pattern is easily detected on a number of botanical gardens in different paper such as Winsor and Newton HP, countries and indeed the botanical art but it is quite subtle on papers such as genre would become a significant part Fabriano, Arches and Lanaquarelle. The of my life. There was no clue at that result is that many student artists are not stage that I would be immigrating to sure how to know that they are consis- Canada, teaching botanical art in tently working on one surface if they use Canada, USA, England and Bermuda, Margaret discusses a watercolor exercise with ASBA mem- any of these papers. as well as accepting commissions and ber Kate Gammon during a BAGSC class at the Huntington Gardens in Pasadena, California. If there is a preferred side why is this exhibiting at an international level. not indicated very clearly and consistent- So of what relevance is the above preamble about my profes- ly by the manufacturer? Why is this information not posted on sional background to the title of this article you may ask? I will their websites? I could not get a solid answer to these seemingly get to the point. As an artist it has been a struggle to find a logical questions. At the end of the day, it is up to the individual paper that best suits my personal watercolor style. When I did artist to take the time to develop a visual, working knowledge of find it eventually (Fabriano 5), extensive research indicated that how to identify the preferred surface despite the subtlety of the it is not available in North America and I am only able to process. And I believe it is the duty of teachers to assist in that acquire it when I visit England. The sheer demand of this very process whenever possible. white paper surface by the rapidly growing numbers of botani- cal artists in the UK, influenced the Italian manufacturer to A good magnifier and an angled view of the surface in good maintain its production of the popular paper. lighting will help significantly and it is a good practice to then I buy it in the pre-cut sheets (does not come in blocks) and note the right side in graphite, in the corner of every selected had to figure out a way to identify the “right side” of the paper and cut sheet. Another good practice is to mark an off-cut of – with zero assistance in the matter. As I order the sheets cut into your favorite paper very clearly with your preferred side and 4 pieces, only one in four has a watermark. But experience has have it handy for a quick check every time your artistic endeav- shown that the watermark, deckled edge or an embossing ors puts you in front of a fresh, blank piece of paper. branding are not always a fully reliable indicator! I have found that most pen and ink, color pencil and graphite As a teacher, the matter of the right and wrong side of the artists are very aware of the preferred side and will immediately paper comes up in every class that I offer. Due to the very for- detect any surface differences right away. Sadly, I have had giving quality of Arches Hot Press paper, I always recommend it many watercolor students that have battled through entire as a good starting point to my students on my list of recom- paintings wondering why the edges and details would not hold mended materials. Some students show up with blocks rightfully well. Not a happy situation but one that than can easily be pre- expecting the first and subsequent sheets to be right side up. vented! Know the right side before you begin a painting. It Think again. Others come to class with single sheets and cut it makes a huge difference.

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 24 Errata: In Vol. 16-2 of TBA, Exhibitions included an exhibition announcement by the Royal Gallery in Providence, RI, which included works by artists who attended an Wild Online artist-in-residence program in Florence, Pictured with By Libby Kyer the exhibition information is an image of a persimmon know that you love wildflowers, seek them out, paint their and butterfly, credited to Monica de Vries Gohlke. The pictures, photograph them and worry about their viability in artwork is actually by Kelly Leahy Radding, and the as habitats change and climates change. Don’t you? I image is titled Monica’s Persimmon and Scarce If you are an artist who wants to contribute to the health and well-being of wildflowers, but simply don’t know where to start, Swallowtail Butterfly, watercolor on Kelmscott vellum, here are some resources online to help you realize your dreams of 9x11”. getting a little wild. Monica is also mentioned in the exhibition announce- First, in your search engine (still happy with Google here!) ment as one of 8 artists who attended the workshop in enter wildflowers + (a location), for example, Denver. Doing so, I Florence. Monica tells us, “I was pleasantly surprised to find: find out that I’d taken a 2-week sabbatical in Italy. My www.denverplants.com/wflwr/index.htm: A labor of love website doppelganger is getting around and I’m not even aware that has images of over 200 Rocky Mountain flowers, with info of it! … Please let the real artist stand up.” TBA apol- about where to find them. Or, go to ogizes for the confusion, and hopes Monica gets to go www.trails.com/activity.aspx?area=13160: Information about wildflower hikes in the Denver area, that provides maps, close up to Italy soon too. views of a trail’s ups and downs, obstacles to progress, and meth- ods for success for finding wildflowers in the Denver area, includ- Doreen Bolnick’s cover artwork from Vol. 16-2 should ing the foothills of the Rockies and some high mountain helpful read: Disa erubescens subsp. carsonii, with lower case hints. in “carsonii.” The spell check program made the “cor- This is not a Colorado phenomenon. Try the search again with rection” to upper case, and we failed to catch it in wildflowers + your state. You’ll find many resources to finding, proof. Thanks for the correction and our apologies to identifying, and picturing wildflowers. Doreen. www.wildflowerinformation.org: This is a lovely site for every- thing wildflower – habitats by region, wildflowers by color, wild- Ð flowers by botanical name, wildflower histories, endangered plant information and much, much more. www.wildseedfarms.com: This commercial site provides a one- stop area for finding, identifying, photographing, learning about and even purchasing some of the most famous Texas wildflowers, as well as some rare plants. You may visit their acreage at any time to learn, New ASBA Brochure Ready draw, and fall in for You! love with wildflow- ur beautiful brochure is now ers and their prop- Oready for your use. It contains agation. basic information about ASBA and Again, to find how to become a member. Don’t vendors and grow- forget to include a batch of ers in your area, brochures for distribution at your try a search on summer workshops. Wild Seed Farms cheerful image invites you into their wildflower seeds or To get your brochures, contact website. wildflower farms Linda Crawford by your region. You can enjoy the beauty of wildflowers without the time it takes to search them out in the true wild. For the PH: 610.421.8048 botanical artist, this can be a real help, especially if you’re some- or email what city-bound. [email protected]. There are a lot of other wildflower sites out there, and a few innovative search combinations can take you out into the wild world of wildflowers without leaving the studio. I also encourage you to seek out these botanical gems where they grow. You will fall in love, and bring a whole new world into your art.

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 25 50 plants in pen and ink, watercolor, and colored pencil. The illustrators, all students or instructors in the DBG Botanical Art and Illustration Program, worked for four years from herbarium specimens and technical descriptions, sometimes with little or no additional photographic reference material. To assist them in drawing difficult subjects, illustrators cleverly formed clay sculp- tures of cactus bodies, tiny seeds, and cactus areoles with tooth- pick spines. Marilyn Garber, founder of the Minnesota School of Botanical Art, suggested the book illustrations could form the basis for an exhibition. Hodgson immediately recognized the potential at the Grand Canyon’s Kolb Studio. For Hodgson and Makarick, this By Gillian Rice would not just be an art display, but a more comprehensive pre- cene: the Desert Botanical Garden (DBG) Herbarium. sentation focusing on plants and botany. They realized that this SFrenetic. Not the usual cool, calm atmosphere of scientific was, “…our one chance to get people interested in botany.” seriousness. Busy people spilling over into the conference The Grand Canyon Association agreed to fund the exhibition. room. DBG illustrators are framing and packing their works for Garber, who traveled to the Canyon from Minneapolis for the the exhibition, Grand Canyon’s Green Heart: The Unsung opening says, “It was a wonderful experience to attend, and to Legacy of Plants to open the next week at the Grand Canyon. reconnect with my Arizona friends. They have accomplished a great deal.” The exhibition has several themes relating to plants and botany: paleobotany, plant diversity, Grand Canyon vegetation management, sex in the plant world, and so on. “Different themes will interest different people,” says Hodgson. “If each visitor learns just one thing about plants, we have succeeded. The goal is to spark people’s curiosity and be a starting point from which they continue their journey into the world of plants!” The displays teach about plants from all the Canyon’s life zones (riparian, deserts, piñon-juniper, ponderosa pine, and montane forest). We learn that every day of the year a flower is

Astragalus cremnophylax, Sentry Milk Vetch, is the only endangered species listed on the federal list for the Grand Canyon. Pen and ink,©Elaine Hultgren. The Illustrators for Grand Canyon’s Green Heart: Back row (L to R): Molly Gill, Sandy Turico, Deborah Ravin, Elaine Hultgren (barely visible), Marceline VandeWater, Lynn Reves. 3rd row: Joan LaMoure, Sally Boyle, Wendy Hodgson. 2nd row: Katherine Rink Callingham, Daniela Siroky, Gigi Wilson, Susan Ashton, Karen Gengle, Gillian Rice. Seated: Lynne Davis. Photo: Essam Mahmoud. The artwork is transported in an oversize van, along with numerous other exhibition pieces, to the Canyon a day before the opening. A dried agave stalk, eight meters tall, only just fits in the van and the exhibit hall! “[We want] to educate the general public,” says Wendy Hodgson, Curator of the DBG Herbarium. “When people are educated about plants, they are more likely to appreciate and protect them.” Most plants featured are rare or uncommon and, in the future, the illustrations will be included in the revised edi- tion of A Field Guide to the Special Status Plants of Grand Canyon National Park by Nancy J. Brian. “The illustrations will help park biologists distinguish rare plants from other closely related species and then monitor the health of the populations in the park,” explains Grand Canyon Vegetation Program Manager, Lori Makarick. The decision to update the book came before the idea for the exhibition. Hodgson, a botanist and an experienced and talented illustrator, supervised 18 volunteer artists who illustrated over

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 26 and limb, but that of the plants collected as well.” Ethnobotany, or the relationship of people to plants, is another exhibition theme. One non-native species cultivated by native peoples of the Grand Canyon is a kind of century plant. Agave phillipsiana was first cataloged in the Grand Canyon in the 1930s by Rose Collom, the Park’s first botanist. Hodgson found the small population sixty-five years later; she and other canyon explorers located three others, all associated with archaeological sites along permanent waterways. This association lends strong support to the idea that the plants are surviving remnants of once-large populations cultivated by pre-Columbian peoples as food, beverage, fiber, and for use in ceremonies. The agave probably originated in northern Mexico and was traded as far north as the Grand Canyon. Also presented are details of how plants are studied and illus- trated. One of the illustrator’s tools of the trade that is displayed is the microscope for dissecting plant parts. Because botanical Kolb Studio perches on the rim of the Grand Canyon. The exhibition is open illustration is a blend of art and science, illustrators study their at the studio from December 2010 to February 2011. Photo: Gillian Rice subjects in detail so they can portray them accurately. “It was blooming somewhere in the Grand Canyon! The Canyon’s hard to tackle the rare plants project,” says Gigi Wilson, one of changes in elevation (from 1,200 feet to 9,200 feet), myriad the illustrators who had previously spent many years working in micro-climates, soil types, diverse geology, oils. “It forced me to draw more and improve and sheer size (over 1.2 million acres) con- my skills. It opened up a whole new world for verge to produce an astounding range of me – I didn’t know much about plants before plant life. this.” Daniela Siroky, a student with no art Information on the botanists who have experience prior to joining the DBG program, ventured into the Canyon in order to study adds, “We enjoy Thursdays – the Herbarium its flora since the 1800s shows how women ‘illustrators’ day’ – when we come in to use botanists have played an important role. the microscopes. We can help one another and Hodgson elaborates, “Throughout history, consult with Wendy.” women have had an intimate association “All the DBG illustrators are thrilled to with plants because they were often respon- have been included in the exhibition,” says sible for gathering wild plants for mind and Elaine Hultgren, an instructor and illustrator. body.” “We have bonded with one another through Ellen “Nell” Powell Thompson accompa- our shared work and love of the medium. nied her brother John Wesley Powell on his We’re looking forward to future projects.” second expedition (1872) to explore the ASBA artists whose works are included in this Grand Canyon. Nell collected and prepared exhibition are Susan Ashton, Marsha Bennett, plant specimens, documenting her findings Lynne Davis, Gabriele Henn, Elaine in a journal. Elzada U. Clover (1897-1980), Hultgren, Joan LaMoure, Jo Ann Loza, of the University of Michigan, and her grad- Deborah Ravin, Lynn Reves, Gillian Rice, uate student, Lois Jotter, were the first Botanist Wendy Hodgson at work in the Daniela Siroky, Sandy Turico, and women to successfully travel the entire Canyon. Photo: Lisa Hahn Gigi Wilson. In addition, DBG illustrators length of the Colorado River through the included are Sally Boyle, Katherine Rink Cataract, Glen, and Grand Canyons. They completed the first Callingham, Karen Gengle, Molly Gill, Wendy Hodgson, and systematic botanical exploration of these canyons, collecting Marceline VandeWater. hundreds of specimens and naming several new species. As for me, it’s certainly more than I ever dreamed of to be a part Hodgson continues their exploratory tradition and has spent of the Grand Canyon exhibition. years researching the Canyon’s plants, often carrying out a 65 The opening exhibition ran through August 31, but can be pound pack, piled up with plant specimens. She’s completed seen again from December 2010 to February 2011 at the his- approximately 100 Canyon expeditions and has collected toric Kolb Studio at the Grand Canyon’s South Rim. It’s spon- more specimens than any other person in the Canyon’s his- sored by Grand Canyon Association, Grand Canyon National tory. All botanists in the Grand Canyon must endure sizzling Park, and DBG. For exact dates of exhibition, visit heat, freezing cold, steep slopes, severe exposures, almost www.grandcanyon.org/events_calendar.asp?category+all. impenetrable brush, the possibility of rattlesnakes, and the lack Signage created for the exhibition and poster uses Joan LaMoure’s of reliable water. “All water has to be carried in,” Hodgson Phemeranthus validulus, Tusayan Flame Flower, watercolor,©Joan LaMoure explains. “On one occasion, the water we had stashed was 2009 stolen. It’s a challenge for the botanist to protect not only her life The Botanical Artist Volume 16, Issue 3 - September 2010 Page 27 For a full itinerary of this traveling WorkshopS art and photography tour visit: www.studio16online.com Individual Members October 19-21, 2010 Workshops Painting Butterflies with Listed in alphabetical order by Mindy Lighthipe By Jim Van Eaton instructor Florida Museum of Natural s soon as one enters Morgan Kari’s studio they become ASBA Member Workshops History, Gainesville, Florida aware of her roots in botanical art. The walls are covered Contact: To register for this but- A Nina Antze terfly workshop call the Florida with examples of her botanical drawings and paintings from a October 2, 2010 Museum Of Natural History: lifetime of devotion to this art form. There are also examples of Drawing Autumn Leaves Tiffany Ireland, PH: 352.273.2061 her portraiture as well as many other exploratory works. Santa Rosa Junior College, 1501 .www.flmnh.ufl.edu/butterflyfest/ Morgan built her art Mendocino Avenue, Santa Rosa, CA workshops.htm studio on the site of an 95401 Fee: $327 October 23, 2010 This is a rare opportunity to go old shed in the rear Pepperwood Preserve, 3450 Franz behind the scenes, draw, photo- garden of her home. Valley Road, Santa Rosa, CA 95472 graph and paint from McGuire’s She set out to build a Contact: SRJC Community collection of 9 million well-equipped and Education, PH: 707.527.4372 specimens.The world of functional art studio Fee: $79 Lepidoptera has a vast amount of for working artists and One day workshops working with color, texture, pattern and form. art students, and to colored pencil drawing the beauties You’ll be introduced to this vibrant of autumn. All levels welcome visual world through discussion of develop a setting that life cycles, host plants and hands- promotes artistic cre- October 14, 2010 Drawing Autumn Leaves on experience with access to 9 ativeness. The area Filoli Gardens, 86 Cañada Road, million specimens provided by the surrounding the studio Woodside, California 94062 McGuire Center at the University more then accomplish- Contact: www.filoli.org, Contact of Florida in Gainesville. Morgan pictured in her studio through the large es this. It is a peaceful Nina at: PH: 707.237.7014; Linda C. Miller French doors that open onto the garden. Photo: place. Peaceful, that is, [email protected]; Jim Van Eaton September 21 - 23, 2010 until a large flock of www.pcquilt.com/botanicals.htm Botanical Art Workshop at The bright green parrots returns to feast on the apples in the upper Fee: $80 Elizabethan Gardens reaches of one of the garden’s many fruit trees! Gretchen Halpert 1411 National Park Drive, Manteo, The whole area is filled with form, shape and texture. An June, 2011 NC Nature and Travel Journaling Contact: Enroll at PH: artist might choose a plein-air approach and paint in the gar- in Tuscany 252.473.3234 or email: den, or move inside the Tenuta di Spannocchia, Siena, Italy [email protected] studio where Morgan Contact: Gretchen Halpert, email: Fee: $110 has produced a truly [email protected]; PH: 607- Spend an enjoyable three days, world-class facility. The 767-6936; website: using your artistic skills to illustrate studio comprises six gretchenhalpert.com and create a Botanical Portrait rooms, including a full Fee: TBA. See contact info. working with flora from The bath and sitting room Includes 10 nights lodging in 14th Elizabethan Garden’s greenhouses century Villa, most meals, wine, and grounds. Learn basic drawing with trundle bed. skills, observation, and watercolor Skylights were installed and field trips, daily classes and evening presentations. Afternoon techniques to create a botanical to allow for natural wine on the terrace. painting. Beginner to light. Create an artist’s journal, focusing Advanced welcomed! For addition- The well-stocked studio library. Photo:Jim Van on plants, nature and travel. All al information visit Kari has worked in a lindacmiller.blogspot.com. wide variety of media – Eaton takes place at one of the first pri- oil, acrylic, pastel, watercolor, ink, and silver point. She used her vately owned wildlife sanctuaries in ASBA Institutional Members teaching experience to help her design student areas. There are Italy. Wildlife, trails, an abandoned Workshops castle and gardens offer plenty of Listed in alphabetical order by drawing tables and easels and full spectrum lamps to enhance material. institution, then by instructor learning and production. This is not just a place to paint, but Arizona-Sonora Desert rather a space that promotes the best that an artist can do. It is, Mindy Lighthipe January 21- 30, 2011 Museum, Art Institute from its black wood floor to the white louvered windows, a Bugs, Beasts & Botanicals Art Nature Illustration Certificate place of art, about art and for art. Tour Program, Susan T. Fisher, Director There is no doubt that Morgan accomplished what she set out Destination: Costa Rica 2021 N. Kinney Road, Tucson AZ to do, in designing and building this beautiful facility, with Contact: Mindy Lighthipe at: March 4-6, 2011 abundant storage space and a place for everything, along with [email protected] or PH: Kate Nessler 908.769.7417 Master Class: Botanical proper facilities for matting and framing finished works. We Fee:$3,499 + Airfare, single sup- Painting on Vellum often wonder what doesn’t work in our studios, and how to fix plement available Contact: Sign up online: PH: those problems. Morgan feels she reached her design goals in build- Includes instructor Nancy 520.883.3024 ing her studio. Little would be changed if it were to be done over. Richmond for photography work. Fee: $295 museum members/$335

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 28 nonmembers member/non-BI. General atten- Activities: Fee: WCFH Members $225 / Non- Learn about vellum-its properties, dance fee and activities including Hike to Palisade Formation Members $275 possibilities, quirks and beauty- Ann Swan: $400 members/BI; Palisade Vinery Tour Carol Ann Morley from unrolling a full skin to mount- $445 non-member/non-BI. Unaweep and John Brown October 9 – 11 ing finished art in the mat. Artists Lodging: To get the special room Canyons/Driggs Mansion, Uravan Tonal Drawing Fundamentals will work as a group sharing diffi- rate please make your reservation Ghost Town and Anasazi petro- Fee: WCFH Members $250 / Non- culties, discoveries and accomplish- by October 6, 2010 - number of glyphs Members $300 ments; as individual artist, we’ll rooms is limited. Gateway Canyons Portfolio Review Carolyn Payzant learn to work with confidence to Resort, PH: 1.866.671.4733, Open Studio or Paint Out: November 5 – 19 expand and strengthen their own please identify yourself as part of Wellesley College Friends of Color Curriculum: Palettes That skills. the Denver Botanic Gardens group, Horticulture Work Denver Botanic Gardens Dolores River Rooms $109/night 106 Central Street, Wellesley, Fee: WCFH Members $250 / Non- 909 York Street, Denver, CO 80206 (max. 2 persons), $50 per person MA Members $300 extra charge per day for guests ages Contact: Contact: PH: 720.865.3580, Sarah Roche www.botanicgardens.org 12 and older with more than two www.wellesley.edu/WCFH, guests. [email protected], September 28 – November 16 & Fee: Please check fees per class September 29 – November 17 online. This unique offering is a botani- PH: 781.283.3094 cal artist's retreat treat! Sign up for Carol Govan Foundations of Botanical Classes listed are in addition to a Drawing and Painting regular curriculum of core subjects. a workshop with UK colored pencil October 24 master Ann Swan, for 4 days work- Fee: WCFH Members $225 / Non- Karla Beatty Wow! Botany Is Exciting! ing with autumn specimens, as well Fee: WCFH Members $50 / Non- Members $275 Sept. 13 – Oct. 4 as mini-workshops and open studio Carbon Dust Members $65 September 30 – November 18 opportunities and activities. Or, sign Nancy Horrall Techniques of Botanical Oct. 25 -Nov. 29 up without attending Ann Swan's Wild Berries in the ‘Hood September 30 – November 4 Drawing and Painting class. Each day, you may select Introduction to Bookbinding Fee: WCFH Members $225 / Non- Mervi Hjelmroos-Koski from mini-workshops and open Fee: WCFH Members $225 / Non- Members $275 Sept. 23 studio time at the lodge, field trips Members $275 October 26, November 16 & Botany Spotlight: Composite to the fascinating rock formations Jeanne Kunze Flowers and other landscape of interest, lec- December 7 October 1 – 29 Half-Day Finishing Studios Oct. 12 tures by noted field specialists, Pen & Ink I Botany Spotlight: Conifer Cones portfolio sharing and hikes and Fee for each studio: WCFH Fee: WCFH Members $250 / Non- Members $25 / Non-Members $40 Oct. 22, 29, Nov. 5 walks in the area. A Retreat Dinner Members $300 is shared on Wednesday evening, Harvest of Seeds - Art and the October 16 – November 20 Microscope and Thursday we end t with a Celebration of Art, sharing your Elements of Botanical Renee Jorgensen artwork from the week and an Drawing: Getting It Right Sep. 22 - Oct. 20 evening full of “Discoveries”. Creative Hand Lettering II Mini-Workshops Marjorie Leggitt Marjorie Leggitt Oct. 7 through 9 Architecture of Flowers - Drawing on Tradition: Field Botanical Landscapes, Sketching Sketches with Arthur Lakes Techniques and Materials Oct. 19 – Nov. 23 Susan Rubin Compelling Compositions Layering Fall Colors in Colored Pencil - Susan Rubin Renee Jorgensen Sept. 20 - Oct. 8 Gathering the Canyon Lands - Drawing on Tradition: Up Close Watercolor Pencil/Mixed Media - with Karl Blossfelt Karla Beatty Oct. 6 - Nov. 3. Dry Brush Demonstration and Light on Form Exercises Oct. 7 - 4 Botanical Landscapes, Sketching Drawing on Tradition: High Design Techniques and Materials - and Art Nouveau Libby Kyer Constance Sayas Art at 75 MPH, Capturing Your Oct. 6 - Nov. 3 Subject Quickly and Accurately, - Drawing on Tradition: Margaret Pen & Ink Textures, Find and Mee and the Bromeliads Portray Subtle and Bold Surfaces - Connie Sayas Ann Swan Twigs in Watercolor - November 8- 11, 2010 Lectures: Seedpods and Autumn Leaves Eric Rechel and a Special Botanical Fruits, Seeds and Hormones - Cliff Retreat Judith Reynolds Gateway Canyons, Colorado Dwellings of Mesa Verde - Gateway Contact: PH: 720.865.3653 or Lorraine Yeatts [email protected] l Palisade State Natural Area - Fee: General attendance fee classes Dustin Perkins and activities excluding Ann Swan: Colorado Inventory and Monitoring Imperata brevifolia, pen and ink, ©Deborah Ravin 2009, displayed in the Grand $225 members/BI; $300 non- Network Canyon’s Green Heart exhibition which reopens in December 2010 thru February 2011

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 29 JOIN THROUGH A CHAPTER! Consider joining through your local chapter. When you join through a chapter, you'll receive all the benefits of national mem- bership plus added chapter benefits such as local workshops, exhi- bitions, support, chapter website and other activities. Please note that you will pay both chapter dues (contact the chapter for current rate) and national dues (at a discounted rate.) Contacts are: 1. Rocky Mountain Society of Botanical Artists Contact: Susi Olson, [email protected] 10th ASBA/HSNY 12th ASBA/HSNY (58 pp.) Losing Paradise? 2. Allegheny Highlands Botanical Art Society, Pittsburgh (116 pp) Contact: Sue Wyble, Co-President 3. The Botanical Artists Guild of Southern California Contact: Leslie Walker, [email protected] 4. Great River Chapter (greater Minneapolis region) Contact: Jane Fisher, [email protected] 5. Pacific Northwest Botanical Artists Contact: Marian Gee, [email protected] 6. New England Society of Botanical Artists Contact: Joyce Westner, PH: 781.729.7552, [email protected] 13th ASBA/HSNY Legacy/Phoenix Exhibitions (72 pp.) 7. Southwest Society of Botanical Artists Please copy this form, and mail with your check to: ASBA, Contact: Lynn Reves, [email protected] Catalogs, NYBG, 200th Street and Kazimiroff Boulevard, Bronx NY 8. Florida Society of Botanical Artists 10458-5126. Please allow 4 weeks for handling and delivery. Contact: Susan Benjamin [email protected] Order Form for ASBA Exhibition Catalogs r13th ASBA/HSNY, #____x US $20 = ______rLosing Paradise? Exhibition catalog and essays on endangered Artists’ Circles These Circles provide peer interaction and support for ASBA member plants, #____x US$25 ASBA member rate = ______artists who are not yet interested in chapter formation. If you are r12th ASBA/HSNY, #____x US $20 = ______interested in forming a chapter or Artists' Circle, please contact rLegacy/Phoenix , #____x US $20 = ______Carolyn Payzant, Chapter Liaison at [email protected] r10th ASBA/HSNY, #____x US $20 = ______or at PH: 603.430.9864 Total number ordered: ______Sally Fraser Dori Novak Total amount for catalogs: ______Austin, Texas area Chesapeake Circle of Botanical Artists S&H: US, 1-$7, 2-$10, 3 or more-$15, Non-US $13/catalog PH: 512.447.2284 [email protected] Total S&H: ______Total amount enclosed: [email protected] Connie Ratti Name: ______Ann Hoffenberg Portland, Oregon or Southern Address: ______Mid Atlantic Society of Botanical Artists Washington area Greater New Jersey area City: ______State: _____ PH: 503.620.5141 [email protected] Country: ______ZIP: [email protected] Celeste Johnson Jody Williams Fredericksburg, Richmond, Williamsburg/Charlottesville, VA St. Louis, Missouri, Southern Planning ahead? Here’s the ASBA Meeting and [email protected] Illinois, area. Conference schedule for the next four years. Hope Ann Lesciotto [email protected] to see you soon! The Reed-Turner Botanical Artists Linda Wolfe u2011, Boston, MA, October 27-29 Chicago, IL area Inland Pacific Northwest, Idaho u2012, Chicago, IL [email protected] PH: 208.267.1423 u2013, Pittsburgh, PA with 14th Hunt International Exhibit www.reedturnerbotanicalartists.net [email protected] u2014, Denver, CO for the ASBA 20th Anniversary

The World is Looking at the ASBA Members’ Gallery at Suggestion Box www.AmSocBotArtists.org To have your botanical artwork posted in the ASBA web gallery, sub- If you have an idea that would make the benefits of ASBA mit two 300 dpi .jpg files of your artwork, a 250-words-or-less narra- Membership more rewarding and enrich the experience, please tive-style bio, your web address and other appropriate contact infor- send it to The Suggestion Box. Yours may be the next great mation on CD to: Alice Tangerini, Members’ Gallery Coordinator, idea!Email to: [email protected]. Please put “Suggestion [email protected] for information on where to send your materials. Box” in the subject line. Thank you!

The Botanical Artist Volume 16, Issue 3 - September 2010 Page 30 Membership Application/Renewal Deadlines for Submission of Articles and Information for The Botanical Artist embership in ASBA is open to all individuals and insti- Volume 16, Issue 3 - September: Deadline July 30, 2010 Mtutions worldwide who are interested in botanical art. Volume 16, Issue 4 - December: Deadline November 1, 2010 Annual fees are based on the calendar year, with all mem- Volume 17, Issue 1 - March: Deadline January 28, 2011 bership renewals due in January. Volume 17, Issue 2 -June: Deadline May 2, 2011 Submission Guidelines: Membership benefits include: Articles, calls for entries, exhibition notices and other items of interest 4 issues of The Botanical Artist Journal, which includes to the organization’s members may be submitted for inclusion in The the annual directory volume for networking with members Botanical Artist. All submissions should be sent to the editor, Libby in your area and worldwide Kyer, [email protected]. For all submissions, please  include the words ‘ASBA message’ in your subject line. Eligibility to enter ASBA juried exhibitions and partici- emails without subject lines may not be opened, due to pate in invitational exhibits security risks. Dated entries must be resubmitted each quarter if Eligibility to present your work online at the ASBA web- repeat is desired. To insure that your submissions are accurately rep- site resented in the Journal, please follow these guidelines, or your sub-  mission may not be included: Announcements of your exhibitions, workshops, events or wArticle/feature submissions: Submit via email in .doc or .txt group activities published in The Botanical Artist as space format or as an email inclusion. We cannot accept handwritten or allows. typed submissions. Do not use all caps for any portion of your Eligibility to attend the Annual Meeting and Conference. submission. Authors of original articles must send written permis-  sion for publication as follows: As the author and copyright holder of Eligibility for membership in regional chapters the following written work entitled ______, I grant one-time Eligibility for ASBA awards. reproduction rights for publication in The Botanical Artist. Author You may join ASBA directly or through a local chapter (see must sign and date the release. p. 30). To become a member of ASBA or to or to renew your wASBA Member Exhibitions: In this order, please include: exhi- bition dates, title of exhibition, address, narrative describing event, national membership, please complete the following form ASBA members exhibiting by name, opening information if members and enclose it with your membership fee in an envelope are invited, and contact information. Information not submitted in addressed to: American Society of Botanical Artists, NYBG, this order or with incomplete information will not be published. 200th St & Kazimiroff Blvd, Bronx NY 10458-5126. Do not use all caps for any portion of your submission. Please submit at least one image from the exhibition (see guidelines Please print clearly, Detach and Mail below in ‘Images’). wASBA Member Workshops: In this order, please include dates Name:______of workshop, title of workshop, address, instructor of workshop, fee, Address:______a brief narrative description, and contact information (Minimum: City: ______phone number, email address). Do not use all caps for any por- State/Province: ______tion of your submission. Workshop information not submitted in ZIP/Postal Code ______Country:______this order or with incomplete information will not be published.. Home PH:______wCalls for Entries: In this order, please include dates of exhibi- Work PH: ______tion, title of exhibition, address, introductory paragraph, jurors, eligi- FAX: ______bility, subject, media, image size limitations, submissions (# of slides, email: ______slide labeling, etc.), submission deadline, presentation (Mat, frame, glazing, size limitations), acceptance (type of notification - mail, etc. Website:______- dates), sales information (including commission information), Please print clearly. Your name, address, city, state, country, ZIP/Postal awards available, and contacts. Do not use all caps for any por- Code, phone numbers and internet/website information will be published in the annual members directory unless you check here to decline: tion of your submission. Exhibition information not submitted in this order or with incomplete information will not be published. qPlease do not list me in the directory. wImages: Electronic submissions only. 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The Botanical Artist Volume 16, Issue 3 - September 2010 Page 31 At NYBG 200th St & Kazimiroff Blvd Bronx NY 10458-5126

A BRIEF HISTORY OF steel device used to cut lines in a metal plate. Furrows are cleanly cut out and then filled with the ink before being BOTANICAL ART placed under the high pressure printing press. By Jutta Buck Etching is the art of engraving with acid on metal. The he first florilegia began to appear in the late sixteenth plate, usually of copper, is given a thin coating of acid-resis- T tant resin. The intended design is then scratched with a nee- century. Unlike the herbals, the florilegium contained dle onto the prepared surface of the plate exposing the metal only minimum text or none at all. The emphasis was on the without touching it. When the image is completed, the plate plates which were meant to is submerged in an acid solution that attacks the exposed show the pure beauty and lines. After the lines are bitten to the desired depth, the plate color of each flower, rather is taken out of the acid bath and all resin is removed. The than to inform on its botanical printing process then proceeds as in line-engraving. and medicinal values. As in the One such flori- best herbals preceding them, legium was created the illustrations in the florilegia by Emanuel Sweerts, were very accurately drawn a Dutch floral trader. from nature but each artist His engraved and took great care with the colored Florilegium, arrangement of different speci- first published in mens of flowers and plants, 1612 pictured over often including small animals, 300 bulbs and over birds and insects in their com- 240 flowering plants, positions, covering the space of which he offered for the page. sale with great suc- The appearance of the flori- cess. The Florilegium Aphricanus, c 1612, from legium was accompanied by a was reprinted twice in Emanuel Sweerts Florilegium, an new printing method. The cre- subsequent years, and engraved volume that served as a ators of the florilegia could now Sweerts was credited catalog to Sweerts many bulb and choose between the more flowering plants with helping to start sophisticated techniques of the frenzy over tulips engraving and etching. in mid-century In wood engraving the raised portion of the block is inked Holland. The index as the parts which were cut away remain blank. With the two was printed in Latin, forms of metal engraving it is the sunken parts of the plate Dutch, German and that retain the ink after the surface of the plate has been French, attesting to wiped clean. its international popu- Gladiolus, taken from Sweerts Florilegium of The line-engravers tool is a burin or a graver, a pointed larity. 1612