ASBA Journal 18-2_ASBA Journal - American Society of Botanical

Transcription

JUNE 2012
J
VOLUME 18, ISSUE 2, ISSN 1523‐5165
O U R N A L
O F
T
H E
A
M E R I C A N
S
O C I E T Y
O F
B
O T A N I C A L
A
R T I S T S
Complete Listings and
Registration Materials in
This Issue - Register Early
to Reserve Your Place!
New ASBA Website Debuts
to Rave Reviews
BookEnds Returns with
Review of Charming New
Natural History Volume
Dissection Guide
Highlights Benefits of
Really Getting to
Know Your Plant
Wildflower Watch
Follows ASBA Artist
Echeveria sp., Hens and Chicks, by Dorothy DePaulo
into Colombia’s Wilds
American Society of Botanical Artists
The Botanical Artist © ASBA, ISSN 1523-5165,
published four times a year, is the official
Journal of the American Society of Botanical
Artists, Inc., a non-profit 501(c)(3) organization
dedicated to promoting contemporary botanical
art and to encouraging further development and
appreciation of this continuing artistic tradition.
Annual membership is open to individuals and
institutions worldwide who share an interest in
botanical art. Artwork printed in this publication
has been contributed by our members.
Reproduction for other purposes is forbidden
without written permission of the artist(s).For
membership information, turn to page 31.
Advertising Rates: 1/2 page - $300, full page $600. Back Issues (as available) Back issues as
available - $9 for members and $15 for nonmembers including shipping and handling. Send
check or money order only, payable to ASBA to:
American Society of Botanical Artists at NYBG
Journal Back Issues
2900 Southern Blvd.
Bronx NY 10458-5126
Toll Free PH: 1.866.691.9080
Email Contact: asba@aol.com
The ASBA Board of Directors
Lea Rohrbaugh, President
Derek Norman, Vice President,
Finance Development Co-chair, &
Wildflower Initiative Coordinator
Jean Mikulla, Secretary
Cynthia Rice, Treasurer, &
Finance and Development Co-chair
Bobbi Angell
Mary Bauschelt, ASBA Annual Awards Chair
Marcia DeWitt
Carole M. Ely,
Nominating Committee Chair
Jan Boyd Haring
Wendy Hollender,
Artistic Development Chair
Martha G. Kemp, Membership Chair
Irene Messina
Kathie Miranda
Susan Frei Nathan
Carolyn Payzant
Lynne Railsback, Silent Auction Chair
Sarah Roche, Education Chair
Terry Ruiter, Chapter Liaison &
By-Laws Chair
Myra Sourkes
Isaac Sutton
Alice Tangerini,
Members Gallery Coordinator
Charlotte Staub Thomas
Carol Varian
Catherine Watters
Jody Williams, Public Relations Chair, Website
Committee Chair
Honorary Directors
Diane Bouchier (USA)
Julius Brown (USA)
Jennifer Crompton-Phillips (Australia)
Anne-Marie Evans, FLS (UK)
Pat Kay, DEd (USA)
Kazunori Kurokawa (Japan)
Shirley Sherwood, PhD (UK)
James J. White (Deceased) (USA)
Staff
Executive Director
Robin A. Jess
Director of Exhibitions - Carol Woodin
Administrative Assistant Linda M. Crawford
Annual Meeting & Programs
Coordinator - Marilyn A. Garber
Annual Meeting Registrar - Sandra McNicol
Bookkeeper - Veronica Gallardo
Computer Advisor - Deborah Shaw
Counsel to the Board - Siegmar “Sig” Silber
Journal - Editor/Designer - Libby Kyer
Table of Contents
Notes from the Executive Director..................................................................................................................................................2
No really, that’s how I do it......................................................................................................................................................................3
Message from the President of the Board.......................................................................................................................................4
Backstory, Bios from Your Board..........................................................................................................................................................8
The Science of Botanical Art1 ................................................................................................................................................................9
Botanica Collected.......................................................................................................................................................................................10
Conversations with our Artists ........................................................................................................................................................12
BookEnds.............................................................................................................................................................................................................13
Color Curriculum.......................................................................................................................................................................................14
18th Annual ASBA Meeting and Conference ...........................................................................................................................15
Calls for Entries..........................................................................................................................................................................................24
Happenings.....................................................................................................................................................................................................27
Wildflower Watch.......................................................................................................................................................................................29
Workshops.........................................................................................................................................................................................................30
History of Botanical Art........................................................................................................................................................................32
Editor’s Note: To accommodate the needed listings for our Annual Meeting and Conference, Hang it
UP!, CyberCorner and Studio Style have graciously denoted their space in this issue. Please look for their
return in September’s TBA.
Notes from the Executive Director
Dear Colleagues,
ristotle said “In all things of nature, there is something of the
AI marvelous.”
would like to believe that the vast majority of people are
moved by nature – even if only the most obvious examples – a
stunning sunset, the beauty of a beloved’s face, the majesty
of redwoods. As botanical artists, we tend to find the
marvelous in more modest subjects; but that doesn’t make
them less fascinating.
How many people are charmed by the delicate form of a dried
pod or a simple acorn, or would spend hours painting a
mushroom or lichen? We are truly fortunate to be able to see and appreciate the
marvelous in some of nature’s most obscure specimens. Remember to keep your
eyes open and your pencils ready for the weird and wonderful this summer as
you visit parks, botanical gardens, preserves and even your own backyard!
Review the Call for Entries for Weird, Wild and Wonderful on page 25.
The big news at ASBA is our new website www.asba-art.org! We express our
deep appreciation to Jody Williams, Web Site Task Force Chair and her
Committee: Carole Ely, Wendy Hollender, Pat Jonas, Derek Norman, Cynthia Rice,
Deborah Shaw and Alice Tangerini. Our thanks also go to many others who have
worked on content especially Bobbi Angell and Myra Sourkes. We sincerely thank
the Hunt Institute, who so graciously hosted our website for years, providing the
genial expertise of Frank Reynolds. We look forward to continuing our close
relationship with the Hunt. And finally, we thank the nearly 75 members whose
donations to last year’s Annual Appeal provided the funding to make this
possible. Read more about the website and Jody on page 8.
Now is the time to learn about the Bartram family and their contributions to
botanical knowledge in early 1700s. Akin to Lewis and Clark in their explorations
but focused on plants, John Bartram and his son William documented the flora
of the early American colonies. William became our first botanical artist. Consider
painting or drawing plants from the extensive list the Bartrams identified and
catalogued. You’ll find information in the Calls for Entries: In (Continued on Page 4)
T
he ASBA wishes to thank The New York Botanical Garden for most generously providing us with offices and many related services. We are honored
to share our vision with this revered institution.
Geometric Composition and Painting Acorns
design terms but check always that the observations are
botanically correct.
By Helen Allen
Observation, Recording and Drawing
eometric compositions are an excellent way to display a
I begin with quick skeleton sketches in my sketch book,
variety of similar botanical specimens. I have a collection of
where I am able to explore vertical and horizontal axes, planes
acorns, picked up in
and the general movement of
Richmond Park very close to
the subject. I use my clutch
where I live in Ham, Surrey, on
pencils, beautifully balanced
holiday in France and Central
so they behave well in linear
Park, New York. I initially chose
drawings and also shade
acorns of a similar size in a variety
well. I draw on tracing paper
of stages, fresh and dried.
vellum. It is very forgiving,
Cupules have very different scales
and by stacking layers I
forming patterns and textures,
correct drawing errors as I
and are useful for identification.
go, rather than erasing and
Each peduncle, having a character
making the same mistake
of its own, began to give an extra
again! As a child, I had a
dimension to the page design.
book about the human
Wanting nine “elements” on the
skeleton, with transparent
page, I arranged the acorns in
paper layers overlaid on the
three groups of three. This could
skeleton, showing vital organs,
be a very boring composition, I
circulatory
system
and
know
that
equally
spaced
musculature. I do the same,
elements that all look the “same”
beginning with the skeleton
elements can start with a simple concept - here a 3x3 item grid - which is
require a bit of thought. The Arranging
then pushed stylistically to create more interest as well as more information.
and adding form and detail in
pattern needed to be broken. I
layers. I make notes about
threw in a pair of acorns of the same
details and make magnified
size, almost black, and then a very
drawings to provide explanation
large acorn and a pair of cupules. It
of parts not clearly seen without
was a little bit like playing chess,
a lens.
moving the acorns around until there
My four layers are: first an
was harmony of colour, shape and
accurate
and measured line
form, disunity in size and unusual
drawing of the subject; second,
negative spaces.
one with contour lines to show
The main rule of geometric
volume and movement; the third
composition and randomly placed or
shows detail only and the fourth
scattered compositions is that the
layer combines detail and form.
spaces between the objects should be
The fourth drawing is where I
smaller than the space between the
have fun, using putty rubber and
group of objects and the margins of
tiny chips of plastic eraser,
the page. So, when matting and
adding shading and lifting detail.
framing the piece, I close-mounted the
Working with a constant light
image with a wide double mat similar The four layers used to create a great drawing, with the top layer providing
and detail in pencil. The layers are kept handy throughout the painting
source is key to discovering and
in colour to the paper to tightly form
process, to provide a continuing reference.
rendering core and graduated
enclose the image. The “aperture,”
values for form. By squinting
or format became a special,
my eyes and viewing an acorn,
precious space for my gems.
I see a very light area, a very
Acorns are such beautiful and
dark area and a variety of
interesting little fruits to paint.
tones in between. I see form.
They are the Botanical Diva’s
In very light areas colour is
dream! We can show off so many of
bleached, there is little detail
our painting skills and techniques.
and less contrast. In very dark
Fruits colors vary widely: fresh
areas, colour and detail are
green, very glossy and slightly
absorbed and become indistinct
striped, dark, almost black, shiny
with little contrast. In the
or matte. sitting in richly patterned
forefront I see full local colour,
and textured cupules.
all the detail and a full range
Cupules’ textures vary enormously;
of tones, what I call contrast.
almost suede, crisp and evenly
The illusion of form is
patterned, knobbly and shiny,
further enhanced by including
hard.
Peduncles
are
little
ambient light at specimens’
connectors, often with embryonic
edges. This is shown with
fruits attached or a wisp or curl of
lighter tone at lighter edges,
fibre where the peduncle has
Looking over Helen’s shoulder, with all materials needed close to hand, she begins
and a tone darker than this at
parted company with the tree. Look her painting with soft washes to provide a tint of local color, working wet into wet.
darkest
for the detail and the unusual in Washes needed for form are then laid in slightly dryer.
(Continued on Page 5)
G
TBA ~ VOLUME 18, ISSUE 2 ‐ JUNE 2012 ‐ 3
Letter from the
President of the Board
I
hope you enjoyed this year’s warm
winter and incredibly early spring.
Across the eastern United States, this
quirk of nature brought a profusion of
early-blooming
plants
and
an
unbelievable season for wild flowers.
Plants that normally bloom in May burst
into flower far ahead of schedule. It was
as though nature’s clock had gone
haywire! In my home state of South
Carolina, mayapples ignored their name
and bloomed in mid-March. There were
cascading hillsides of pink lady’s slippers,
along with trout lilies, trilliums and Jack-in-the-pulpits two
months ahead of schedule.
It was a perfect time to paint for pleasure or to select a
specimen for the Bartrams’ Exhibition. It was also an
opportunity to illustrate native plants in all their glory. There
is no end to the bounty and surprises that nature can bring!
On another front, I recently attended a slide presentation on
Losing Paradise given by Carol Woodin, our Director of
Exhibitions*. Her talk was a poignant reminder that many
plants around the world are threatened with decline or
extinction. The presentation was based on the ASBA’s 20092010 Losing Paradise exhibition, for which artists began to
paint as long ago as 2006. At this point in time, one might think
the material would be a little old and dated. But, this was
definitely not the case!
Carol’s talk captivated the audience, and a lively question
and answer session followed. Despite the lapse of time, the
material was as compelling as ever. The message about the
urgency of recognizing endangered plants and educating the
public was just as fresh today as it was two years ago. There
was so much enthusiasm for the topic that I began to wonder
if another round of Losing Paradise should be planned, where
our members could illustrate a new series of endangered
plants. It’s an intriguing idea!
As you probably know, the ASBA is committed in the
immediate future to the Bartrams Exhibition in Philadelphia
(spring 2013), which will be followed by an exhibition of Weird,
Wild and Wonderful” (2014) undertaken with The New York
Botanical Garden. Even so, the opportunity for further
exhibitions centered on endangered plants remains an idea for
the future.
If you haven’t visited our new website (www.asba-art.org),
you have a special treat in store. You will be thrilled and
amazed! It has been six months in the making and this is only
the beginning. We continue development of the site with secure
arrangements for financial transactions, a members-only
section and many other benefits. So, stay tuned and check in
often to catch the latest news and art of fellow members.
Sincerely,
Lea Rohrbaugh
*Carol’s talk was given at A Window on Nature, an exhibition featuring
ASBA member Asuka Hishiki’s artworks, at the Arsenal in Central Park,
New York City.
FROM THE EXECUTIVE DIRECTOR..., CONTINUED
(Continued from Page 2)
the Footsteps of the Bartrams on page 25.
And don’t miss the opportunity to attend the 18th ASBA
Annual Meeting and Conference in Chicago! A fabulous event
is planned for October and the hotel accommodations are very
reasonable and generous. Check it all out beginning on page
15 then visit www.asba-conf.org to register.
I’d like to leave you with a motivational quote from our own
“Aristotle,” former ASBA President and Secretary Carol
Hamilton, “It isn’t a matter of being good enough to paint, it is
a responsibility to paint if you were born an artist.”
Robin A. Jess
Executive Director
The Art of the Cover
Each issue, we ask the cover art creator to answer these
questions: Why did you choose this specimen? What
materials did you use? Do you have a painting or drawing
tip for our members? Here’s what Dorothy DePaulo has to
say:
Echeveria sp., Hen and Chicks, colored pencil
on film, ©Dorothy DePaulo 2011
The ancestors of the Echeveria in my painting
were in the garden when we moved into our
house over 40 years ago! They have survived
droughts and over-watering, good soil and bad,
sun and shade. No matter where or when I
transplant them, these little succulents flourish.
I love the variations of color and patterns that
the “mother hens” and “chicks” make as they
crowd together, and that is the reason that I
chose to paint them. In a big garden, they tend
to get overlooked. So, I chose to render them
larger than life. The 20x16” painting is done in
colored pencil on drafting film.
I love working on film. I use double-sided film
so that I can layer colors on both sides to get
good color intensity and depth. I make my line
drawing on one piece of film, then tape another
piece of film over it, I can fill in color, form and
details without worrying about unwanted
outlines. I generally work on the back of the film
after the front is complete.
If I make a mistake, I can easily erase it by
applying a little (Formula 409) household
cleaner with a brush, then blotting it with a
paper towel. Even large areas can be erased this
way, and the surface is just like new again.
Echeveria sp., Hens and Chicks, colored pencil on ﬁlm, is seen in
4 ‐ TBA ~ VOLUME 18, ISSUE 2 ‐ JUNE 2012
NO REALLY..., CONTINUED
With acorn well placed for observation, Helen begins the color layers needed for form,
local color, and detail.
edges. This provides ‘reflected light’ to soften edges so they
appear natural.
Less is More
With so many exciting features to explore and depict, I find it
easy to be seduced into faithfully recording every tiny detail.
However, in practice I consider why I am painting the specimen
to determine how I will paint. Is it to inform scientifically, to be
a painting of great beauty, or to be a combination of the two?
The picture for this article is decorative, fun and convincing. I
took some liberties and still was scientifically accurate. In this
case, less was more.
Volume and detail can be conveyed in different ways. Lack of
detail tells the viewer very little. Too much detail conflicts with
form and may be confusing. It is possible to give as much
information as required, and respect the viewer’s intellectual
capacity to understand, enjoy and complete the image.
Back to my final drawing. This gives me all the information I
need for painting. I have sometimes made a fifth layer in
colored pencil. This method is useful with a complex
composition when balancing line, form and color.
Painting
I use a variety of hues from a number of manufacturers and
a bundle of sometimes very scruffy brushes, useful for dry
brushing texture. But I do have immaculate brushes with fine
points, miniature and round for washes and detail.
For the fruits I began working wet onto damp paper, creating
form by manipulating paint very gently. I over-washed several
times with a variety of hues; allowing each layer to dry. This
way I was able to control clarity of colour. With the nuts
beginning to look 3-dimensional, I added stripes with a fine
Quercus fruits/acorns, 14x18”Watercolour on Fabriano Artistico Extra White, ©Helen
Allen 2012
brush, and lifted others out. To keep the illusion of form, I did
not add detail to the light areas and it all but disappeared in
the dark and shaded areas.
The cupules were fun to paint but difficult because the
texture catches light in unusual places. My tonal drawing was
my guide and I carefully painted in detail. Shadow was added
to further create volume and I amended my colors to indicate
lack of light. My shadow colors were/are a mix of all hues used
in the painting and also the mess of dirty colors often seen in
the lid of one’s paintbox; mucky and murky and receding .
The finishing touches were unifying and very dilute washes
here and there, adding glow. Cupules were brushed gently with
muted tones to darken and harmonise.
I had fun with this painting, bringing the acorns to life and
remembering that sometimes we have to sacrifice detail for
form to achieve volume.
Passings
Christina Davis, 1942-2012
hristina Davis passed away on May 8, 2012, after a three-year-long battle with ovarian cancer. Chris was one of the
first members of ASBA, serving as its secretary in its early years. Born and raised in Long Island, she graduated
from CW Post College with a Bachelor of Arts degree. A member of the Art Students League of New York, graduate of the
NYBG botanical illustration program, fellow of the Brooklyn Botanic Garden Florilegium Society, and member of the National Association of Women Artists, she was a recent recipient of their prestigious Artists Bell Crammer Award. Her artworks are found in personal and public collections around the world. Recently, Christina Davis Art Works, a Generational
Legacy, was published.
Chris was a talented and enthusiastic artist, producing almost 100 paintings in the last three years. We will miss her
wonderful smile, delicious sense of humor and her great ideas. She was a woman of many gifts who has been taken away
from us much too soon.
C
Jody Williams
J
Public Relations Chair, Website Task Force Chair
ody is the powerhouse behind ASBA’s new website. From
the first discussions of what was needed to dreams of what
could be, Jody has shepherded the new www.asba-art.org
and will continue to do so into Phase II. This is her second year
as a member of the Board of Directors.
Born in Atlanta, Georgia, Jody grew up surrounded by the
cornfields of Illinois. She loved natural history, collecting rocks
and seashells, enjoying identifying what she had found. As a
child, she always took art classes in school. Her marketing
drive appeared at a young age, as she would hang a clothesline
across her front yard and pin her watercolors up to sell them.
After earning a degree in mechanical engineering at
University of Illinois, Jody worked in various industries
including petroleum, aerospace, and aluminum automotive
parts manufacturing. At McDonnell Douglas, she worked on
developing new materials used on spacecraft, aircraft and
missiles. In those fields, Jody learned to evaluate situations,
recognize problems and opportunities, and create a structured
approach to getting results.
After receiving a large watercolor painting of iris for a
wedding gift, Jody took a few watercolor classes. Flowers were
often her choice of subject and always on a white background. She
was asked why she didn’t put any backgrounds in the paintings
and replied that she just felt the flowers didn’t need them.
When her children came along, Jody spent eight years at
home with them. She volunteered with a national committee of
the Society of Automotive Engineers, working with executives
at GM, Caterpillar and others, implementing a comprehensive
project to promote math and science and introduce engineering
design concepts in K-12 grades. This project included
developing curricula, working with schools, teaching teachers
the program and recruiting engineers to partner with teachers.
Working with those executives was an eye-opening experience
for Jody, prompting her to get an MBA. Once her children were
in school, she went back to work for a major corporation that
manufactured performance materials, primarily focusing on
marketing, but touching on fields of accounting, strategy and
ASBA Website — June 2012
By Jody Williams
acking up our bits and bytes, ASBA moved to a new virtual
home, launching its redesigned website April 23rd. Opting
for a shorter domain name, easier to say, that conveys the
nature of the organization and includes the term “ASBA,” our
new online address is www.asba-art.org.
The first week, over 2000 visits, from 39 countries on 6
P
A freeze-frame image from the top portion of our new website Home Page, featuring
artwork by Annie Patterson in this view. Artwork from our members rotates through the
window, creating visual interest.
logistics. She worked on TV commercials, magazine ads and
traveled extensively. When that company was sold and moved
away from her home in St. Louis, Jody decided it was a good
time to go back to an original love – art.
When she became aware of ASBA she was immediately
reminded of those early paintings she did of flowers. Here was
a whole organization of people who didn’t care if her flowers
had no backgrounds! Now, she looks forward to honing her
botanical art skills, which began in a class with Marilyn Garber
at the Missouri Botanical Garden. She says she has completed
every exercise in Katie Lee’s graphite drawing book. She hopes
to develop a group of botanical artists in the St. Louis area.
She is proud of her farm in the St. Francois Mountains, one
of the oldest Precambrian
igneous mountains in North
America, characterized by their
pink granite glades. She and her
husband spend much time and
energy on the land, maintaining
a small vineyard and a large
garden, working on conservation
projects. Her interests in plants
lean toward heirloom vegetables
and old country farm flowers –
peonies,
iris,
hydrangeas,
gladiolas. She is intrigued by
mushrooms and loves to forage
for morels, chanterelles and
black trumpets.
Jody’s service on the ASBA
board has been focused on
Public Relations, including blogs
for ASBA exhibitions, and by
extension, the website. In her
words, she “likes to do significant
work with good people. That’s
Jody Williams, pictured in front of the
what life is all about.” She is ancient mountains she loves
fulfilled by working on a great
project and seeing what has been accomplished. She believes that
there are a lot of great projects to be done at ASBA and she is
excited about being involved in them going forward.
continents, brought views of over 21,000 pages! Check it out. A
visual feast awaits you, loaded with information about our
activities and events, great images, education offerings, and
inspiration for all aficionados of botanical art.
Early member feedback includes: “wow,” “visually stunning,” “Love
it, love it, love it!” “Incredible,” “brilliant,” “an enormous achievement
and a considerable advance for the Society,” and “this may indicate the
very turning point of botanical art in our time to a higher level of
recognition.” We’d like to hear from you!. Go to webmaster@asbaart.org, and tell us what you think.
The launch completes Phase I of our Website project, to make
the site more visually compelling, showcase more members’
artworks, and provide the capability to maintain and update
content ourselves, without the need for programming expertise.
Phase II focuses on increasing interaction with our members,
allowing for online applications and renewals, online
submission of content for both the Journal and website, and
member-managed updates to areas like the Member Gallery &
Teacher Directory. Phase II also incorporates the Annual
Meeting Registration for 2013 into the main ASBA website.
Our thanks to all who contributed
to making the launch a success.
By Dick Rauh
Dissection
D
sWhat is the position of the ovary?
A
t some point you will have recourse to use a hand lens or a
issection, especially if you have
dissecting scope. I keep one next to my drawing table, with
never done it before, can be a
little daunting. You have been no more than 10x magnification. You’ll want a pair of dissecting
looking at flowers for a long time, and needles, a rigid wire sharpened to a point inserted into a
because you have been drawing and handle, available at any scientific equipment company. Have a
painting them you are that far ahead of clean single-edge razor blade handy. These are sold at
those botanists who don’t have your eye. hardware or painting supply stores. Once you have drawn the
I know the temptation to say, “I draw entire blossom, the time for dissection has arrived.
nFirst, holding the flower in one hand, gently remove a
what I see,” makes this process a little more difficult. I want
you to draw what you see, but I also want you to know petal(s), to see what’s inside. Try not to remove all. The
filaments of the stamens may be adnate/attached to the petal.
what to see.
Removing all may take the
A scientist, or botanical juror, is
stamens out.
generally looking for a typical
nIn some blossoms the petals
representation of a particular
are fused into a tube. In this case,
plant. We are dealing with nature,
take the needle; insert it inside the
which is filled with variables. You
corolla, to break open the cylinder
may be faced with a model that is
from bottom to top. Gently spread
anything but typical. Conversely,
the corolla apart, to reveal its
because two species are extremely
secrets. Gently is the key word in
alike, very subtle differences are
all these processes.
extremely
important
for
nPetals are fairly easy to remove,
classification; things that you may
as opposed to sepals that tend to
need a hand lens or a dissecting
be persistent and more difficult. If
scope to see. To know what to
sepals get in the way, try bending
emphasize, to know when you are
them out of your field of vision with
looking at a typical part of the
your needles. Get a clear view of
flower, to know when you are
what’s inside, and check it against
looking at an artifact, or damage
your references to guarantee that
that was caused by bad handling
what you are seeing is typical for
is the goal of dissection.
that flower and family. Now you
Here is what I do. See if it works
can begin to count and measure,
for you.
and find the origins of the
1. Check the written references
various series.
about the species, and thus discover
nNext isolate a single stamen
what is established as the typical Papaver somniferum, Opium Poppy, Sir Arthur Henry Church 1905. Church
and
view it from front and back.
characteristic of the plant.
was known for his amazing dissection images.Church built up layers of paint in
How is the anther attached to the
2. Look at the flower without a a precise manner, to raise the surface of the ovary in a natural sculpted shape.
filament – at the base, like a
lens. Turn it around. Try to find
the point of view that best shows the general shape, and the lollypop/basifixed, or in the middle of the back/dorsifixed?
most information, about the parts. Measure the outer length Look at its particular features. Make notes!
nNow we can get rid of the androecium and view the pistil(s)
and width of the flower, and perhaps the size of various parts.
Draw a rectangle lightly on your paper – tracing paper works in all their glory! Try a section, to discover how the ovary holds
well – and do a rough sketch of the entire flower/inflorescence. its immature seeds/ovules. A cross-section means a cut across
This is known as the habit drawing, and includes the the ovary perpendicular to its axis, a longitudinal section runs
stalk/peduncle/pedicel and some leaves. Write down basic vertically. Checking the results of well-made sections under the
information, things that look interesting, note measurements ‘scope is a very satisfying experience, and perhaps a temptation
and anything that jogs your memory for drawing a final image. to convert these into artwork, like the illustrations of
Maud Purdy.
3. Ask yourself these questions:
Longitudinal sectioning does not have to be confined to the
The inflorescence:
ovary.
Arthur Harry Church created incredibly beautiful floral
sIs the flower solitary, or part of an inflorescence?
images doing vertical sections through entire flowers, which he
sIs the flower regular/actinomorphic or is it irregular/zygomorphic?
used for teaching purposes.
sHow many series? Is the flower complete?
For the most part, the purpose of dissection is to fortify your
sIs the flower perfect/bisexual?
botanical knowledge of a plant so that your paintings are
sAre flowers attached terminally or laterally?
accurate as well as beautiful. Keep this in mind as you throw
sHow many sepals? Are they free or fused?
caution to the wind and rip through your favorite blooms! When
a dissection turns out to be inspirational, as well as useful,
sHow many petals? Are they free or fused?
you may be creating a whole new aspect of botanical art, a
sHow many stamens? Where are they attached?
world of highly enlarged and beautiful details of what makes
The pistil:
flowers tick.
sIs it visible or are any parts of it visible?
Ó
sHow many styles? Stigmas? Carpels?
Influenced by a childhood reference book of insects, plants
and animals, as well as her fascination with the work of 18th
century naturalist and scientific illustrator Maria Sibylla
Merian, Hishiki’s paintings are painstakingly detailed and
exacting – individual hairs are visible on her renderings of lifesized ants. Offering a visually nourishing treat, she faithfully
captures crisp, ripe colors of locally grown vegetables, as well
as the sensuous formations of heirloom tomatoes.
In her fanciful ABTE series, plants grow butterflies instead
of flowers and brilliantly patterned caterpillars sprout
Camellia japonica ‘Chandleri Elegans’, watercolor on vellum, ©Akiko Enokido 2012
September 14 - November 21, 2012
15th Annual International
American Society of Botanical Artists at The Horticultural
Society of New York
148 W. 37th Street, 13th Floor, New York, NY
Artists’ Reception: Friday, Sept. 14, 2012
he jury team of Patricia Jonas, Kathie Miranda, and Derek
Norman chose forty-three works from a field of 192 entries
for this year’s showing of fine botanical art.
Artists from around the US and from Australia, Brazil, Canada,
Japan, and the UK have been included.
Artists whose work will be shown are: Beverly Allen,
Christine Battle, Margaret Best, Dorothy DePaulo, Maria Alice
deRezende, Jean Emmons, Akiko Enokido, Margaret Farr,
Ingrid Finnan, Keiko Fujita, Pamela Geer-Gordon, Monika
deVries Gohlke, Cherie Ann Gossett, Asuka Hishiki, Wendy
Hollender, Rosemarie James, Leah Kaizer, Heeyoung Kim,
Karen Kluglein, Patricia Luppino, Dorothy Gardner McCauley,
Carrie Megan, Regina Gardner Milan, Mary Ann Neilson, Mary
Anne O’Malley, Tomoko Ogawa, George Olson, Hillary Parker,
John Pastoriza-Pinol, Susan Pettee, Betsy Rogers-Knox, Lizzie
Sanders, Judith Simon, Fiona Strickland, Carol Till, Catherine
Watters, Kerri Weller, Andrea Wilson, and Carol Woodin.
A catalog will be published once again this year.
Contact: Carol Woodin; PH: 718.817.8814; email:
exhibitions@asba-art.org
Member Exhibitions
T
April 26 – June 6, 2012
A Window on Nature: Art of Asuka Hishiki
Arsenal Gallery, Central Park, Fifth Avenue at 64th Street, NYC.
his exhibition offers over 35 watercolors illustrating a
poetic and detailed observation of plants and insects;
Asuka’s portraits of vegetables from New York City’s celebrated
Greenmarkets and her imaginative plant-like insects from her
Association of Type B Metamorphosis Entomologists (ATBE) series.
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Brassica oleracea, Giant kohlrabi, 9.5x11.5”, watercolor on paper, ©Asuka Hishiki 2012
mushrooms on their backs. Though a stickler for details, she
also forms personal relationships with her subjects, naming
each of her tomatoes based on their shape (Mr. Big Nose and
Yakuza Brothers) and creating intricate histories for her
whimsical insects. Asuka displays her paintings on stark white
paper that suggest the form of collection boxes with the hope
that others will see as much beauty and invest the time in her
specimens as she does.
Contact: PH: 212.360.8163, or visit www.nyc.gov/parks/art
April 15-May 27, 2012
33rd Virginia Watercolor
Society Juried Exhibition
4205 Victoria Boulevard,
Hampton, VA
otanical artist Linda C.
Miller has been selected for
this exhibition on view at The
Charles H. Taylor Arts Center.
This is the premier juried
competition for watercolor
painters across the state and
was jurored by Dan Smith of
Hickory, NC. He selected 105
paintings in all water media, by
105 artists, chosen from
494 entries by 175 VWS
member artists.
Contact: The Charles H.
Taylor Arts Center;
Punica granatum, “Holding On, 20x29”,
watercolor on paper, ©Linda C. Miller 2011
PH: 757.727.1490
B
Other Exhibitions
April 26 - July 22, 201
Mesquite
7366 N. Paseo del Norte, Tucson, AZ 85704
ohon Chul Park celebrates the mesquite, one of the
Southwest’s most plentiful trees, in an exhibition that
includes fine furniture, functional works, and fine art created
from and about the deep and dense wood of this iconic tree.
The mesquite is an essential element in the desert ecosystem
and an important aspect of the region’s cultural history.
Mesquite Complete
by Joyce Peters is
included in the
exhibition. Joyce
created her work
using only paint
and paper she
made from the
mesquite tree.
“For the making
of mesquite paint,
I collect sap from
the tree in the
spring, and in late
fall I gather gooey,
shiny bark, which
Mesquite Complete, 19x15”, hand-made mesquite resin paint
supplies the resin,”
on hand-made mesquite paper, ©Joyce Peters 2012
explains Peters.
“It requires boiling, straining, and boiling a second time. The
paint is not an easy medium to use because of its granulation.
The paper ingredients include leaves, thin stems and seed pods.”
Contact: Gillian Rice, PH: 602.375.8831, email:
Gillian.Rice@thunderbird.edu
April 28 – December 31, 2012
Focus on Nature XII: Natural History Illustration
Photography Gallery, New York State Museum, Madison
Avenue, Albany NY
eaturing top artists from 15 countries this biennial juried
exhibition has continued to grow over the past 24 years.
ASBA’s Francesca Anderson was the guest juror for FON XII,
because she has been selected to participate most often.
This year’s exhibition features 93 natural history illustrations,
representing the work of 72 illustrators, selected from 503
entries, submitted by 219 artists. Approximately one-third of
the selected artists are new to the entry process. Countries
represented for the first time are Thailand, Germany, and
Switzerland, with other artists from Australia, Brazil, Canada,
Colombia, England, Italy, Japan, The Netherlands, South
Korea, Spain, Portugal, and the USA.
The exhibition’s goals are to demonstrate the important role
illustration has in natural science research and education, to
stimulate curiosity about the world, and to bring clearly into
focus images of nature that people might not otherwise be able
to visualize.
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“Natural history illustration is a field that requires keeping
pace with changing technology, and knowledge, and Focus on
Nature has evolved to reflect these changes” said Patricia
Kernan, scientific illustrator at the Museum and exhibition
organizer. “This year’s exhibition includes both digital and
traditional illustrations. Whatever technique is used, the aim
is for accuracy and clarity to communicate the result of natural
history investigations.” ASBA members whose work was
selected are: Bobbi Angell, Karen Coleman, Monika de
Vries Gohlke (Jury Award), Asuka Hishiki (Jury Award),
Jee-yeon Koo, Elayne Leighton, Dianne McElwain,
Sharron O’Neil, Dick Rauh, Betsy Rogers-Knox, Susan
Rubin, Anita Walsmit, Jeannetta Van Raalte, Esmee Winkel
(Jury Award), Carol Woodin
Contact: www.nysm.nysed.gov/fon/.
M
Botanical Art Branches Out
argaret Farr has been doing Madonna paintings
“on the side” for 20 years or so. She tells us it
definitely branched out from botanicals, and,
in fact, always completes the plant life in the painting before turning to the figure. She finds that plants are her
“security blanket.” Once she’s spent a hundred hours of
working on the botanicals, she won’t dare mess up the
“harder part!”
Botanical icons stand in a long continuum in the combination of botanical and religious painting. Every Flemish “Annunciation” paid homage to the least little weed in
the scene. The plants portrayed in her own works frequently are seasonal cues to Mary’s feast days. For instance, Regina Caeli Laetare(in a private collection),
refers to the Feast of the Annunciation on March 25, so
all of the plants are ones that appear in Northern Virginia in very early spring.
Margaret was excited to see this new
feature that focuses on
unique settings for
botanical art, and
hopes we see a connection, as she does,
with botanicals
through the ages. She
is happy to bring her
secret passion “out of
the closet” and bring
botanical subjects to a
wider audience.
Regina Caeli Laetare, watercolor
and gilt on paper, © Margaret
Farr 2011
Amorphophallus titanum
with Sarcophogid sp.,
Corpse Flower with Flesh
Fly, colored pencil on ﬁlm
over map of area where
species are found
©Susan Rubin 2011
a limited edition prints. When Manabu was first starting out,
he took evening classes at The NYBG to learn basic botany. He
later taught here, and continues to teach when his schedule
allows at the Tucson Botanical Gardens.
Born in Tokyo, Manabu developed a deep interest in nature,
reflective of traditional Japanese interests in the harmony of
man and nature. After World War II, Manabu came to the US in
1953, studying industrial design at the Pratt Institute,
Brooklyn. After graduation, he joined the staff of Raymond
Loewy Associates, where he designed award winning
Nature Promotes Me and I Promote Her
showrooms for Nikon and Sony, developed exhibits for Expo
By Stephen Sinon
67 in Montreal and Expo 69 in Osaka, illustrated a film for the
he New York Botanical Garden’s LuEsther T. Mertz
United Nations and designed a
Library is known for the size
helicopter interior for President
and scope of its holdings,
John F. Kennedy.
dating from the twelfth century to
He became much sought after for
the present. The Art and Illustration
book
illustration, and his work
Collection comprise numerous
appeared on stamps for The
collections of original art, largely
National Wildlife Federation and The
botanical. It is a valuable and useful
United States Post Office.
resource in the study of botanical
Like many botanical artists,
illustration, an invaluable teaching
Manabu created a garden of his own
tool for students in the Gardens’
and filled his home with more
botanical illustration classes and an
houseplants. Well might one wonder
outstanding source of materials to
how such a successful designer
enhance the Library’s ongoing
could turn his attentions solely to
exhibitions program.
botanical art? Manabu attributes the
This collection currently contains
profound change to a rainy weekend
over 24,000 original works in pencil and
in the Hamptons when he began to
pen and ink drawings, watercolors, oil
draw and paint flowers. Manabu
paintings,
woodcuts,
lithographs,
states, “The flowers in the garden
engravings, photography and sculpture.
communicated to me in ways things
It represents the broad range of
like toasters never had.” His
illustrative techniques employed in
botanical illustrations were first
depicting natural history subjects
published in an eight-page spread in
and includes examples of the
Audubon Magazine in July 1973,
works of many well known
and, like his subjects, his career has
botanical illustrators.
blossomed ever since.
In addition, the collection contains
anabu always works from life to
artworks which were created to
get
the coloring and texture of
illustrate the Garden’s scientific
the flower on the spot. His advice for
publications, and continues to grow
botanical artists is to paint all you
as scientists donate original Magnolia grandiflora, Magnolia, 19.5x24”, watercolor on paper,
can – everyday, always from life.
illustrations
used
in
their ©Manabu Saito 1976
Painting around the globe in Costa
publications, and artists donate
Rica, Surinam, Bangladesh, Trinidad
their works to the collection knowing
and South Africa, his largest commission
they will be housed in climate controlled
was illustrating 1,600 flowers appearing
storage and made available for study and
in 1984’s Wildflowers of North America
exhibition for future generations to enjoy.
which took some ten years to complete.
There is one collection which deserves
Manabu has exhibited his work at The New
to be much better known. This article
York Botanical Garden, The Brooklyn Botanic
celebrates the most recent donation to
Garden, The Horticultural Society of New York,
the Mertz Library, the work of Manabu
The
Hunt
Institute
for
Botanical
Saito. Having taught in the Botanical Art
Documentation, Arizona-Sonora Desert
Certificate Program, he recently moved to
Museum, The Tucson Botanical Garden
Arizona to enjoy the benefits of the
and New York State Museum in addition
climate and paint the region’s flora. The
to many galleries across the country. His
Library was given 220 pieces of his
artworks are in the collection of Dr.
artwork with the promise of more to
Shirley Sherwood and are published in
come. The gift ranges from original
her volume A Passion for Plants:
illustrations, submitted for publication,
Contemporary Botanical Masterworks.
to pieces painted in situ in the Costa
Rican rain forest and Sonora Desert.
Manabu’s preferred medium is watercolor
and he paints as often as he can for
Manabu’s work joins that of wellseveral hours each day in his studio and
known botanical artist, also found in the
outdoors in his garden or wherever his
collection, Anne Ophelia Dowden, which
travels may lead. One time he painted
holds some 600 of her research
some mushrooms in the mist by lying on
paintings. They first met chosen by the
a shower curtain while a friend held an
Frame House Gallery in Louisville, KY in
the early 1970’s as part of a select group
umbrella over him. Manabu has had the
of contemporary natural history artists,
honor of painting an endangered flower
whose work was offered by the gallery in Wild plantain, 32x26”, watercolor on paper, ©Manabu Saito 2007 in Arizona, being led to its protected
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10‐ TBA ~ VOLUME 18, ISSUE 2 ‐ JUNE 2012
applied so that each petal and leaf have depth and brilliance
all their own.
After his first trip to Arizona in 1967, Manabu has harbored
a dream of building a garden of native cacti and succulents. It
is this group of plants that he is currently painting.
Red Rose Mallow, watercolor on paper, ©Manabu Saito 2002
habitat by a team of rangers who watched over him as he
labored in the soaring temperatures to capture the fragile
beauty of the plant in bloom. Often while painting in the wild
he finds his lap becomes his studio.
All of Manibu’s works are signed with a red insignia which
he identifies as a salamander, his good luck symbol. Working
in the Oriental manner with his paper laid flat and his brush
held vertically, his paintings can take up to two weeks to
complete. He says, “I always look at the color of the flower first,
then the shape and then the habitat.” Layers of watercolor are
Maidenhair Fern, original is watercolor on paper, Manabu Saito, limited edition
print ©The Frame House Gallery, Inc. 1977
Errata
In Volume 18-1, corrections are:
nIn the article Indigenous Botanicals of Arizona, the correct
information is: Best in Wet Medium was awarded to Gillian
Rice for her watercolor portrayal of Echinocereus coccineus
or Claret Cup Cactus (pictured right). The image caption for
this painting should read: Best in Wet Medium,
Echinocereus coccineus, Claret Cup Cactus, watercolor on
paper, ©Gillian Rice 2010.
nIn the same article, the photo of the artwork that received Best in Show, by Margaret
Pope, was strangely cropped by the printer. The complete image is pictured at left: Best
in Show, Peniocereus greggii, Queen of the Night, More Than a Beautiful Flower, colored
pencil on paper, ©Margaret Pope 2011.
nThe Silent Auction Thank You, page 15, neglected to include: Beverly Behrens, Carolyn
Payzant, Suellen Perold, and Louisa Rawle Tiné. Their contributions are greatly
appreciated and I apologize for this oversight. Lynne Railsback, Silent Auction Board
Chair.
nThe caption for the image Lilium bulbs, on page 16, listed artist Leigh Ann Gale’s name
as “Gill.”
TBA apologizes for these errors.
A conversation with Nancy Savage
By Joyce Westner
Not far from where Henry David Thoreau wrote about wild
fruits while walking through fields, meadows and woods,
Nancy Savage seeks and finds those same plants as subjects
for her botanical art.
“Every time I sit down with a new leaf I think, ‘How am I going
to do this?’”
How did you get into botanical art? I stumbled across it when
I read a newspaper article about classes at Wellesley College’s
greenhouse. It said if you like drawing and plants, you should
try it. So I tried it in 2004, I’ve been doing it ever since, and
after eight years I’m about to graduate from the Wellesley
College Friends of Horticulture Certificate Program. I took 40
classes, more than required, and will continue to take classes.
Are you an artist or a plant person at heart? An artist –
although in 2004 art was all new for me. I took botany in
college, it was my favorite class, and I love the outdoors, the
beauty and the miracle of plants.
Where do you get your subjects? I walk in the woods or I go
to the New England Wildflower Society’s Garden in the Woods.
Mostly I like things in their natural setting, plants native to New
England or anywhere – I painted native cactus on vellum in a
class in Arizona. My certificate project was based on Thoreau’s
“Wild Fruits” manuscript and I did ten paintings including fox
grape, jack-in-the-pulpit, even yew, which has a red berry-like
aril, mentioned by Thoreau in his journal as the fruit of the
yew. The Thoreau Institute owns Thoreau’s sister Sophia’s
herbarium, where I can draw from her specimens.
What’s your favorite medium? Watercolor (but I love graphite
too), the translucency of the color – it shines and has a lot of
light. I love how it moves on the paper and lets me create so
many different values.
© Arisaema triphyllum, Jack-in-the-Pulpit, 11x14”, watercolor and pen and ink on
paper, 2011
Do you enter juried shows? The Concord Art Association has
accepted my paintings of Thoreau’s fruits for a two-person
show in October of 2013. I’m just beginning to enter juried
shows, but it’s wonderful to be part of the New England Society
of Botanical Artists [Nancy is its president] where all of our
members can exhibit.
When do you paint? Mid-day when the light is good.
Where do you paint? Right near my living room window – I’ve
turned the living room into my studio. I don’t even put away my
materials anymore, I just show people what I’m working on.
Do you teach, and if so what special aspect of botanical art? No.
What technique are you still trying to master? Leaves!
[Nancy laughs.] All those bumps and veins. I have tons of room
for improvement and my biggest challenges now are
composition and dry brush.
What one thing do you do that would surprise other artists?
I have a Degas quote I rely on. I read it whenever I paint. “Drawing is
not what you see but what you must make others see.” I’m trying to
tell the plant’s story – it reminds me what my goal is.
A conversation with Kathleen Garness
By Joyce Westner
Kathleen’s schedule made for a tricky conversation as she
was either at work, taking down one of her exhibits, helping
at an orchid show, monitoring native plants, teaching an art
class, or – when the time seemed right to talk – celebrating
her birthday! I was exhausted!
“I’ve been fascinated with plants since I was three and saw a
little yellow oxalis pushing up through a crack in the sidewalk.
It’s a metaphor for the artistic struggle.”
How did you get into botanical art? Orchids have fascinated
me for many years and it was a short step from collecting them
to painting them. But when I realized the threats to our native
orchids’ habitats I had a focus for a consistent body of work.
After 11 years in the Chicago Botanic Gardens “Plants of
Concern” rare plant monitoring program I became a volunteer
nature preserve steward, which gave me some great material
as inspiration! Right now I am working on a series of all the
native orchids of Illinois.
Are you an artist or a plant person at heart? Do I really have
to choose?? I don’t see a dichotomy between those. We love
plants, so we paint them! Goethe observed, “You really do not
see a plant until you draw it.” The art and science of botanical
illustration meld when we deeply observe and patiently,
accurately, even lovingly, draw the tiniest details, for truth’s
sake. In my early 20s I lived near the Palette and Chisel
Academy of Fine Arts, knocked on their door and a little whitehaired man invited me to observe his class. I eventually became
their second woman president.
Where do you get your subjects? I feel blessed to have two
tropical greenhouse retailers in our area: Orchids by
Hausermann and Oak Hill Gardens (which specializes in
unusual species), as well as permits to visit many nature
preserves. I have been taught how to walk carefully in pristine
sites, and I take lots of photos, work from herbarium
specimens at the Field Museum, Morton Arboretum and the
Chicago Botanic Garden, and make detailed sketches in my
notebooks, especially for color. I try to paint as much in the
field as I possibly can.
What is your favorite medium? Watercolor, by far. It’s so
versatile! What is interesting is how often people will comment
on my work done on colored grounds, even more than my
traditional botanicals. When I saw the amazing paintings by
Albert R. Valentien at Chicago’s Field Museum, I was surprised
by how his work just popped off the page and was so freshlooking! I’ve also been doing a lot of digital black and white
images of regional plants to be used for field botany training.
Do you enter juried shows? Yes, my Yellow Lady’s Slipper was
accepted into ASBA’s Losing Paradise?, and other pieces have
been in many non-ASBA exhibits over the years. But the
primary focus of my work is natural areas education, as well
as documenting our native threatened and endangered species
By Robin A. Jess
Spring Wildflowers of the Northeast
A Natural History
By Carol Gracie
Princeton University Press, 2012
272 pp. full color.
o not mistake this new natural history book for a
field guide. This is a book filled with floragraphies
– stories of a select group of 30 spring wildflowers
that spoke to author/photographer Carol Gracie. Each
chapter is based on a particular wildflower and weaves
together natural history, botany, ecology, history and
culture in a very readable text that is lavishly
accompanied by Carol’s photographs. It’s a pretty book
as well, from the velvety black cover to the colorcoordinated text panels, and the clean, crisply
designed pages.
Carol has tried to avoid overly scientific jargon, but the
technical terms are there when necessary. The blend
should appeal to a wide audience.
For instance, in the chapter on Dutchman’s Breeches,
there is a photo of ants carrying small, fatty elaiosomes
(food bodies) back to their nests, which at the same time
accomplishes the Dicentra’s goal of dispersing the black
seeds that are attached to the elaiosomes. Technical and
fascinating. The detail is very satisfying. We see a photo
of a Trillium flower being visited by a bee – and we’re
informed that it’s a native andrenid bee. It makes a
difference to our understanding.
The extensive section on violets shows quite a range of
images, from close-ups of many hybrids, plants in situ,
and examples from Virginia to French Guiana to
Venezuela. There is a photo of a cleistogamous flower
and one of crystallized violets decorating a cupcake. We
are told of the ancient Greek myth of how the violet came
to exist, Napoleon’s association with violets as well as
that Rhinebeck, New York was once known as the Violet
Capital of the World.
It is this richness and combination of elements,
enhanced by photographs that are a treat to the eye that
make this a very special, enjoyable and informative book.
D
Paphiopedilum venustum, painted life size, about two months ago ©Kathleen
Garness 2012
so that people will know they are worth the ongoing
investment in their habitat.
When do you paint? In addition to my stewardship and
family responsibilities, I work full time [Kathleen started a
Montessori preschool when her son was 3], so mostly after
dinner a couple of nights a week. I have orchids on my
windowsills crying out for their portraits to be done, but there
never seems to be a convenient time. Having a show to paint
for gives me a push in the right direction! I’m recovering right
now from hanging two large concurrent solo exhibits, plus
finishing up three new orchid paintings for our Illinois Orchid
Society’s 60th Anniversary Gala show.
Where do you paint? In my dining room at a small drawing
board. My setup is very simple.
Do you teach, and if so, what special aspect of botanical
art? This year Suzanne Wegener at Morton Arboretum asked
me to teach a botanical book arts class. I’ve been quite
involved for several years with making my own hand-crafted
books and recently produced a limited-edition volume of
paintings of Illinois’ trilliums, with poems by Illinois Natural
History Survey writer Susan L. Post. I’m also working with
the Volo Bog Youth Art Guild this year, teaching them
botanical drawing.
What technique are you still trying to master? Watercolor.
Refining and deepening my understanding of color, of glazes,
being spontaneous and accurate at the same time.
What one thing do you do that would surprise other
artists? I’m given coordinates so I can visit rare and
endangered plants using my GPS. I follow the protocol to
cover myself in bug spray and then I go out and count the
plants, identify any threats to them or their habitat: plants
like the prairie white-fringed orchid, stemless pink lady’s
slipper or the grass pink orchid. I am asked to speak on our
findings. I’m no expert on native orchids but the experts call
me for information!
Cobalt Blue
By Carolyn Payzant
I
n March, I attended a symposium co-sponsored by
University of Warwick, Victoria & Albert Museum, University
of Istanbul and the Peabody Essex Museum entitled A
Material World: The Art and Culture of Global Connections.
This symposium is relevant because of their discussion of the
history and use of one of the most expensive pigments in the
world – cobalt blue.
Cobalt blue is a cool blue used extensively by the Chinese
when painting their lovely blue and white porcelain. What I
found most interesting, is finding out that the Chinese had no
native source for cobalt blue. Therefore, as early as the 9th
century, they purchased the
pigment from the Persians.
This
impure
pigment
traveled from Persia as raw
material, the Chinese applied
it to their blue and white
porcelain, shipping finished
products back to Persia –
hence the very early blue tiles
famous in the Middle East.
By the 17th century Chinese
porcelain was being exported
to
western
European
countries. In the 18th and
This plate beautifully demonstrates the power of
cobalt blue; c.1540-1550 Iznik dish in saz and
19th centuries, the Swedes
rosette style–British Museum. Photographed by
and French, not to be
Marshall Colman. en.wikipedia.org/wiki/File:Iznik_dish
outdone by the Chinese,
devised a chemical compound resembling cobalt. Their
compound contained arsenic and sulfur!
The points made at the symposium were several but most
outstanding are: global trade is ongoing. There has always been
international trade, each country has its own superior
character and each tries to position not to be dependent on the
other. We can understand this concept when we purchase
pigments of different brands from different countries. Today,
major deposits of cobalt can be found in Canada, Congo, New
Grants Available
to Members
By Lee McCaffree
D
o you have an idea for a project? An exhibit, a
brochure or an opportunity for teaching? Great or
small? Local or distant? ASBA members can get
assistance from an ASBA Artist and Education Grants. You
may already be involved with a project that could benefit
from additional funding.
These grants are intended to benefit you, your target
community and ASBA. ASBA helps fund members’ worthy
projects, while they promote the name of ASBA and
expand the reach of contemporary botanical art. These
projects help ASBA fulfill our mission.
ASBA offers up to four grants annually, depending on
funds available and qualifications of applicants.
Caledonia, and in smaller amounts, Idaho.
My choice of PB28 cobalt blue (watercolor) is made by M.
Graham (US). I am sure that many of you use other brands
such as Daniel Smith (US) similar to M. Graham but more
textural, Daler-Rowney (UK) a steely hue, Sennelier (FR),
Maimeri (IT), Schminke (GR), Holbein (JP), or last but never
least Winsor & Newton (UK) the most muted (Comments are
from observations of my samples). I found M. Graham less
powdery, lightfast, and semitransparent; therefore, for my
palette, a perfect middle blue pigment. It has a large drying
shift, losing most of its luminosity. It is still one of the most
beautiful versatile pigments: one cannot make as many
multifaceted greens, violets or neutrals without it.
Neutrals with Cobalt Blue
lMix with one of its complimentary colors, PO62 Permanent
Orange (DS), and create hues of burnt sienna, raw umber, and
fawn grey.
lMix with PO73 Pyrrol Orange (DS) and create hues from a
slightly browner Venetian red to perylene maroon to
perylene violet.
lMix with PR176 Carmine (DS) and create a black with
definite Carmine overtones.
Green with Cobalt Blue
lMix with PY3 Hansa Yellow Light (DS) and reach for early
spring and summer greens.
lMix with PY97 Hansa Yellow Medium (DS) and the green
starts as acid hues but quickly turns to shades of handsome blue
hosta leaves.
lMix with PY65 Hansa Yellow Deep (DS) to create a richer hue
of green gold all the way to a very saturated olive green and on to
a molten gray.
lMix with PY151 + PO62 Gamboges (MG) and gather in
natural shades of green.
Violets with Cobalt Blue
lMix with PR209 Quinacridone Red (MG) and the violets
are pinker.
lMix with PR179 Carmine (DS) and the violets are velvety and
more mysterious.
lMix with PV19 Quinacridone Violet and create a gray/black
with a smoky violet bias.
lMix PV15 Mineral Violet (Holbein) and create a hue that
hovers between violet/brown/blue – really mysterious.
lMix PV37 Dioxazine Purple (MG) and see pansies and iris
leap off your page.
Lastly, please remember that all cobalt pigments are poisonous
when ingested, so handle with care.
Grants available are:
$3,000 Julius I. Brown Award
$3,000 Anne Ophelia Dowden Award
$1,000 General Awards (up to two)
The process of applying for a grant is simple – read the
guidelines, complete the application (What is your
project?) and the budget form (What will it cost and what
is needed?). Send it with examples of your artwork to the
committee for review.
Find all guidelines and forms online at www.asbaart.org/about-asba/grants.If you have questions about your
project or how to apply for a grant, please contact someone
on the Artist and Education Grant Committee, chaired by
Lee McCaffree (Lncmccaffree@comcast.net) or call the
ASBA office and speak with Robin Jess. We can help you
focus your project to complete the application.
Deadline is August 1, 2012.
Welcome to Chic Chicago - Art, Science
and All That Jazz! Register Now!
“prairie style,”you won’t want to miss Frank Lloyd Wright’s Home
and Studio in Oak Park. See his famed architecture and some of
Wright’s original pencil drawings of midwestern wildflowers. All
this, and you can still take a tour of a precious original prairie
es, it’s time to sign up and select your workshops, tours and preserve at Somme Prairie Grove, just minutes away from CBG.
Remember, many activities are included in your
lectures at the 2012 ASBA Chicago Conference hosted by the
registration/hotel fees. Breakfast and box lunches are provided
Reed-Turner Artists’ Circle.
This year, in an action-packed week, ASBA is the beneficiary of each day of the conference and the hotel has given us free in-room
a collaboration with the Chicago Botanic Garden (CBG) in internet access. Thursday’s lovely lakeside General Membership
presenting most of the conference activities. ASBA will be using Meeting and Luncheon, Saturday’s Silent Auction and Grand
the facilities and grounds of one of America’s most distinguished Finale Awards Banquet and two receptions, the Small Works
Exhibition will be displayed at the CBG
and beautiful botanic gardens. Take
October 10-19th and will be celebrated
advantage of this unique opportunity to be at
Thursday night with at a reception and
the axis of art connecting science to people!
awards ceremony.
The Conference officially kicks-off on
ow! Now, for the best likelihood of
Wednesday evening October 17th with a
getting into your first choice selections,
gracious welcome reception in the Greenery atop
go to www.asba-conf.org and register for
the comfortable and friendly Renaissance
Chic Chicago – Art, Science and All That
Hotel, only a stone’s throw from the
Jazz! Make your selections and register
Gardens.
ASAP to avoid disappointment.
Come early for pre-conference workshops
Register online at www.asba-conf.org.
with Karen Kluglein or Alexander Viazmensky
You’ll know right away if you are in the class
and Dr. Gregory M. Mueller, or stay after the
you desperately want! If it’s full, put yourself
conference for a three-day workshop with Main Gate to Chicago Botanic Garden
on the waiting list. That instant gratification
Australia’s Beverly Allen. If you teach
botanical art, stay for the Sunday Educator’s Forum lead by Sarah of knowing you got into the workshop is a great benefit to online
registration. Make it work for you!
Roche.
Register by mail: be sure to make a first and second selection
Each day you’ll be whisked away by a shuttle bus to the CBG.
There, an incredible array of classes, workshop, lectures and for each time slot, i.e.:if your first choice on Friday is a full day
presentations await you. For those who wish to get out and about, workshop, check that in the first choice column. If your second
a variety of tours are scheduled. Visit the Morton Arboretum to see choice on Friday is two half-day workshops - a morning and an
afternoon offering - check both of them as your second choice. Do
their highly distinguished collection of original botanical art.
If the Arts and Crafts movement fascinates you, choose the tour the same for all days. See the box below for all the details!
of Ragdale and Crab Tree Farm. And if you are a devotee of the
Y
W
Registration and Conference Policies
Health emergency and/or death in the immediate family: Refunds
will be same as above with the difference that if on or after October 13, a
This is the only time the registration materials for the 18th ASBA Annual
health emergency occurs to the registrant prohibiting their attendance, or a
Meeting and Conference will appear in the Journal. Please note these
death in their immediate family occurs on or after October 13, 50% of all
Important Deadlines and Policies.
fees will be refunded to the registrant.
If any discrepancies exist between policies that appear in the Journal and
ASBA reserves the right to cancel any workshop that does not meet a
in the online Conference Registration Website (www.asba-conf.org) , the
minimum registration and to replace an instructor in the event that an
policies online will take precedence.
instructor
is unable to fulfill their obligation to teach.
1. Current ASBA membership is required for registration.
6. Marriott Renaissance Chicago North Shore Hotel reservations: See
2. The ASBA Annual Meeting and Conference is a three-day event. Partial
the information on page 18 for details. Cancellation of hotel reservations
registration is not available. Preference is given to conference registrants for
is the responsibility of the registrant.
pre- and post-conference workshops and activities.
You must ask for the American Society of Botanical Artists Annual
3. Registration Fees: Registration fee on or before August 1, 2012, Save
Meeting & Conference block to receive the Conference rate. The ASBA block
$30, online or postmarked:
room rate is good if booked by September 18, 2012. After that, the discount
$360 for current members
rate will no longer be available. If you stay somewhere other than this hotel,
$445(US) and $460(non-US) for non-members joining ASBA at the same time
ASBA is not responsible for your hotel arrangements nor transportation
Registration fee after August 1, 2012 online or postmarked:
from your hotel.
$390 for current members
Two Ways to Register for the Annual Meeting:
$475(US) and $490(non-US) non-members joining at same time
1. Via website online: Register and pay with credit card (MC/Visa) at
4. Registration Deadline: Registration is closed as of September 18,
www.asba-conf.org. Nearly 100% of registrants used the registration
2012. No registrations are accepted after this date.
website last year.
5. Refund and Cancellation Policy:
2. By Mail: Clip, copy or download the registration form. Complete form
General registration fees will be refunded less a $75 cancellation fee
and mail along with your check (payable to ASBA) to: ASBA 18th Annual
to those canceling on or before August 15, 2012. General registration fees
Meeting, NYBG, 2900 Southern Blvd., Bronx, NY 10458-5126.
will be refunded less a $150 cancellation fee to those canceling between
First-come, first-served policy: Online registration/postmark date are
August 16 and September 17, 2012. No refunds of general registration fee
equal in terms of getting into workshops for the first week of registration.
will be given for cancellations received on or after September 18, 2012.
After that, online registration takes precedence. As always, register as soon
Workshop fees may be refunded if your space is filled. Refunds 60 days or
as you decide to attend. That is the best way to get what you want.
more after the initial registration online will be subject to an additional
Confirmation: Sent via email only to those registering online. and by US
cancellation fee of $25.
Postal Service to those registering by mail.
Pre- and Post-Conference Workshop fees will be refunded less $200
Questions: Regarding selection of classes, email ASBAConfCoord@aol.com
if cancelled on or before September 1, 2012. Cancellations on or after
or regarding a change in your registration, email: ASBAMeeting@aol.com
September 2 will not be refunded unless your space is filled. If your space
From
top:
Al
fresco
dining
at
the
Renaissance
Hotel;the
theASBA
tour trolly
at at 1.866.691.9080.
is filled, you will be refunded 50% of your fee.
or contact
office
Morton Arboretum; entrance to the Chicago Botanical Gardens
Pre- And Post- Conference Activities
October 16 & 17, 2012
9 AM-4 PM Workshop
The Art & Science of Mushrooms–
Alexander Viazmensky, Dr. Gregory T. Mueller
Hunting mushrooms is a national pastime in Russia. For
Alexander Viazmensky mushrooms are the main subject of
his botanical art. However his technique can be used for
vegetables, fruits and other botanical subjects as well. The
artistic part of the class will start with the general
demonstration of Alexander’s techniques for the whole
group. During the class Alexander will do many
demonstrations and work individually with everyone.
Greg has long been fascinated by mushrooms: their colors
and forms, where and when they fruit, their critical role in the
environment, and how humans relate to them are topics that
he has explored for nearly 30 years. He will help the class learn
the key diagnostic characters to note when illustrating and
identifying mushrooms and where and when to find
mushrooms. Limit 15, Fee $300
October 16 & 17, 2012
9 AM–4 PM Workshop
Creating Translucent Roses in Watercolor- Karen Kluglein
A rose is not always just a rose. In this class we will learn how
to create translucent rose petals using watercolor. We will
experiment with light and a variety of colored blossoms using
a delicate touch to create some botanical magic.
Includes $10 materials. Limit 15, Fee: $310
October 21, 2012
9 AM–3 PM
Educator’s Forum Renaissance Hotel
Join Sarah Roche along with your fellow botanical art teachers
in an exciting day of programs that include speakers Helen
Allen, Susan T. Fisher, Tania Marien, Deborah Shaw and Dr.
Ruth Starratt. Take the opportunity to share ideas, make new
contacts and friends in this event designed just for
teachers.See complete info on Page 18. Limit 60, Fee: $60
October 21, 22, 23
9 AM–4 PM
Workshop: An Insight into my Watercolor Technique–
Beverly Allen
Known for her dramatic, large, yet exquisitely detailed
paintings, Beverly Allen comes from Australia to share the
elements that make her work so successful. Take advantage of
this rare opportunity to learn how drawing techniques, light
and shade, composition and perspective all contribute to
beautiful botanical art. Techniques from initial washes through
dry brush finishing will be demonstrated and individual
instruction given. Beverly will guide the class through mixing
and layering of color (primarily using a six-color palette),
translating color into tone and developing a composition to
create a painting that is both accurate botanically and
aesthetically compelling Limit 15, Fee: $450
Conference Activities
Wednesday, October 17
8 AM-4 PM: Board of Directors Meeting, Renaissance Hotel
8 AM-8 PM: Small Works Exhibition: Chicago’s Top Twelve,
Chicago Botanic Garden
2-5:30 PM: Registration, Renaissance Hotel
5:30-7:30 PM: Welcome Reception, Renaissance Hotel, wine
and hors d’oeuvres
The Reed-Turner Artists’ Circle is anxious to welcome everyone
to the ASBA Chicago Conference for a little art, science and all
that jazz with classes and lectures featuring how art connects
science to people. Please join us in the Greenery Room. It’s
location on the top floor provides expansive views looking east
toward the Chicago Botanic Garden and south toward the
beautiful Chicago Skyline. Meet the friends you only see once
a year and make plans to socialize with them during the ASBA
2012 Chicago Conference.
7-9 PM: Committee Meetings, Renaissance Hotel
7-9 PM: Chapter and Artists’ Circle Meeting, Renaissance
Hotel: The president or representative of each Chapter and
Circle are invited to join Terry Ruiter, Chapter and Artist’s
Circle Liaison, and Martha Kemp, ASBA Membership chair,
for an informal exchange of information about the activities of
their groups.
Thursday, October 18
6:30-8 AM: Breakfast, Renaissance Hotel
7 AM-8 PM: Bus shuttle between Renaissance Hotel and
8 AM-8 PM: Small Works Exhibition: Chicago’s Top Twelve,
8AM-4 PM: Registration, Renaissance Hotel
8:30-11 AM: Portfolio Sharing
Display your portfolio or view those of other ASBA artists–share ideas
and camaraderie. On a first-come basis, artists who sign up to display
their work will be given table space as space permits. Open to all,
beginners to advanced. You must register to share your portfolio (see
check off box on registration form). Limit 32
10-11:30 AM: The Botanical Art Market: Tips for a Career
as a Botanical Artist, Susan Frei Nathan and Kate Nessler
How does the Botanical Artist achieve success in this field?
Susan and Kate will offer tips, suggestions and ideas from the
viewpoint of the Dealer and the Artist. Together we will work
to understand what you need to think about and do to further
your career. Limit 100.
10-11 AM: The Highgrove Florilegium, Leora Siegel
The Highgrove Florilegium, commissioned by His Royal
Highness, The Prince of Wales, was published in 2008 as an
official chronicle of the plants growing in his garden at
Highgrove. In this two-volume set, leading botanical artists depict
plants of this sustainable garden. With each illustration signed by
the artist, and only 175 numbered sets created, enjoy the
opportunity to examine this magnificent work up close. Limit 15.
10:45-11:30 AM: Chicago Botanic Garden Tram Tour
See the Chicago Botanic Garden and learn all the facts on a
35-minute narrated Grand Tram Tour around the perimeter
of the Garden. Enjoy spectacular overviews of all areas of the
385-acres with 24 display gardens and four natural areas, uniquely
situated on nine islands surrounded by lakes. Limit 75, Fee: $5
11:30 AM-1PM: General Membership Meeting and
Luncheon
Welcome from Sophia Siskel, President and CEO of the CBG
1:15-4:15 PM: Techniques Showcase on Stage
Moderator Marilyn Garber
Four artists demonstrate and discuss on stage with close-ups
of their techniques projected onto a large screen. 1:15 PM: Pen
& Ink Techniques, Francesca Anderson, Derek Norman; 2:15 PM:
Watercolor Techniques, Beverly Allen; 3:15 PM: Watercolor and Gold
Leaf on Vellum, Carol Jean Rogalski. Limit 100.
1:15-4:15 PM: Gouache on Dark Backgrounds, Suzanne Wegener
Gouache is a flexible, opaque water-based medium which has
been used in botanical art for centuries. It works well on both
light and dark backgrounds. Learn how to work with under
painting and drybrush to create a mini-painting on a dark
ground. In the interest of time backgrounds will be prepared
for you. All supplies will be provided. Includes $20 materials.
Limit 15, Fee: $70
1:15-4:15 PM: Wild Cucumbers in Graphite, Bruce Wilson
The Wild Cucumber is a climbing vine with long twisting
tendrils and the oval fruit is covered with distinctive soft
spines. It makes a perfect subject for graphite. In this class you
will hone your skills in creating form, desiccated textures, and
spines. Limit 15, Fee: $50
1:15-4:15 PM: Five Things A Botanical Art Teacher Won’t
Tell You About Color, Susan T. Fisher
Spend three hours de-mystifying color. Get the lowdown on
what works and what doesn’t. Bring your favorite colors and
find out how to use them effectively. Try some easy exercises
that will give you color confidence. Get in the mix, explore your
options and have fun. You can do this. Beginners are welcome.
Limit 15, Fee: $50
2-3:30 PM: Dixon Prairie Tour, David Sollenburger
Take an autumn walk in Dixon Prairie, a 15-acre re-creation
of six distinct prairie ecosystems that contain more than 300
plant species. Limit 20.
2-4 PM: Importance of Scanning your Artwork, Tricia
Peterson, Carol Woodin
What is resolution? What does it matter? RGB, CMYK, grey
scale or duotone? What’s the difference and why do I need to
know? The digital translation of your original work can
determine the success of your prints, giclees, publications or
website. Good scans appear crisp, accurate in color, and
indicate that you are a professional. Using examples of scans
submitted to ASBA exhibitions, you’ll learn to make a scan
that’s “in spec” an give the best possible representation of your
work for a juror’s consideration. Limit 15.
4:30-5:30 PM: Beyond Accuracy–Creating Art, Panel
Discussion, Kate Nessler, Robin Jess, Carol Woodin,
moderated by Marilyn Garber
Botanical artists straddle two worlds - one of accuracy in
portraying plants and the other of creating art. How can we
combine these two without sacrificing one for the other? This
illustrated discussion considers the concept of moving beyond
mere accurate images into art. Work by many artists will be
shown and there will be time for audience questions. Limit
200.
5:30-7:30 PM: Small Works Exhibition Reception &
Awards, Complimentary Wine and Hors d’oeuvres
Celebrate this exhibition and your work with artists and
guests. Artist’s Choice Award which your vote will decide, and
the ASBA Anne Marie Carney Award for an artist in a nonjuried exhibition who has not been accepted in an ASBA Juried
Exhibition, will be presented. (To submit a work to this
exhibition, please see the Call for Entries section.)
7-8 PM: Buses depart from Chicago Botanic Garden to
Renaissance Hotel
Friday, Octob
6:30-8 AM: Breakfast, Renaissa
8 AM-6 PM: Bus shuttle bet
8 AM-8 PM: Small Works Exhib
8 AM-1 PM: Bus Trip to Arts &
Crab Tree Farms
Visit two iconic symbols of the
on Chicago’s North Shore, each
heritage. Ragdale remains a cr
artists retreat, and the storybo
Mr. & Mrs. John H. Bryan Arts
Fee: $75
8 AM-5 PM: Bus Trip to Morto
The Morton Arboretum tour in
Library Tours. Box Lunch inclu
Davidson Special Collection of
you will see a historical overvie
Barbara Deitzch, G. Ehret, and
Sterling Morton Library– Rita
Morton Arboretum Tram Tour
Herbarium Tour–Dr. Andrew H
Limit 45, Fee: $75
9 AM-12 PM: Designing Produ
Artwork Using Photoshop, We
Hotel
Using Photoshop and a high re
students will get an overview of
cards, fabric patches, silk sc
prints, business cards, adding
and adding borders. Student
skills. Please bring your lapto
scans of your artwork in the c
recommended) Limit 15, Fee: $
9 AM-4 PM: Drawing on Black
Rhonda Nass, Renaissance Ho
With a precision pencil point an
which reduces colored pencil w
accompanying wax), we will cre
black (or very dark colored) p
AND be thrilled with a final pr
Limit 15, Fee: $140
9 AM-4 PM: Textures in Water
Renaissance Hotel
Learn how to paint effective
watercolor. Beginning with ex
several small studies of differe
shiny to fuzzy and hairy. St
masking fluid and will learn to mi
in creating texture. Includes $5 m
9 AM-4 PM: Painting Vegetabl
Bumps, Asuka Hishiki
Asuka Hishiki will share her inc
to create masterworks out
masking fluid, you will learn ho
vegetables–turning seemingly
unique signature of your subjec
15, Fee: $140
9 AM-4 PM: A Marriage of Art
Catherine Watters
The harmony of an artistic c
accuracy of a subject make a su
will learn the key elements
examining several masterful co
your own using a variety of plan
9 AM-4 PM: Colored Pencil Ch
It seems like magic, but it’s r
variety of colored pencil media
key methods for creating visual
exacting detail, and special e
exciting exercises and demos. L
9 AM-4 PM: Painting Dried Fall S
Gastinger
Observe and paint architectur
other fall specimens with contro
a palette of sepia tones you will
form and texture while crea
painting. Limit 15, Fee: $135
9 AM-4 PM: Gourds in Waterc
Gourds, often associated with t
colors, covered with bumps,
consider how the application of s
to the solid body of the gourd th
small but beautifully painted ima
12-2:30 PM: Vellum Sales
Renaissance Hotel
1-4 PM: Prairie Sedges and Grass
Dried native Midwest grasses
ber 19, 2012
ance Hotel
tween Renaissance Hotel and
bition, Chicago Botanic Garden
& Crafts Tour - Ragdale and
e Arts & Crafts tradition found
with a rich artistic and cultural
reative center as a writers and
ok Crab Tree Farm houses the
s & Crafts collection. Limit 30,
on Arboretum Tour
ncludes Tram, Herbarium, and
uded. At the Suzette Morton
the Sterling Morton Library
ew of Botanical Art including
d more.
a Hassert, Arlene Widrivitch
and Lecture–Ed Hedborn
Hipp
ucts from Your Botanical
endy Hollender, Renaissance
esolution scan of their artwork,
creating products such as note
carves, wrapping paper, giclee
g text, removing backgrounds
ts must have basic computer
op with Photoshop along with
computer. (Not mandatory, but
$50
k with Colored Pencil,
otel
nd a custom application stroke
wax (and non-archival “sheen”
eate detail and color drama on
paper. Luxuriate in the process
roduct. Includes $5 materials.
rcolor, Denise Walser-Kolar,
e and realistic texture using
xercises in observation paint
ent textures - from smooth and
tudents will experiment with
ix very dark shadow colors to use
materials. Limit 15, Fee: $140
es with Beautiful Scars and
credible award-winning abilities
of mundane subjects. Using
ow to build the key elements of
unappealing scars into the
ct. Includes $5 materials. Limit
& Science in Watercolor,
omposition and the scientific
uccessful botanical painting. You
to create this harmony by
ompositions and then designing
nt materials. Limit 15, Fee: $135
hemistry, Libby Kyer
really chemistry! Work with a
(oil, wax, pastel) to experience
, physical and chemical mixing,
effects. Grow your skills with
Limit 15, Fee: $135
Specimens in Sepia, Lara
rally exquisite nuts, pods, and
ol and attention to detail. Using
l focus on accurately rendering
ating a lovely monochromatic
olor, Helen Allen
the Fall, are gleaming with rich
ridges and patterns. We shall
surface texture works in relation
hrough quick tonal drawings to a
age. Limit 15, Fee: $135
s, Jesse Meyer, Pergamena,
ses in Watercolor, Ann Tompkins
and sedges can be simple or
complex whose beauty is often overlooked. Learn to appreciate
their intricate design through careful study. From your sketches
a small watercolor painting will be created with emphasis on high,
value contrast to enhance detail. Limit 15, Fee: $50
1-4 PM: Five Things A Botanical Art Teacher Won’t Tell
You About Color, Susan T. Fisher, Renaissance Hotel
Spend three hours de-mystifying color. Get the lowdown on
what works and what doesn’t. Bring your favorite colors and
find out how to use them effectively. Try some easy exercises
that will give you color confidence. Get in the mix, explore your
options and have fun. You can do this. Beginners are welcome.
Limit 15, Fee: $50
2-3 PM: 17th and 18th Century Black and White Drawings
and Engravings, Leora Siegel
Examine a selection of black and white engravings from the
rare book collection of the Lenhardt Library of the Chicago
Botanic Garden. From scientifically accurate botanical
illustrations to vast landscape scenes, take advantage of this
unique opportunity to view volumes of exceptional works of
art published prior to 1900. Limit 15.
4-6 PM: Vellum Sales, Jesse Meyer, Pergamena, Renaissance Hotel
5-6:15 PM: Grant Recipient Awards, Renaissance Hotel
Join the 2011 ASBA Artist and Education Grant recipients as
they present their exciting projects. Each artist will give a
presentation about how they used their skills to help others
learn about nature, botanical art and themselves. Share in
their enthusiasm and get inspired to apply for a grant yourself.
Moderator: Lee McCaffree. Limit 100.
6:30-7:30 PM: Wildflower Forum, Paleobotany: Past,
Present & Future, Dr. Patrick Herendeen,
Light Refreshments and Cash Bar, Renaissance Hotel
For most of us “paleobotany” is one of those subjects about
which we know all too little. Yet it is key to unlocking so many
of the mysteries of the plant world. And it’s fundamental to the
study of green plant development and evolution. But that’s only
half of it - Dr. Pat Herendeen will offer the full fascinating story.
Limit 150.
Saturday, October 20, 2012
6:30-8 AM: Small Works exhibitors pick up your art work at
the Renaissance Hotel
8 AM-1 PM: Bus Trip to Frank Lloyd Wright Home and
Studio, Oak Park
Wright’s Prairie style of architecture found its earliest
expression here in his own home and studio. Familiarize
yourself with the early Frank Lloyd Wright. Enjoy a rare
opportunity to view some of his original pencil drawings and
photographs of native wildflowers. Limit 30: Fee $75
9 AM-10:30 AM: Wildflower Forum, Rare & Endangered
Plants, Dr. Jeremie Fant
Dr. Fant will discuss the subject of Rare & Endangered Species
- ethics, philosophy, research, loss of habitat, global warming
- and research that is being conducted on this subject by the
Chicago Botanic Garden. Limit 100.
9 AM-12 PM: Juror Training, Carol Woodin
A review of the topics needed to serve as a juror in ASBA
exhibitions, including ASBA policies and procedures for jurors
and criteria used in scoring artwork. Participants will divide
into teams and jury a small exhibition. Limit 15.
9 AM-4 PM: Back to the Basics: Pencil Drawing, Heeyoung Kim
Have you ever considered the mechanics of how you use your
pencil –how fast you move it, how much it weighs, how long it
is? RHS gold medalist Heeyoung will provide a fresh look at pencil
drawing techniques. Reassess and rediscover the beauty of pencil –
remember the basics make the difference! Limit 15, Fee: $135
9 AM-4 PM: The Botany of Botanical Art–Flowers, Mary Bauschelt
Scientific accuracy in your artistic depiction of plants is a very
important part of botanical art. Learn by dissecting, observing
and drawing flower parts using microscopes. In this botany
class you will study flowers and inflorescences. Includes $15
dissecting kit and materials. Limit 15, Fee: $150
9 AM-4 PM: Drawing in Carbon Dust, Marlene Hill Donnelly
Carbon Dust is a wonderful medium for expressing volume, strength
and depth as well as fine detail. In this workshop we’ll combine several
forms of carbon dust applied with different brushes and enhanced
with graphite pencils, to achieve maximum impact for the subject.
Includes $8 materials. Limit 15 Fee: $143
9 AM-4 PM: Vellum in Seven Hours, Kate Nessler,
Renaissance Hotel
Learn about vellum by composing and painting dried fall
specimens on the warm and expressive Honey Vellum. Learn
new techniques, expand skills and gain a strong foundation for
exploring the beauty of painting on this remarkable surface.
Includes $47 for vellum. Limit 15, Fee: $182
9 AM-4 PM: Get it Right from the Start, Shapes &
Foreshortening, Lee McCaffree, Renaissance Hotel
Your masterpiece-get it right from the start by using basic
shapes to understand and draw plants -simple or complex.
The class will include pencil exercises drawing plant materials
using shapes. By adapting these shapes to foreshortening, the
resulting three dimensionality will make your work come to
life. Includes $6 materials. Limit 15, Fee: $141
9 AM-4 PM: Orchids in Watercolor or Graphite, Kathy Creger
Orchids are one of the oldest plant families on earth yet they are
constantly evolving. Orchids also have some of the most complex
and diverse forms to entice their pollinators. We will explore the
morphology of these unique flowers in watercolor or graphite to
better understand them. Includes $8 materials. Limit 15, Fee: $143
9 AM-4 PM: Botanical Scientific Illustration, Alice Tangerini
Learn the methods of producing a quality illustration for
publication in a botanical journal using pressed plants similar
to specimens found in herbaria. Accompanying printed digital
images and, if available, living material will provide additional
reference. Techniques using traceable surfaces with ink and
pen and brush media will be demonstrated. Includes $11
materials. Limit 15, Fee: $146
9 AM-4 PM: Open your Eyes to Nature, Hillary Parker
Through keen observation and unique drawing techniques,
students gain the ability to absorb and assimilate both general
and specific information in nature with scientific accuracy. By
integrating these valuable skills in their approach to observation,
students are freed from the crutch of always needing the subject in
front of them in order to know it thoroughly. Intermediate drawing
skills recommended. Limit 15, Fee: $135
9 AM-4 PM: Colored Pencil on Mylar, Kathie Miranda,
Renaissance Hotel
Mylar offers endless possibilities for experimentation. Due to
its translucency, colored pencil work has a special brilliance, depth
and luminosity unattainable on other surfaces. Explore how to adapt
your usual working methods to achieve a variety of stunning effects.
The exciting thing about working with Mylar is…there are no rules!
Includes $6 materials. Limit 15, Fee: $141
10:30 AM-12 PM: Wildflower Forum, Science Center Tour,
Dr. Gregory T. Mueller
Greg will give a behind the scene tour of the new Daniel F. and Ada L.
Rice Plant Conservation Science Center. It houses sophisticated
laboratories for research and training in a wide array of plant science
disciplines. Visit one of the largest green roofs in the region, into the
Dixon National Tall Grass Prairie Seed Lab and Vault, and through the
conservation genetics lab (think CSI for plants). In addition to being a
center for research, conservation efforts, and training, the Rice Science
Center is a terrific example of how a building can blend beauty and
functionality with sustainability. It has been awarded Gold LEED status
by the U.S. Green Building Council. Limit 25.
11 AM-12 PM: The Temple of Flora, Leora Siegel
Thirty-one botanical and allegorical illustrations comprise
Robert John Thornton’s exquisite Florilegium: the Temple of
Flora. They were published between 1799–1812 in aquatint and
mezzotint plates created by premier artists and engravers of the
time, and accompanied by flowing poetic verse. Enjoy the
opportunity to study this special volume in person. Limit 15.
11 AM-4 PM: Vellum Sales, Jesse Meyer, Pergamena,
Renaissance Hotel
1-3:30 PM: Bus Trip to Tall Grass Prairie, Somme Prairie,
Stephen Packard
Little remains of the unbroken prairie encountered by the early
settlers of the Midwest. Join Stephen Packard, founding
Director of the Chicago area programs of the National Audubon
Society (Audubon Chicago Region) for a tour of the Tall Grass
Somme Prairie and see a remnant of this iconic landscape. Bus
departs from Renaissance Hotel. Limit 35, Fee: $15
2-4 PM: Exhibiting at the UK Royal Horticultural Society,
Victoria Matthews, Helen Allen
The Royal Horticultural Society Botanical Art Show is held annually in
London, UK. Victoria Matthews and Helen Allen will guide you through
the history of the shows and the process of application for exhibitors.
Tips on going for gold at these prestigious shows will dispel some of
the myths and anxieties potential exhibitors anticipate. Limit 100
5-7 PM: Silent Auction, Hors d’oeuvres and Cash Bar,
Renaissance Hotel
Have fun bidding on great items, like original artwork, art
supplies, note cards and more, to support ASBA’s Artist and
Education Grants and The Botanical Artist. New this year: Buy a
chance to win an outstanding piece of art for a fraction of its value.
7:15-8 PM: Silent Auction Purchasing, pay for the bids you
have won, before dining.
8-9:30 PM: ASBA’s Annual Awards Banquet, Renaissance Hotel
Enjoy a relaxing dinner with friends new and old as we
honor members’ achievements at the Grand Finale of ASBA’s
conference activities.
Lodging
Sunday, October 21
Educators’ Forum
Moderated by Sarah Roche
9 AM–3 PM, Renaissance Hotel
t this year’s expanded Educators’ Forum, you will find an
exciting program of speakers and round table discussions
which are a must for any Botanical Art Educator! Take the
opportunity to share ideas, make new contacts and friends in this
event designed just for teachers.
Presenters:
Helen Allen, Course Director of the Diploma Course in Botanical
Illustration and Painting at the English Gardening School
Susan T. Fisher, former Director of the Art Institute at the
Arizona-Sonora Desert Museum and the former program
coordinator of the Certificate Program in Botanical Art and
Illustration at Denver Botanic Gardens
Tania Marien, Founder of ArtPlantae
Deborah Shaw, Principal of db Shaw Studios, an award-winning
design firm
Dr. Ruth Starratt, Professor of Art Education at Boston
University
Sarah Roche, Education Chair of the ASBA, Education Director
for the Wellesley College Botanical Garden’s Certificate in
Botanical Art and Illustration program
Schedule:
9–9:10 PM: Welcome and Introductions, Sarah Roche, ASBA
Education Committee Chair
9:10–9:40 PM: Interdisciplinary Connections - Integrating
Botanical Art in the Classroom, Dr. Ruth Starratt
Dr. Starratt’s joy in “teaching teachers” will shine as she explains
how students, through the lens of botanical art, can be challenged
to apply seemingly unrelated information from other disciplines
in interesting and engaging ways. In this time of declining arts
opportunities in schools, it is important to realize that engaging
students in the arts has positive influence on self-concept and
academic success. Throughout history the arts have provided
aesthetic records of social, economic and environmental trends.
Dr. Starratt will give insight into innovative ways artful principles
and behavior can be linked to properties of science, mathematics
and sociology.
9:40–10:40 PM: Round Table Breakouts: Based on questions
raised in Dr. Starratt’s presentation, round table brainstorming
sessions will be led by: Dr. Faith Clover, Jeanne Debons, Marcia
DeWitt, Patricia Schmidt, Donna Torres, and Dr. Mary Jane
Zander.
10:40–11:45 PM: Round Table Reports: Each round table group
leader will share ideas developed in their discussions.
11:45–12:30 PM: Box Lunches Served
12:30–1 PM: Making Connections, Tania Marien of ArtPlantae
An introduction to reaching out to new audiences using the
Internet: the pros, the cons and the hazards. Tania’s
comprehensive website has wide appeal and presents a wealth of
knowledge on a broad range of botanical art topics.
1–1:30 PM: Technology in the Classroom, Deb Shaw
The omnipresence of technology in the digital age has changed
the classroom, the way we teach and the way our students learn.
Deb will provide an overview of available technology, its benefits
and pitfalls, plus a reference hand-out and a list of fun apps.
1:30–2 PM: English Botanical Art Programs, Helen Allen
Botanical art programs in England are varied in style and content
and thus every aspiring student will find a program that is right
for them. Helen will share her views on how we can best serve the
art, the science and the student.
2–2:30 PM: North American Botanical Art Programs, Susan T. Fisher
Botanical art programs in the US: How our approach to learning
is affected by the digital age, the traditions that preceded us, and
a combination of science and art courses that varies across
institutions.
2:30–3 PM: Questions, complete Ed Forum evaluation forms, and
Wrap-Up of activities.
Forum participation Limit 60, Fee: $60, includes box lunch.
Sign up for the Educator’s Forum online or in the
registration form included in this Journal.
A
C
onveniently located near the Chicago Botanic Garden, this
Marriott hotel makes our stay very affordable by its great
room rate, which includes hot breakfast each day at no
extra charge and free in-room internet.
Marriott’s Renaissance Chicago North Shore Hotel
933 Skokie Boulevard
Northbrook, IL 60062
nRoom rates: $109/night plus applicable taxes. This ASBA
block rate will be available through September 22. After that
rooms will be offered at the prevailing rate.
For reservations and conference rate:
n In all cases use the group code: ab2ab2a
n Call: The Renaissance toll free number: 1.800.468.3571
n Book on line: Marriott.com web page, select Northbrook
as the location, then select the Renaissance Chicago North
Shore, check availability by typing in the required dates,
select the group code option, enter the code.
n Email: nbatiz@renaissancechicagons.com.
Norma Batiz: Conference Service Manager
Conference Roommate Coordinator: Elisabeth de Boor:
edeboor@aol.com
Transportation
The main airport for this region is Chicago O’Hare
American Taxi - www.americantaxi.com
303 Taxi - www.303taxi.com/index.aspx
Entry Fees
The Chicago Botanic Garden & The Morton Arboretum: If you
drive yourself to the Garden or Arboretum, rather than take
provided transportation, you will pay their entry fee, unless you
are a member of a botanic garden with reciprocal agreements. Visit:
www.ahs.org/events/reciprocal/index.html for a listing of all
participating gardens.
Registration Form ASBA 18th Annual Meeting & Conference 2012
Member Name:__________________________________________________________________qI teach botanical art qThis is my first ASBA conference
Address:______________________________________________________City:________________________________________State:_____Zip: ______________
Ph: ____________________________________________________ E-mail:__________________________________________________________________________
Day/Time
Activity
Pre- and Post- Conference Activities
October 16 & 17
9 AM-4 PM Workshop: The Art & Science of Mushrooms–Viazmensky, Mueller
October 16 & 17
9 AM–4 PM Workshop: Creating Translucent Rose Petals in Watercolor, K. Kluglein $10 Materials
October 21
9 AM–3 PM Educators’ Forum, Renaissance Hotel (includes box lunch)
October 21, 22, 23
9 AM–4 PM Workshop: An Insight into my Watercolor Technique–B. Allen
Limit
Fee
1st
2nd
Choice Choice
15
$300
15
$310
60
$60
15
$450
200
$0
32
100
15
75
100
15
15
15
20
25
200
$0
$0
$0
$5
$0
$70
$50
$50
$0
$0
$0
30
45
15
15
15
15
15
15
15
15
15
15
15
100
150
$75
$75
$50
$140
$140
$140
$135
$135
$135
$135
$50
$50
$0
$0
$0
35
100
15
15
15
15
15
15
15
15
15
15
25
15
35
100
$75
$0
$0
$135
$150
$143
$182
$141
$143
$146
$135
$141
$0
$0
$15
$0
Amount
5:30-7:30 PM: Welcome Reception, Renaissance Hotel (RH)
qMust check here to display a portfolio
10-11:30 AM: The Botanical Art Market: Tips for a Career–Frei Nathan, Nessler
10-11 AM: The Highgrove Florilegium–Leora Siegel
1:15-4:15 PM: Techniques Showcase–Anderson, Norman, B. Allen, Rogalski
1:15-4:15 PM: Gouache on Dark Backgrounds–Wegener
1:15-4:15 PM: Wild Cucumbers in Graphite–Wilson
1:15-4:15 PM: 5 Things A Botanical Art Teacher Won’t Tell You About Color–Fisher
2-3:30 PM: Dixon Prairie Tour–Sollenburger
2-4 PM: Importance of Scanning Your Artwork–Peterson, Woodin
4:30-5:30 PM: Beyond Accuracy–Creating Art–Nessler, Jess, Woodin
Friday, October 19
8 AM-1 PM: Arts & Crafts Trip–Ragdale and Crab Tree Farms
8 AM-5 PM: Morton Arboretum Trip
9 AM-12 PM: Designing Botanical Products Using Photoshop–Hollender (RH)
9 AM-4 PM: Drawing on Black with Colored Pencil–Nas (RH)
9 AM-4 PM: Textures in Watercolor–Walser Kolar (RH)
9 AM-4 PM: Painting Vegetables–Hishiki
9 AM-4 PM: A Marriage of Art & Science (Watercolor)–Watters
9 AM-4 PM: Colored Pencil Chemistry–Kyer
9 AM-4 PM: Painting Dried Fall Specimens in Sepia–Gastinger
9 AM-4 PM: Gourds in Watercolor–H. Allen
1-4 PM: Prairie Sedges and Grasses in Watercolor–Tompkins
1-4 PM: 5 Things A Botanical Art Teacher Won’t Tell You About Color–Fisher (RH)
2-3 PM: 17th and 18th Century Black and White Drawings and Engravings–Siegel
5-6:15 PM: Grant Recipient Awards, Renaissance Hotel–McCaffree
6:30-7:30 PM: Wildflower Forum, Paleobotany for Today–Herendeen (RH)
Saturday, October 20
8 AM-1 PM: Frank Lloyd Wright Home and Studio Trip
9 AM-10:30 AM: Wildflower Forum, Rare & Endangered Plants–Fant
9 AM-12 PM: Juror Training–Woodin
9 AM-4 PM: Back to the Basics: Pencil Drawing–Kim
9 AM-4PM: The Botany of Botanical Art–Flowers–Bauschelt
9 AM-4 PM: Drawing in Carbon Dust–Donnelly
9 AM-4 PM: Vellum in Seven–Nessler (RH)
9 AM-4 PM: Get it Right, Shapes & Foreshortening–McCaffree (RH)
9 AM-4 PM: Orchids in Watercolor or Graphite–Creger
9 AM-4 PM: Botanical Scientific Illustration–Tangerini
9 AM-4 PM: Open your Eyes to Nature–Parker
9 AM-4 PM: Colored Pencil on Mylar–Miranda (RH)
10:30 AM-12 PM: Wildflower Forum, Science Center Tour–Mueller
11 AM-12 PM: The Temple of Flora–Siegel
1-3:30 PM: Bus Trip to Tall Grass Prairie, Somme Prairie–Packard
2-4 PM: Exhibiting at the UK Royal Horticultural Society–V. Matthews, H. Allen
(PLEASE
TOTAL AND ADD AMOUNT INTO TOTAL REGISTRATION FEE AT BOTTOM OF NEXT PAGE)
WORKSHOPS TOTAL:
Your Menu Selections—Costs Included in Your Registration
Wednesday
qI will attend the Welcome Reception
Thursday
qI will attend the General Meeting & Luncheon
Select One: qHerb Crusted Chicken Breast with organic wild rice, baby vegetable ragout, brandy thyme jus, caesar salad, dessert
qRoasted Vegetable and Fresh Mozzarella Tian, couscous, red pepper coulis, dessert
qI will attend the Small Works Reception, complimentary wine and refreshments
Friday
Select One: qReserve a box lunch for workshops at the Chicago Botanic Garden -OR- qReserve a box lunch for the Morton Arboretum trip
Select One: qGrilled Portobello Mushroom with red pepper hummus on sun dried tomato foccacia
qGrilled Flank Steak with horseradish mayo, red onion confit, watercress on Tuscan roll
qLemon Tarragon Chicken Salad, lettuce and tomato on sourdough ciabatta
qReserve a box lunch for the Arts & Crafts Trip -OR- qReserve a box lunch for a class at the Renaissance Hotel
Select One: qTurkey Club Sandwich with pesto mayo, tomato, bacon, swiss cheese on sourdough bread
qAmerican Wrap with ham, American cheese, bibb lettuce, tomato, ranch dressing, spinach tortilla wrap
qRoast Beef with Boursin cheese spread, tomato, bacon, lettuce, horseradish, foccacia bread
qGarlic Tuna Salad, olive oil, tomato, lettuce on whole wheat roll
qI will attend the Wildflower Forum at the Renaissance Hotel, light refreshments, cash bar
Saturday
qReserve a box lunch at the Chicago Botanic Garden.
Select One: qBrie, cucumber, radish and baby spinach, croissant with rosemary aioli
qHerbed Roasted Turkey Breast, swiss, lettuce, tomato & Dijonaisse on herbed foccacia
qBeef and Bleu Cheese Wrap
OR
Select One: If you are attending the qFrank Lloyd Wright Home and Studio Trip -OR-for a class at the Renaissance Hotel .
Select One: qTurkey Club Sandwich with pesto mayo, tomato, baton, swiss cheese on sourdough bread
qRoast Beef Boursin with Boursin cheese spread, tomato, bacon, lettuce, horseradish, foccacia bread
qI will attend the Silent Auction and Annual Banquet. Includes fresh garden greens salad, vegetable and cheesecake.
Select One: qChicken Cilantro Infusion, marinated grilled chicken, sundried tomato Cilantro Infusion
qBaked Tilapia with lemon pepper, julienne leeks, garnished with lemon wedge
qEggplant Parmesan, lightly breaded eggplant, marinara sauce, mozzarella cheese
Sunday — Educator’s Forum
qReserve a box lunch for the Educators’ Forum
Guest Registration Form
If you are bringing a guest, please complete this form for each guest attending with you. Include your Guest Dining and Trips Total in the Total Registration
Fee below. You may copy this form for additional guest information.
Guest’s Name:_____________________________________________________Name of Member Bringing Guest:
______________________________________
Activities
Cost
Amount
Thursday: qChicago Botanic Garden Tram Tour
Thursday: qI will attend the Small Works Reception
Friday: qArts & Crafts Trip – Ragdale and Crab Tree Farms
Friday: qMorton Arboretum Trip
Saturday: qFrank Lloyd Wright Home and Studio Trip
$5
$24
$75
$75
$75
Menu Selections
Wednesday
qI will attend the Welcome Reception
$30
Thursday
qI will attend the General Meeting & Luncheon
$62
Select One: qHerb Crusted Chicken Breast with organic wild rice, baby vegetable ragout, brandy thyme jus, caesar salad, dessert
qRoasted Vegetable and Fresh Mozzarella Tian, couscous, red pepper coulis, dessert
Friday
qReserve a box lunch at the Chicago Botanic Garden -OR- qReserve a box lunch for the Morton Arboretum Trip
$20
Select One: qGrilled Portobello Mushroom with red pepper hummus on sun dried tomato foccacia
qGrilled Flank Steak with horseradish mayo, red onion confit, watercress on tuscan roll
qLemon Tarragon Chicken Salad, lettuce and tomato on sourdough ciabatta
qI will attend the Wildflower Forum at the Renaissance Hotel
$15
Saturday
qReserve a box lunch for the Chicago Botanic Garden
$20
Select One: qBrie, cucumber, radish and baby spinach, croissant with rosemary aioli
qHerbed Roasted Turkey Breast, swiss, lettuce, tomato & Dijonaisse on herbed foccacia
qBeef and Bleu Cheese Wrap
qReserve a box lunch for the qFrank Lloyd Wright Home and Studio Trip -OR- qReserve a box lunch at the Renaissance Hotel .
$20
qI will attend the Silent Auction and Annual Banquet Includes fresh garden greens salad, vegetable and cheesecake.
$55
Select One: qChicken Cilantro Infusion, marinated grilled chicken, sundried tomato Cilantro Infusion
qBaked Tilapia with lemon pepper, julienne leeks, garnished with lemon wedge
qEggplant Parmesan, lightly breaded eggplant, marinara sauce, mozzarella cheese
Guest Dining & Trips Total from All Guest Registration Forms
Total Workshops from previous page
qRegistration Fee on or before Aug. 1, 2012: members: $360. Non-members fee (includes membership) - US address: $445, non-US address: $460.
qRegistration Fee after Aug. 1, 2012: members: $390. Non-members fee (includes membership) - US address: $475, non-US address: $490.
Registration fee:
Grand Total Amount Enclosed:
ASBA 18th Annual Meeting and Conference 2012 Schedule-At—A—Glance
All events held at the Chicago Botanic Garden unless otherwise
indicated. Tour Buses leave promptly at stated times.
Pre— And Post—Conference Activities
October 16 & 17
9 AM-4 PM Workshop: The Art & Science of Mushrooms–
Alexander Viazmensky, Dr. Gregory T. Mueller
October 16 & 17
9 AM-4PM Workshop: Creating Translucent Roses in
Watercolor–Karen Kluglein
October 21, 2012
9 AM-3 PM Educator’s Forum, Renaissance Hotel–Sarah
Roche, Moderator
October 21, 22, 23
9 AM-4 PM Workshop: An Insight into my Watercolor
Technique–Beverly Allen
Conference Activities
8 AM-4 PM: Board of Directors Meeting, Renaissance Hotel
8 AM-8 PM: Small Works Exhibition
2-5:30 PM: Registration, Renaissance Hotel
5:30-7:30 PM: Welcome Reception, Renaissance Hotel
7-9 PM: Committee Meetings, Renaissance Hotel
7-9 PM: Chapter and Artists’ Circle Meeting, Renaissance Hotel
8 AM-8 PM: Small Works Exhibition
8 AM - 4 PM: Registration, Renaissance Hotel
10-11:30 AM: The Botanical Art Market: Tips for a Career as
a Botanical Artist, Susan Frei Nathan, Kate Nessler
10-11 AM: The Highgrove Florilegium, Leora Siegel
11:30 AM-1PM: General Membership Meeting and Luncheon
1:15-4:15 PM: Techniques Showcase on Stage
1:15 PM: Pen & Ink Techniques, Francesca Anderson,
Derek Norman
2:15 PM: Watercolor Techniques, Beverly Allen
3:15 PM: Watercolor and Gold Leaf on Vellum, Carol
Jean Rogalski
1:15-4:15 PM: Gouache on Dark Backgrounds, Suzanne Wegener
1:15-4:15 PM: Wild Cucumbers in Graphite, Bruce Wilson
1:15-4:15 PM: 5 Things A Botanical Art Teacher Won’t Tell
You About Color, Susan T. Fisher
2-3:30 PM: Dixon Prairie Tour, David Sollenburger
2-4 PM: Importance of Scanning Your Artwork, Tricia
Peterson, Carol Woodin
4:30-5:30 PM: Beyond Accuracy – Creating Art, Panel
Discussion with Kate Nessler, Robin Jess, Carol Woodin
5:30-7:30 PM: Small Works Exhibition Reception, Wine and
Hors d’oeuvres
7-8 PM: Buses depart from Chicago Botanic Garden to
Renaissance Hotel
Friday, October 19
8 AM-8 PM: Small Works Exhibition 8 AM: Bus departs from
Renaissance Hotel to Morton Arboretum and Arts & Crafts
Tours
8 AM-1 PM: Bus Trip to Arts & Crafts Tour: Ragdale and Crab
Tree Farms
8 AM-5 PM: Bus Trip to Morton Arboretum Tour, The Suzette
Morton Davidson Special Collection of the Sterling Morton Library
Historical Overview of Botanical Art including Barbara
Deitzch, G. Ehret, etc.–Rita Hassert, Arlene Widrivitch
Morton Arboretum Tram Tour and Lecture–Ed Hedborn
Herbarium Tour–Dr. Andrew Hipp
9 AM-12 PM: Designing Products from your Botanical Artwork
using Photoshop, Wendy Hollender, Renaissance Hotel
9 AM-4 PM: Drawing on Black with Colored Pencil, Rhonda
Nass, Renaissance Hotel
9 AM-4 PM: Textures in Watercolor, Denise Walser Kolar,
Renaissance Hotel
9 AM-4 PM: Painting Vegetables with Beautiful Scars and
Bumps, Asuka Hishiki
9 AM-4 PM: A Marriage of Art & Science (Watercolor),
Catherine Watters
9 AM-4 PM: Colored Pencil Chemistry, Libby Kyer
9 AM-4 PM: Painting Dried Fall Specimens in Sepia, Lara Gastinger
9 AM-4 PM: Gourds in Watercolor, Helen Allen
12-1 PM: Box Lunches at Morton Arboretum,
Renaissance Hotel, Chicago Botanic Garden
12-2:30 PM: Vellum Sales, Jesse Meyer, Pergamena,
Renaissance Hotel
1-4 PM: Prairie Sedges and Grasses in Watercolor, Ann Tompkins
1-4 PM: 5 Things A Botanical Art Teacher Won’t Tell You about
Color, Susan T. Fisher, Renaissance Hotel
2-3 PM: 17th and 18th Century Black and White Drawings
and Engravings, Leora Siegel
4-6 PM: Vellum Sales, Jesse Meyer, Pergamena, Renaissance Hotel
5-6:15 PM: Grant Recipient Awards, Renaissance Hotel
6:30-7:30 PM: Wildflower Forum, Paleobotany for Today, Dr.
Patrick Herendeen, Light Refreshments and Cash Bar,
Renaissance Hotel
Saturday, October 20
6:30-8 AM: Small Works exhibitors pick up your artwork at
the Renaissance Hotel
8 AM: Bus departs from Renaissance Hotel to Frank Lloyd
Wright Home and Studio, Oak Park
8 AM-1 PM: Bus Trip to Frank Lloyd Wright Home and
Studio, Oak Park
9 AM-10:30 AM: Wildflower Forum, Rare & Endangered
Plants, Dr. Jeremie Fant
9 AM-12 PM: Juror Training, Carol Woodin
9 AM-4 PM: Back to the Basics: Pencil drawing, Heeyoung Kim
9 AM-4PM: The Botany of Botanical Art–Flowers, Mary Bauschelt
9 AM-4 PM: Drawing in Carbon Dust, Marlene Hill Donnelly
9 AM-4 PM: Vellum in Seven, Kate Nessler, Renaissance
9 AM-4 PM: Get it Right from the Start, Shapes &
Foreshortening, Lee McCaffree, Renaissance Hotel
9 AM-4 PM: Orchids in Watercolor or Graphite, Kathy Creger
9 AM-4 PM: Botanical Scientific Illustration, Alice Tangerini
9 AM-4 PM: Open your Eyes to Nature, Hillary Parker
9 AM-4 PM: Colored Pencil on Mylar, Kathie Miranda,
Renaissance Hotel
10:30 AM-12 PM: Wildflower Forum, Science Center Tour, Dr.
Gregory T. Mueller
11 AM-12 PM: The Temple of Flora, Leora Siegel
11 AM-4 PM: Vellum Sales, Jesse Meyer, Pergamena,
Renaissance Hotel
12-1 PM: Box Lunches at Chicago Botanic Garden,
Renaissance Hotel
1 PM: Bus departs from Renaissance Hotel to Somme Prairie
1-3:30 PM: Bus Trip to Tall Grass Prairie, Somme Prairie,
Stephen Packard
2-4 PM: Exhibiting at the UK Royal Horticultural Society,
Victoria Matthews, Helen Allen
5-7 PM: Silent Auction, Renaissance Hotel, Cash Bar
7:15-8 PM: Silent Auction Purchasing
8-9:30 PM: ASBA’s Annual Awards Banquet, Renaissance Hotel
Ð
PRESENTERS BIOS
Beverly Allen (AUSTRALIA)
Beverly’s work is held in the Shirley Sherwood
Collection, the Prince of Wales’s Highgrove
Florilegium, the RHS Lindley Library, Royal
Botanic Gardens Library Kew, the Isaac and
Alisa Sutton Collection, and the Botanic
Gardens Trust Sydney. Beverly co-founded The
Florilegium Society at the Royal Botanic
Gardens Sydney.
Helen Allen (ENGLAND)
Helen is Course Director of the Diploma
Course in Botanical Illustration and
Painting at the English Gardening School.
She has exhibited internationally and her
work is in many collections including the
Prince of Wales’s Highgrove Florilegium, the
Hunt Institute and Kew.
Francesca Anderson (NY)
Francesca is a founding member of the
Brooklyn Botanic Garden Florilegium Society
and a Fellow of The Linnean Society. Her pen
and ink drawings have been exhibited
worldwide and have appeared in scientific and
art books including those by Dr. Shirley
Sherwood. Francesca received two Gold medals
from the RHS and the 2009 ASBA Diane
Bouchier Award.
Mary Bauschelt (WI)
Studying botany and horticulture lead to a
thirty-year career growing plants for the
University of Wisconsin-Madison Department of
Botany Greenhouses and Botanical Garden.
Mary has been studying, drawing and
painting botanical art for twenty years and
teaching for eleven.
Kathy Creger (MN)
Kathy is a botanical artist and teacher, an avid
orchid collector and an American Orchid
Society Judge who speaks about orchids
internationally. Her orchid illustrations have
been featured in several publications and her
work exhibited in numerous local and ASBA
shows as well as internationally.
Marlene Hill Donnelly (IL)
Marlene earned degrees from the University of
Illinois and American Academy of Art. She is a
science artist for the Field Museum and her
work is published and exhibited in other
institutions and museums worldwide. She is a
Certificate Course instructor at the Chicago
Botanic Garden and the Morton Arboretum.
Dr. Jeremy Fant (IL)
Dr. Fant is a conservation scientist specializing
in molecular ecology at the Chicago Botanic
Garden and he teaches biology at Northwestern
University. He received his Ph.D. in Genetics at
the University of Cambridge where he studied
the conservation and maintenance of genetic
diversity, both in situ and ex situ. His work has
been widely published.
Susan T. Fisher (CO)
Susan is the former Director of the Art Institute
at the Arizona-Sonora Desert Museum and the
former program coordinator of the Certificate
Program in Botanical Art and Illustration at
Denver Botanic Gardens. Susan is a past
president of the ASBA. She conducts workshop
throughout the United States.
Marilyn Garber (MN)
Marilyn is an artist, educator and founder of the
Minnesota School of Botanical Art. Her work
has been exhibited at the Brooklyn Botanic
Garden, Queen Sirikit Royal Botanic Garden,
the Shirley Sherwood Gallery and Smithsonian
Tropical Research Institute.
Laura Call Gastinger (VA)
Lara is the chief illustrator for the Flora of
Virginia Project to be published in 2012. Her
work received a gold medal at the Royal
Horticultural Society in London, was included
in ASBA’s “Losing Paradise: Endangered Plants
here and Around the World” and is represented
by Susan Frei Nathan Fine Works on Paper.
Rita Hassert, Morton Arboretum (IL)
Library Collections Manager of the Sterling
Morton Library, Rita has been on the Library
staff at the Arboretum since 1986. Holding an
M.S. in Library and Information Science from
the University of Illinois, she has also served on
the board of the Council on Botanical and
Horticultural Libraries.
Ed Hedborn (IL)
Ed is the Plant Records Manager and so-called
Color Scout at The Morton Arboretum. He has
collected, recorded, documented, planted,
labeled, placed, and studied thousands of trees
and other plants on the Arboretum’s 1,700
acres. So when it comes to the Arboretum’s fall
foliage, Ed’s the one to know!
Dr. Patrick Herendeen (IL)
Dr. Herendeen is Co-Director, Division of Plant
Science and Conservation and Director of
Academic Partnerships at the Chicago Botanic
Garden. He is a botanist and paleontologist
interested in the evolutionary history of plants.
Dr. Andrew Hipp (IL)
Dr. Andrew Hipp is a plant systematist, and the
Morton Arboretum Lab’s primary investigator.
Active projects he is working on include
systematics and molecular ecology of oaks,
sedges, and elms; plant speciation and
diversification; chromosome and genome size
evolution; phylogenetic comparative methods
and North American floristics.
Asuka Hishiki (JAPAN)
Asuka holds a MFA from Kyoto City University
of Arts in Japan where she studied oil painting.
Plants and nature are always her inspiration.
She is a self-taught botanical artist who
currently lives and works in New York. Her
work has been shown in many international
exhibitions.
Wendy Hollender (NY)
Wendy is a botanical artist, instructor and
author. Previously a home furnishings textile
designer, she designs products using her
botanical artwork. Random House published
Wendy’s book: Botanical Drawing in Color in
2010. Wendy’s illustrations have been in the
New York Times, Oprah Magazine, and Real
Simple Magazine.
Robin A. Jess (NJ)
Executive Director of the ASBA, Robin
illustrated books for The New York Botanical
Garden by botanist Dr. Arthur Cronquist. Her
focus is plants of the NJ Pine Barrens. Robin
has received numerous grants, fellowships and
awards for her artwork.
Heeyoung Kim (IL)
Heeyoung has received awards at ASBA/HSNY
exhibitions for pencil drawing and watercolor
painting. She received a gold medal from the
Royal Horticultural Society in March 2012 and an
ink drawing is in the Hunt Institute’s collection.
She has shown her works internationally, hoping
they would serve as a bridge between the public
and conservation efforts.
Karen Kluglein (NY)
Karen was an illustrator in her previous life and
now concentrates on her botanical painting. She
is a recent winner of the ASBA Diane Bouchier
Award for Excellence in Botanical Art and has
work in the permanent collection of The New
York Botanical Garden’s Historical Library.
Denise Walser-Kolar (MN)
Denise earned her Bachelor’s Degree in Graphic
Design and Commercial Illustration from the
College of Visual Arts in Saint Paul, Minnesota.
In 2011, she was awarded a Silver-Gilt Medal
by the Royal Horticultural Society in London.
Her work has been widely exhibited and is in
the permanent collection of the Hunt Institute
for Botanical Documentation.
Libby Kyer (CO)
A professed control freak, Libby finds colored
pencils the answer to her demanding art needs.
She has taught colored pencil techniques
extensively for 15 years, and her award-winning
works are collected nationally and abroad,
including the Hunt Institute for Botanical
Documentation and Packard Foundation. She is
the Editor of the Journal.
Tania Marien (CA)
Interested in interpretive techniques about
plants, how people make meaning, and how
drawing can be used as a learning tool to
encourage an interest in plants, Tania explores
these topics through ArtPlantae, a resource
connecting artists, naturalists and educators.
Victoria Matthews (ENGLAND)
Victoria is a Fellow of the Linnean Society of
London and holds a Diploma in Plant
Taxonomy from the University of Edinburgh,
UK, and an Editor of The Kew Magazine. A
botanical art collector, she serves on several
judging and selection committees including the
RHS, SBA Distance Learning Diploma, and the
Prince of Wales’s Highgrove Florilegium.
Lee McCaffree (CA)
Lee is a botanical illustrator who emphasizes
the need for basic skills. She is a primary
instructor in the Botanical Art Certificate
Program at Filoli in California. She has
exhibited in England and throughout the US.
Her work is included in the Hunt Institute, Kew
Garden, and Filoli Florilegium collections.
Kathie Miranda (CT)
Kathie is an award-winning artist and
innovative botanical art instructor for The New
York Botanical Garden. She serves on the board
of the ASBA, and is an active member of the
Colored Pencil Society of America and the
Connecticut Botanical Society. The illustration
and preservation of native woodland plants are
her passion.
Jesse Meyer (NY)
Jesse’s family company, Pergamena, has been
preparing animal skins since 1550. He has
refined the quality of parchment skins for use
by artists, calligraphers, bookbinders and
designers.
Dr. Gregory M. Mueller (IL)
Dr. Mueller is Vice President for Science and
Academic Programs at the Chicago Botanic
Garden. His research and teaching focus on the
diversity,
biogeography,
ecology,
and
conservation of mushrooms. Greg has carried
out extensive fieldwork throughout much of the
world. He is author of six books and nearly 100
scientific articles.
Rhonda Nass (WI)
Rhonda thanks her high school art teacher, who told
the stubborn teenager she could never be an artist,
for launching her into her profession: a UW-Madison
art degree, freelance illustration (i.e. Biology of
Plants) and currently, art commissions,
publications, teaching and gallery work.
Susan Frei Nathan (NY)
Susan is an art historian, who directed two NYC
galleries before establishing her company
Susan Frei Nathan Fine Works on Paper. She
promotes the sale and placement of
contemporary botanical art and builds
collections for her many corporate, private and
institutional clients.
Kate Nessler (AR)
Kate has been painting plants for 29 years and
began her work on vellum in 1997. Innovative
and adventurous, her award-winning work is
internationally appreciated. The National
Museum for Women in the Arts, the Royal
Horticultural Society, Hunt Institute, Shirley
Sherwood Collection and Highgrove Florilegium
hold examples of her work.
Derek Norman (IL)
Derek’s pen & ink drawings are award-winning
and reflect his passion for all things wildflower.
Founder of the Midwest Center for Botanical
Documentation, Derek delights in enlisting
fellow artists in the pursuit and preservation of
the vanishing species.
Stephen Packard, (IL)
Stephen is Founding Director of the Chicago
area programs of the National Audubon Society
and teaches at Northwestern University.
Stephen initiated many of Illinois’ ecological
restoration projects including Nachusa
Grasslands and the Spring Creek Forest
Preserves. He is on the editorial board of the
journal Ecological Restoration.
Hillary Parker (GA)
Hillary is a naturalist and award-winning
botanical watercolor artist whose paintings are
exhibited and collected worldwide through
private commissions, galleries, and juried
exhibitions. Hillary holds a B.S. degree in Art
Education and has been teaching workshops,
private classes, and presenting lectures
throughout the U.S. for 22 years.
Tricia Peterson (IL)
Tricia’s traditional illustrations reflect her love
for animals and nature. That combination has
influenced her career as a graphic designer,
artist, technical illustrator, product developer,
and exhibit designer. Communicating and
educating by creating a warm feeling through
graphics and art is always her goal. Tricia owns
Blueraven Creative and is co-founder of
DiscoveryPen™.
Lynne Railsback (WI)
Lynne doesn’t paint roses, orchids or iris. The
plants that grow in the woods and prairies in
the Midwest are her favorite subjects. She is
grateful for the opportunities that have opened
up to her and the artists she has met in this
career that began after retirement.
Sarah Roche (MA)
Sarah is Education Director for the Wellesley
College Botanical Garden’s Certificate in
Botanical Art and Illustration program. She is
a Gallery artist at the South Shore Art Center
in Cohasset MA, and an artist member of the
Copley Society of Art in Boston. She is the
Founding Director of the New England Society
of Botanical Artists and chair of ASBA’s
Education Committee.
Carol Jean Rogalski (IL)
While researching the history of the active
ingredients of herbs and modern pharmaceuticals
at The Sterling Morton Library, Carol was
introduced to botanical art. She completed a
Botanical Art and Illustration Certificate at The
Morton Arboretum and studies the techniques of
egg tempera, silverpoint and illumination with gold
upon natural vellum.
Deb Shaw (CA)
Deb has a degree in fine art from Pomona
College, The Claremont Colleges, where she
also studied botany and native California flora.
She is principal of db Shaw Studios, an
award-winning design firm. Deborah’s work
has been displayed in many exhibitions, and
is in private collections.
Leora Siegel (IL)
Leora is Director of the Lenhardt Library at the
Chicago Botanic Garden. She holds M.S.
degrees in Library & Information Science and
Natural Resources & Environmental Sciences.
Leora has served on national, regional and local
library boards.
David Sollenberger (IL)
David is a restoration ecologist for the
Chicago Botanic Garden developing and
managing the Dixon Prairie. David currently
works for the Dixon National Tallgrass
Prairie Seed Bank at CBG and does
botanical illustration at the Field Museum
in Chicago and various publications.
Dr. Ruth Starratt (MA)
A professor of art education at Boston
University, Ruth’s field of research is the art of
Oceania, where she documents 50,00-year-old
petroglyphs. Her paintings are shown in NESBA
exhibitions, at the Arizona Desert Museum,
Wellesley College and in the BU galleries.
Alice Tangerini (Washington, DC)
Alice is a staff illustrator for the Department of
Botany, Smithsonian Institution since 1972.
She has taught classes from the elementary to
the graduate level in scientific botanical
illustration at schools, colleges and botanical
gardens. Her work has been exhibited in ASBA
and GNSI exhibitions and with the Botanical Art
Society of the National Capital Region.
Ann Tompkins (IL)
Ann received her botanical art certificate from
The Morton Arboretum in 2009. Her work is
shown there twice a year at the Nature Artist
Guild’s juried exhibitions. She teaches a
class at the Arboretum called Nature
Detail in Watercolor.
Alexander Viazmensky (RUSSIA)
Alexander was born in Leningrad (now St.
Petersburg) in 1946. Educated as an electrical
engineer, Alexander has been a freelance jeweler
and artist since 1976. He specializes in
landscapes and botanicals and his work is in
many important collections worldwide. Alexander
has conducted master classes in botanical art
schools and botanic gardens since 2004.
Catherine Watters (CA)
Catherine is an instructor and curriculum
developer at Filoli in Woodside, CA. Collections
include The Hunt Institute, Brooklyn Botanic
Garden, Filoli, the Paris Natural History
Museum, the Royal Botanic Gardens at Kew
and the Isaac & Alisa Sutton Collection. Her
work was recently featured in Curtis’s
Botanical Magazine.
Suzanne Wegener (IL)
Suzanne has a degree in Scientific Illustration
and a MS in Biomedical Visualization. She is a
freelance illustrator and teaches illustration and
fine art at historical societies and art leagues,
The Morton Arboretum and the Field Museum
of Natural History. She is the Manager of Nature
Arts Education at the Morton Arboretum.
Bruce Wilson (MN)
Bruce comes from a fine art and commercial art
background and is an instructor at the
Minnesota School of Botanical Art, and teaches
at Filoli in California. He exhibits nationally and
locally, illustrates books and contributes to
magazines.
Arlene Widrivitch (IL)
Arlene cares for the botanical art collection at
the Sterling Morton Library. She enjoys
providing art for use as teaching aids in the
Arboretum’s Certificate Program in Botanical
Art and Illustration where she is both a
graduate of the program and an instructor. She
is a member and past board member of the
Nature Artists’ Guild of The Morton Arboretum.
Carol Woodin (NY)
For more than 20 years Carol has been painting
plants. She is internationally known for her
work with orchids. Her art is in the collections
of the Hunt Institute; Royal Botanic Gardens,
Kew; Dr. Shirley Sherwood, and Isaac &
Alisa Sutton. She is the Director of
Exhibitions for ASBA.
The ASBA Silent Auction Needs Your Donations
T
he Silent Auction will be held before the Annual Conference Banquet on Saturday evening, October 20th
2012. We urge you to make a donation. The proceeds support ASBA’s Artist & Education Grants and
publication of The Botanical Artist, Journal of the ASBA. Both are extremely vital to ASBA’s mission. All
gifts should be new, or used collectables such as books, attractively presented and have a botanical theme. One
of the most generous contributions is original artwork; however, prints are also appreciated. Both should be
backed by foam board and include a clear protective covering.
Other popular items include: books, handmade crafts, giftware, jewelry, stationery, scarves, art supplies and
children’s items. Again all items should have an association with botanical art or plants. Remember the majority
of attendees travel by plane, so size and shape are important. Also, please limit duplicates to no more than 3.
You can be part of the conference even if you can’t attend by making a donation to the Silent Auction. Please go
to www.asba-art.org and click on Annual Meeting for the submission form that includes the required
information.
Important Dates:
September 24th - Donation Information Deadline. Items brought to the conference without sending the donation
information by this deadline will either be returned to the donor or be held over for next year’s Silent Auction.
October 1st - Shipped items to be received.
You will receive shipping information after your donation information has been submitted
later than 15 September 2012. Artwork will not be insured by venue while
exhibition is hanging.
Hanging Rights: The ASBA retains the right to refuse to hang work when
received if the framing does not meet specified guidelines as above, the work
is packed in Styrofoam peanuts, or the quality of the artwork differs greatly from
Listings are chronological, starting with the earliest exhibition opening that represented by the submission materials. Artwork may not be removed until
date. Full information is available online at www.www.asba-art.org, close of exhibition.
including entry forms for all ASBA events.
Awards: “Chicago’s Top 12” will be awarding 12 Artistic Merit Awards,
ASBA Cover Art
including the Anne Marie Carney Award, People’s Choice, plus 10 others.
Volume 18, Issue 3 of The Botanical Artist, September 2012
Publicity and Catalog: With appropriate funding, a catalog will be prepared
Members may submit artwork specifically for the cover of the and produced using the images you provide. Your image may also be used
Journal.
in publicity for the exhibition, which may include print and/or electronic
Eligibility: Any ASBA member in good standing (dues paid for 2012)
form..
Subject: Two-dimensional original botanical art or illustration. First Contact: Name: Debra D’Souza; email: ddsouza56@gmail.com; PH: 715consideration will be given to works representing species that are present in 308-1055 Website: debradsouza.comApril 25 to May 24, 2013
the artist’s geographical region by season - March - Spring, June - Summer, April 25 – May 24, 2013 Following in the Bartrams’ Footsteps:
September - Autumn.
Contemporary Botanical Artists Explore the Bartrams’ Legacy
Presentation: Only portrait oriented (taller than it is wide - please review Bartram’s Garden, 54th St. and Lindbergh Avenue, Philadelphia, PA
previous covers) images are accepted.
This traveling exhibition will feature artworks of plants grown, sold,
Submissions: Submit online, up to 2 scans (full color,
and introduced by John and William Bartram,
artwork sized to 8”h, 300 dpi, .jpgs only) created
centered upon their native US plant introductions.
within the last 2 years. Submissions must be
A list of plants is posted on our website, and on that
accompanied by completed submission of image form
list exotic plants denoted by an E will have
available at www.asba-art.org. If your image is over
secondary priority. This list is referenced below. The
40 meg, please send a CD/DVD to Libby at address
exhibition will be displayed in the beautifully
below. CDs and DVDs will not be returned.
restored historical stone barn, the oldest barn in
Submission deadline: Received by August 1, 2012.
Philadelphia. Travel venues will be announced, and
Notification: Results are held confidential until
artworks submitted must be available through the
publication. Look for your artwork on the cover!
end of 2014.
Contact: Libby Kyer, Editor, The Botanical Artist; PH:
Eligibility: Current ASBA members, and
303.322.3242; email: journal@asba-art.com. Mail
Philadelphia Society of Botanical Illustrators members
CD/DVDs to Libby Kyer, Editor, The Botanical Artist,
Jurors: Allen Crawford, Plankton Art Company; Joel Fry,
717 Krameria Street, Denver, CO 80220.
Curator, Bartram’s Garden; Wendy Hollender, botanical
October10-20. 2012
artist; Ellen Petersen, a Director of Bartram’s Garden and
Chicago’s Top 12 –
former ASBA President.
“Small Works” Exhibition
Subject: Plants grown or introduced by the
Chicago Botanic Garden, 1000 Lake Cook Road,
Bartram family.
Glencoe, IL
Media accepted: Two-dimensional original botanical
This non-juried exhibition will be open to all
artwork, size limit 38x48”
registered attendees of the 2012 ASBA Conference.
Submissions: Number per entry accepted: 3
Each attendee may submit one original botanical
Entry Fee $35
artwork. The exhibition will be installed prior to the
Digital files only: 300 dpi, image 8” high, .ttf or .jpg
conference, and will be open to the public on
files, submitted on CD labeled with marker only
Wednesday, October 10, 2012. The exhibition will close
with artist’s name and name(s) of artworks(s).
on Saturday, October 20. Pick-up of artist’s work is
Individual files on disk labeled with artist’s name and
required prior to the close of the conference.
image title. CD will not be returned. Send check (or
Eligibility: All conference attendees
pay via PayPal.com) for US$ 35, payable to ASBA,
Jurors: non-juried
entry form, and one to three images on CD to:
Subject: Botanical
American Society of Botanical Artists, ATTN: Carol
Media accepted: Two-dimensional original artwork
Woodin, 2900 Southern Blvd., Bronx, NY 10458-5126
excluding photography and digital works.
Submission Deadline: Friday, January 11, 2013.
Submissions: Number per entry accepted One, Entry
Presentation: Framed size limit, 38x48, either
Fee, No fee Digital files only: 300 dpi, image 8”high,
horizontal or vertical. Exhibition will travel; accepted
.tif or .jpg files, submitted on CD labeled with marker
artists will be notified of framing requirements.
only with artist’s name and image title. CD will
Notification: Acceptances and regrets will be sent by
not be returned.
February 15, 2013 by email and/or letter. If accepted, artist
CD Submission Deadline: Wednesday, August 1,
insures that artwork(s) will be available for display. If the
2012. Sending entries to Derek Norman is in two parts
artist withdraws the artwork before exhibition, the artist will
- first mail a CD with your image by August 1, 2012,
not be eligible to show at any ASBA exhibition for the
then ship your artwork to arrive by September 15,
next two years.
2012. Mail to Derek Norman, 999 Wade Street,
Shipping and Insurance: Full packing and shipping
Highland Park, Illinois 60035.
requirements will be provided to accepted artists.
Presentation: Artwork must be framed to 12x12"
Artists are responsible for cost of shipping and
using the specific frame indicated: Dick Blick, Above: D-ring details and mounting of D-ring
insurance to and from the venue. No Styrofoam
“Essential Natural Wood Frame Kit”, complete with placement on frame details
peanuts allowed. Artwork will be insured by venue
plexiglas, cost approximately $19.58 - (Item #18862while exhibition is hanging.
1904). Artwork must be presented in a professional fashion, matted with a Hanging Rights: The ASBA retains the right to refuse to hang work when
white or off-white mat only. Hanging must be done with “D” Ring (2 Holes) received if the framing is inadequate, the work is packed in Styrofoam
Small Hangers–also obtainable from Dick Blick, (Item #18960-1002) cost, peanuts, or the quality of the artwork differs greatly from that
usually $1.69. Please note - no wire is used with this hanging method. represented by the submission materials.
It is the responsibility of each artist to purchase and install these hooks as Sales of works: Artwork may be for sale, but it is not required. Works
shown (see diagram) - 3-inches from top of frame to top of “D” Ring Small may not be removed until the end of traveling schedule at the end of
Hangers. Hardware and framing requirements must be followed to be 2014. If sold, 40% of the sale price will be retained (20% by ASBA, 20%
included in the exhibition! Unfortunately, artwork not meeting these specific by the host venue where sale takes place).
requirements will not be hung. Please note: Check the Dick Blick Awards: To be announced
website, as periodically the frame & Plexiglas kit and the “D” Ring Small Publicity and Catalog: Images submitted for this exhibition may be used
Hangers are offered at a discounted price. International participants: in a catalog or publicity in print or electronic form for the exhibition and
please contact Debra D’Souza at dsouzad@uwstout.edu for may be used on the website for promoting the exhibition before, during
additional information.
and after its run without further permission being sought.
Notification: Artist assures that artwork will be available for display. If the Contact: Carol Woodin; PH: 866.691.9080, email:
artist withdraws the artwork before exhibition, the artist will not be eligible exhibitions@asba-art.org; Website: www.asba-art.org
to show at any ASBA exhibition for the next 2 years.
September, 2013 to November, 2013
Shipping and Insurance: Artists are responsible for cost of shipping and Sixteenth Annual International
insurance to the venue. Save the box (& packing materials) that Blick ships American Society of Botanical Artists at
your frame in and re-use it for shipping your artwork to the exhibit. Artwork The Horticultural Society of New York
will be collected by each participating artist prior to the close of the The Horticultural Society of New York, 148 W. 37th Street, New York, NY
conference. No Styrofoam peanuts allowed. Artwork must be shipped to
Our longest running collaboration, this exhibition is held in mid-town
Derek Norman, 999 Wade Street, Highland Park, Illinois 60035 to arrive no Manhattan in the Hort’s lovely gallery.
CALLS FOR ENTRIES
Eligibility: Open to all ASBA members in good standing, (dues curiosity and should provide inspiration for great botanical art, encouraging
paid), worldwide.
exciting portrayals of new subject matter, and capturing the
Jurors: to be announced.
imaginations of artists and viewers alike.
Subject: Botanical specimens. Work may have appeared in regional or
Submission deadline will be in September 2013, so you have a year and
invitational exhibitions, but should not have been shown in another a half to create something special for the show. Tentative plans are being
international exhibition of the ASBA.
made to travel the exhibition to other venues. Watch for further information
Media accepted: Two-dimensional original botanical art. No photography, in upcoming issues of the Journal.
no digitally generated work, and no three-dimensional works will Eligibility: ASBA members in good standing, world-wide.
be accepted.
Jurors: To be announced.
Submissions: Number per entry accepted 3,
Subject: “Weird, wild, and wonderful” botanical subjects. Work may have
Entry Fee: $35 Digital files only: 300 dpi, image files, submitted on CD appeared in regional or invitational exhibitions, but should not have
labeled with marker only with artist’s name and name(s) of artworks(s). been shown in another ASBA international exhibition.
Individual files on disk labeled with artist’s name and image title. CD Media accepted: Two-dimensional original botanical art. No photography,
will not be returned.
no digitally generated work, and no three-dimensional works will be
Send check (or pay via PayPal.com) for US$ 35, payable to ASBA, accepted.
entry form, and one to three images on CD to: American Society of Submissions: Three works per entry.
Botanical Artists, ATTN: Carol Woodin, 2900 Southern Blvd., Bronx, NY Entry Fee $35 Digital files only: 300 dpi, image 8” high, .tif or .jpg files,
10458-5126.
submitted on CD labeled with marker only with artist’s name and names of
Submission Deadline: Friday, March 29, 2013.
artworks. Individual files on disk must be labeled with artist’s name and
Presentation: Framed size limit: 30” x 36”. Accepted artwork must be image title. Disks will not be returned.
presented in professional fashion, matted in white or off-white only, Send check for US$35, payable to ASBA (or pay via PayPal.com, to
under Plexiglas, framed in medium brown or gold wood, simple “L” asba@aol.com) entry form, and one to three images on CD to: American
(gallery frame) profile, wired and ready for hanging. Artwork not meeting Society of Botanical Artists, ATTN: Carol Woodin, 2900 Southern Blvd.,
these standards will not be hung. If artist chooses to bring the work into spec, a 10458-5126.
handling fee of $100 will be assessed in addition to all costs for Submission Deadline: September 2013
reframing/matting/repair.
Presentation: Framed size limit in inches, wxh: 30x36” Accepted artwork
Notification: Acceptances and regrets will be sent by (May 3, 2013 by must be presented in professional fashion, matted in white or off-white only,
email and/or letter. If accepted, artist insures that artwork(s) will be under Plexiglas, framed in medium brown or gold wood, simple “L” (gallery
available for display. If the artist
frame) profile, wired and ready for
withdraws the artwork before exhibition,
hanging. Artwork not meeting these
the artist will not be eligible to show
standards will not be hung. If artist
chooses to bring the work into spec, a
at any ASBA exhibition for the next
handling fee of $100 will be assessed in
two years.
addition
to
all
costs
for
Shipping and Insurance: Full packing
reframing/matting/repair.
and shipping requirements will be
Notification: Acceptances and regrets will
provided to accepted artists. Artists are
be sent by by email. If accepted, artist
responsible for cost of shipping and
insures that artwork(s) will be available for
insurance to and from the venue. No
display. If the artist withdraws the artwork
Styrofoam peanuts allowed. Artwork
before exhibition, the artist will not be
will be insured by venue while
eligible to show at any ASBA exhibition for
the next two years.
Hanging Rights: The ASBA retains the
Shipping and Insurance: Full packing
right to refuse to hang work when
and shipping requirements will be
received if the framing is inadequate, the
provided to accepted artists. Artists are
work is packed in Styrofoam peanuts, or
responsible for cost of shipping and
the quality of the artwork differs greatly
insurance to and from the venue. No
from that represented by the submission
Styrofoam peanuts allowed. Artwork
materials.
will be insured by venue while
Sales of works: Must be for sale: Works
may not be removed until close of
Hanging Rights: The ASBA retains the
exhibition. When sold, 40% of the sale
right to refuse to hang work when received
price will be retained (20% ASBA,
if the framing is inadequate, the work is
20% The Hort).
packed in Styrofoam peanuts, or the
Awards: The Horticultural Society of
quality of the artwork differs greatly
New York offers a “Best of Show” Award,
from that represented by the submission
and there will be an ASBA Jurors’
materials.
Award of $400. Other awards will be
Sales of works: Requirements to be
announced.
determined.
Publicity
and
Catalog:
Images
submitted for this exhibition may be
Awards: To be determined.
used in a catalog or publicity in print or
Publicity and Catalog: Images submitted
electronic form for the exhibition and
for this exhibition may be used in a catalog
may be used on the website for Verbascum thapsus, ©Betsy Rogers-Knox 2012
or publicity for the exhibition and may be
promoting the exhibition before, during
used on the website for promoting the
and after its run without further permission being sought.
exhibition before, during, and after its run without further permission
Contact: Carol Woodin; PH: 866.691.9080, email:
being sought.
exhibitions@asba-art.org; Website: www.asba-art.org
Contact: Carol Woodin; PH: 866.691.9080:
email: exhibitions@asba-art.org; Website: www.asba-art.org
April to August, 2014
Member Institution Calls
Weird, Wild and Wonderful
September 14 - October 27, 2013
The New York Botanical Garden, 2900 Southern Boulevard, Bronx, NY
Botanical Art of the Sonora Desert: Past and Present
10458-5126
The theme of the second New York Botanical Garden Triennial will be Arizona-Sonoran Desert Museum Ironwood Gallery, ASDM Art Institute,
“Weird, Wild, and Wonderful,” inviting the artist to engage in seeking visually 2021 N Kinney Road, Tucson, AZ
This exhibit will focus on the unique plants of the Sonoran Desert. This
unusual plants and creating works of art that celebrate the bizarre and yet
region comprises the area along the border of Mexico and the United States.
beautiful flora of the world.
Botanical oddities and curiosities can be found locally in your yard, in It includes: most of Sonora, Mexico and southern Arizona; the Baja
natural circumstances or in a botanical garden. They may be cultivated California Peninsula, the islands in the Sea of Cortez, and southeastern
edibles or ornamentals that have developed in an unusual way. Or as California. The exhibit will display past works by internationally regarded
examples, they may be members of the Arum family – dragon arum, titan botanical illustrators as well as works by contemporary botanical artists.
arum, those with a mace-like spadix; or Solanum pyracanthos, a tomato Eligibility: Open to all artists
relative with orange, aggressive thorns or the Rafflesia which is the largest Jurors: To be announced
Subject: Focus is on the unique plants of the Sonoran Desert region
flower in the world.
There are plants that mimic insects such as those in the orchid family, Media Accepted:Original botanical art and illustration in any 2kinetic plants that use motion to trap pollinators, carnivorous plants and dimensional media.
graceful “walking” ferns. An artist could focus on something as large as a Submissions: Any number of original artworks.
whole clonal colony of aspen or as small as the carnivorous round-leaved Entry Fee $40. Email images in .jpg format at 300dpi. Include the artist’s
sundew. An albino form of a flower might be selected or the “witches broom” name, title of artwork, media, size and sale price or NFS (not for sale) to:
of branches caused by a virus or insect. The choices are as wide as the artist’s arts@desertmuseum.org. Send check of money
TBA ~ VOLUME 18, ISSUE 2 ‐ JUNE 2012 ‐ PAGE 25
CALLS FOR ENTRIES..., CONTINUED
order for US$40, payable to ASDM Art Institute, 2021 N Kinney Road,
Tucson, AZ 85743.
Submission Deadline: August 2, 2013
Presentation: No framed size. No size limit. Original artwork only. All pieces
must be matted, framed (Plexiglas) and wired for hanging. No sawtooth or
clip hangers. Notification: Acceptances and regrets will be sent by August 16,
2013 by email. If accepted, artist insures that artwork(s) will be available
for display.
Shipping and Insurance: Full packing and shipping requirements will be
provided to accepted artists. Artists are responsible for cost of shipping and
insurance to and from the venue. No Styrofoam peanuts allowed. Artwork
must arrive at venue by Wednesday, September 11, 2013. Artwork will be
insured by venue while exhibition is hanging.
Sales of works: May be for sale, NFS accepted also. Works may not be
removed until close of exhibition. When sold, 40% of the sale price will be
retained by the ASDM, the hosting institution.
Awards: To be announced
Publicity and Catalog: If accepted, your images may be used in publicity
for the exhibition. With appropriate funding, a catalog will be prepared
using the images you provide for jurors.
Contact: Margaret Pope, PH: 520.795.1285; email:
mmapope43@gmail.com, www.sonorandesertflorilegium.org
Other Calls for Entries
March 17 to April 14, 2013
America’s Parks Through the Beauty of Art
Ella Carothers Dunnegan Art Gallery; with possible tour venues to follow
511 North Pike, Bolivar, MO
This exhibition, open to all artists, recognizes and promotes excellence in
original artworks depicting any North American park (national, state,
provincial, county, city) in Canada, Mexico and The United States. The 2013
inaugural exhibition is scheduled as the first of three, with others to follow in
2014 and 2015. This is the inaugural exhibition that will premiere in Bolivar,
Missouri at The Ella Carothers Dunnegan Gallery of Art. The Dunnegan has
hosted such notable traveling museum exhibitions as Art and the Animal, The
Society of Animal Artists; Blossom ~ Art of Flowers, sponsored by The Susan
K. Black Foundation and Exquisite Miniatures by Wes and Rachelle Siegrist.
Eligibility: Open
Jurors: M. Stephen Doherty, Editor, PleinAir Magazine; Susan T. Fisher,
American Society of Botanical Artists Past President and former ArizonaSonora Desert Museum Art Institute Director; and Todd Wilkinson,
Managing Editor,Wildlife Art Journal
Subject: Any North American park (national, state, provincial, county,
city) in Canada, Mexico and The United States, original, two-dimensional
art completed in 2010, ‘11, or ‘12 is eligible.
Media accepted: Eligible media includes: oil, acrylic, watercolor,
gouache, mixed media, pastel, pencil, pen and ink, tempera, batik,
alkyd, scratchboard, and original prints (e.g., lithograph, etching,
engraving, serigraph). Ineligible media includes: any media not listed
above such as computer enhanced or generated artwork, photography,
reproduction prints, sculpture, and video.
Submissions: Early-Entry Fee: One entry, US$30.00; two entries,
US$50.00; each additional entry, US$20.00: Standard Deadline Fee:
One entry, US$40.00; each additional entry, US$25.00.
Only digital JPEG photographs will be accepted. All entry JPEGs
must be submitted on CD or DVD. Emailed entries will not be accepted.
Digital images should be 150 dpi, with a maximum dimension of 7’’ in
JPEG format. Images should be in RGB color format. All file names
must include the artist’s last name, initial of first name, and first few
words of artwork title (e.g., smithjarches1.jpg). CDs and DVDs should
be labeled with the artist’s last name, first name, artwork title(s), and year.
Submission Deadline: Early entry postmark deadline: August 31, 2012.
Standard entry postmark deadline: October 15, 2012. All entries must
be received by October 25, 2012.
Presentation: Not including frame or mat, the maximum size for entered
artworks is 900 square inches. Calculate by multiplying the horizontal and
vertical dimensions. Example: A 30x30” painting would equal 900 square inches.
Notification: Acceptances and regrets will be sent by November 30–
December 15, 2012 by email and/or letter.
Shipping and Insurance: Full packing and shipping requirements will
be provided to accepted artists. Artists are responsible for cost of
shipping and insurance to and from the venue. No Styrofoam peanuts
allowed. Artwork will be insured by venue while exhibition is hanging.
Sales of works: May be for sale, NFS accepted: Works may not be
removed until close of exhibition. When sold, 70% of the sale price to
the artist, 30% to hosting institution.
Awards: Awards will include: Susan Kathleen Black Foundation Floral
Art Award, America’s Parks Curator’s Choice Award, Arizona-Sonora
Desert Museum Juror’s Choice Award, PleinAir™ Magazine Juror’s
Choice Award, Society of Animal Artist’s Wildlife Art Award, and Wildlife
Art Journal Juror’s Choice Award.
Contact: David J. Wagner, PhD, Curator/Tor Director; email:
americasparksartexhibit@yahoo.com; PH: 414.221.6878; website:
davidjwagner.com; download prospectus at:
davidjwagnerllc.com/competitions.html
Approximately 4 months, Spring and Summer, 2014
Plants Native to the Mid Atlantic
US Botanic Garden, Washington, DC
The Botanical Artists for Education & the Environment (BAEE) is a
nonprofit organization of artists, primarily in the Mid-Atlantic area. We
are working on a book to be titled American Botanical Paintings: Plants
Native to the Mid-Atlantic, scheduled to be published in the fall of 2013.
An exhibit will follow at the US Botanic Garden in Washington, DC,
in spring of 2014. Selected exhibit artists will donate use of their
work for the book, but retain copyright; BAEE will retain copyright
to the book. See contact information below for more details, such as
lists of plants native to the Mid-Atlantic, a list of plants that are being
painted(we discourage but do not have a rule against duplications),
and detailed project specifications.
Eligibility: All artists living or working in the Mid-Atlantic region who
are members of ASBA or other botanical art organizations
Jurors: Holly Shimizu, Executive Director of the USBG; Bill McLaughlin,
Curator of Plants at the USBG; Dick Rauh, Immediate Past President of
the ASBA; one other juror to be determined.
Subject: Plants native to the Mid-Atlantic defined for this project as
including the states of Delaware, Maryland, New Jersey, New York, North
Carolina, Pennsylvania, District of Columbia, Virginia, and West Virginia.
Media Accepted: watercolor, graphite, pen & ink, egg tempera, colored pencil.
Submission: January 1, 2013. Entry fee: $25 for up to 5 paintings (no
more than 3 will be selected for the book). Digital files only: 360 dpi, 8”
high, TIFF files only. Portrait orientation preferred.
Notification: Acceptances and regrets will be sent by email no later than
March 1, 2013.
Shipping and Insurance: Details will be provided; however, artists are
responsible for insurance.
Sales of Works: Paintings cannot be sold at the USBG; however, artists
may provide a card with their contact information.
Awards: To be determined.
Publicity and Catalog: If accepted your images may be used in publicity
for the book and/or exhibit. With appropriate funding, a catalog will be
prepared using images you provided for the jurors.
Presentation: Paintings selected should not be matted or framed; BAEE
will arrange to have this done for purposes of conformity. Artwork
should be created 100% life-size. Very small plants may be enlarged
provided a scale is given. For the book, we hope to reduce paintings by
no more than 50%. Page size in the book will be 8.5” x 11.”
Participants: Artists participating in the project will be kept updated as
the project progresses.
Contact: Bonnie Driggers at gbdriggers@mac.com, PH: 703/573/8956,
or Esther Carpi at esther@carpiclay.com
October 31 to November 11, 2012
Botanical Artists of Canada Juried Exhibition
Papermill Gallery, Todmorden Heritage Mills, 94 Pottery Row, Toronto,
Ontario, Canada
This annual juried exhibition and small paintings gallery is open to all
BAC members in good standing; non-members may apply and pay for
membership in BAC prior to entering the exhibition. See website for
membership and exhibition requirements.
Eligibility: All BAC members in good standing
Jurors: TBA - 3 qualified botanical artists
Subject: any original botanical work–check Call for Entry on BAC website
for definition
Media accepted: watercolor, oil, acrylic, water media, mixed media,
pastel, color pencil, ink, and scratchboard.
Submissions: Number per entry accepted 3 Entry Fee $45 for up to 3
pieces for juried portion; $10 for one entry into small paintings gallery.
Mail check payable to BAC; email entry form and digital images to Sherry
Mitchell at serendipitystudio@shaw.ca. See Call for Entry for complete
submission details.
Submission Deadline: August 15, 2012
Presentation: Framed size limit not to exceed 1728 sq. in.
Notification: Acceptances and regrets will be sent by
September 15, 2012
Shipping and Insurance: Full packing and shipping requirements will
be provided to accepted artists.
Sales of works: May be for sale, NFS accepted: Works may not be may
not be removed until close of exhibition. When sold, 15% of the sale price
will be retained by the hosting institution.
Awards: $500 Best in Show, 3 - $100 awards for different media
Publicity and Catalog: If accepted your images may be used in
publicity for the exhibition. With appropriate funding, a catalog will be
prepared using the images you provide for jurors.
Contact: Sherry Mitchell; PH: 250.752.3346; email:
serendipitystudio@shaw.ca; website:
www.botanicalartistsofcanada.org/events.php
Anita Walsmit Sachs Gains 2nd Prize in 2012
Margaret Flockton Competition
R
un by the Royal Botanic Gardens and Domain Trust, the
annual exhibition, now in its ninth year, honors scientific
illustrators working in pen and ink. This year’s Margaret
Flockton Award winners
and entrants came from
around the world including
repeating
entries
from
Australia, New Zealand, Spain,
Brazil, United Kingdom,
Netherlands
and
new
countries represented by
Thailand and South Korea.
Second prize of $2,000
went to Anita Walsmit Sachs
from The Netherlands, for
the pen and ink illustration of
Lepisanthes senegalensis,
part of a series made for
the Flora of Nepal, a
commission
from
the
National Herbarium, Leiden
University and Naturalis.
Anita will donate her prize
money to Hortus Botanicus
Leiden. It is the oldest
botanical garden in Europe,
dating from 1593; the first
Lepisanthes senegalensis, ink on paper,
©Anita Walsmit Sachs 2012
prefect was Carolus Clusius
who promoted the tulip in The Netherlands. Funds will be used
to purchase furniture for the botanical art classroom, where
she teaches botanical drawing.
Anita tell us, “I am really thrilled with the prize, as I try to
make people aware of the beauty of scientific drawings and
their scientific but also decorative value,” This species is found
in the old world tropics, ranging from tropical Africa via
Madagascar and south and southwest Asia to the Malay
Archipelago. Congratulations, Anita!
SWSBA Reports on Chapter Activities
S
WSBA members have been particularly
busy during the first quarter of 2012.
To
begin,
members
contributed
illustrations to Legumes of Arizona: An
Illustrated Flora and Reference for
The University of Arizona’s Desert
Legume Program. The Program held an
exhibition of a selection of these artworks
at Boyce Thompson Arboretum for two
months this year. As well as completed
drawings,
works-in-progress
were
displayed, showing various stages of
production. “The exhibit provided an
opportunity for the public to view original
illustrations before publication and to
learn about the scientific illustration
process,” says Kirsten Lake, Program
project coordinator.
The West Valley Arts Council (WVAC),
the AZ SciTech Festival, and Glendale
Arts Commission sponsored Botanical
Art & Illustration, an exhibit held
during Arizona’s SciTech in February and
March. Karen Gengle’s pen and ink
illustration Echinocereus engelmannii
Echinocereus engelmannii, 11x14” pen and ink on Bristol board, ©Karen Gengle 2012
received Second Place. Susan Ashton got Third Place for her
watercolor Castilleja kaibabensis, and Joyce Peters and Diane
Dockery Hazard both received Honorable Mentions.
“The organizers of the AZ SciTech Festival wanted to
incorporate art,” says WVAC President & CEO Julie Richard.
“I had seen the Margaret Mee exhibit at the Field Museum in
Chicago and it left a distinct impression on me.” She felt
botanical arat would be a perfect match for this festival.
Richard opened the botanical art competition to artists outside
the WVAC membership. This botanical exhibit will be
repeated annually.
Members of SWSBA attended a meeting at the Art Institute
of the Arizona-Sonora Desert Museum (ASDM) in Tucson, to
learn about the latest projects of The Sonoran Desert
Florilegium Program (www.sonorandesertflorilegium.org).
Margaret Pope, chair of the Program’s steering committee,
tells us, “The goals of the Florilegium
Program are to collect, exhibit, and
archive historical, contemporary, and
future botanical art of the Sonoran
Desert flora. Among our first activities
was to accession, archive and scan over
1300 pen and ink illustrations at the
University of Arizona Herbarium.” This
treasure trove of illustrations was in
disarray, hidden away where no one
could see them. Many of the
illustrations are by Lucretia Breazeale
Hamilton,
an
internationally
regarded botanical illustrator of the
plants of the region.
The Florilegium Program now seeks
contemporary artworks. Scientifically
accurate color pieces depicting plants
including mountain, riparian and
grassland areas within and adjacent to
the region are sought. An exhibit at the
ASDM
Ironwood
Gallery
from
September 14–October 27, 2013:
Botanical Art of the Sonoran Desert:
Past and Present, is in the works (See
Calls for Entries on page 26).
Marina parryi, Parry’s False Prairie-clover, 11x14”, pen and ink,
©Susan E. Ashton 2012
HAPPENINGS..., CONTINUED
As an adjunct to exhibition
activities, in March, Dr. Judy Kula, Phoenix College Art
Instructor, who has exhibited nationally, provided a workshop
for SWSBA on the jury process for exhibitions. SWSBA
members experienced the challenge of being jurors in an
exercise using numerous traditional and contemporary
botanical artworks. This was followed by Lynn Reves, SWSBA
President, presenting an April session on how to frame art to
sell. Reves has extensive experience framing in a retail setting,
and the topic dovetailed nicely into the activities and needs of
members with planned events still to come.
Florida Society of Botanical Artists Exhibition
Edible Plants Illustrated
Vi and Dick Strain, Ginny Spencer, Krista Anandakuttan, Joan
Diblin, Kristen Jakob and Melinda Pahl a botanical artist’s delight!
Live flowering plants – primrose, yarrow, violas and lobelias
– and Bonnie Bonner’s real live Bug Motel stood out among
four thousand people and 60 exhibits at Infineon Raceway. Kids
stepped up to the microscope and saw leaf details on the
laptop. Some sat down and colored drawings of the live plants.
Others were dazzled by the botanical art and our exciting art
form. Parents asked how to get our program into local schools.
This was a terrific chance to get botanical art to a new audience.
A
SBA Artist’s Circle, the Botanical Art Society of the National
Capital Region, presented a 6-week exhibition of members’
artworks in March and April.
Submissions were juried by
Marcia DeWitt for The
Garden Path, held at The
Athenaeum, which opened
the exhibition with a wellattended artist’s reception on
Sunday, March 18.
Karen Coleman presented a
gallery talk, The Path of
Botanic Art. The event
included a special children’s
workshop titled Flowers,
Textures and Leaves, open to
the public, for a day in April.
O
pening at the Venice Art Center, Venice, Florida on April
7, this exhibit ran through May 4, 2012. Botanical art
today is enjoying a renaissance , and although it often depicts
far-flung marvels of the
botanical
world,
this
exhibition, consisting of the
works of 15 contemporary
botanical artists illustrates
some common and
uncommon plants that
people use for food.
The role of botanical
art is to blend the
scientific study of plants
with
their
artistic
presentation. The 38
Fragaria x ananassa, cv Albion, watercolor on
works of art in watercolor,
paper: ©Susan Benjamin 2012
colored pencil, graphite
and silverpoint demonstrate the variety of media employed and the
skills of the chapter’s botanical
artists.
Margaret Johnston Begins
Botanical Art Project for
Naturopathy
M
argaret Johnston, a new
member, recently spent
six months in Cape Town, South
Africa, studying native medicinal
plants. A naturopathic doctor
and educator, she has combined
her interests in naturopathy and
botanical illustration.
Joining the Botanical Artists
Association of South Africa
(BAASA) at the Kirstenbosch
Botanical Gardens was a foot in
the door to all kinds of
botanically related activities. It
allowed her into the Gardens
whenever she wanted to continue
her studies. Margaret will return
for another six months in the
coming year to continue her
work on the
naturopathic
botanical art project she started
this year.
B
Sutherlandia frutescens; From Flower to Fruit,
35x50cm, watercolor on paper, ©Margaret
Elizabeth Johnston. Sutherlandia has been
used and respected as a medicinal plant by
the Khoi San and Nama people, the original
inhabitants of the Cape.
NorCal Chapter Rubs Shoulders with
Bay Area Scientists and Fans
efore the holiday rush in early November, the Northern
California Chapter of the ASBA delighted children and
parents alike at The Bay Area Science Festival. The Festival
inspired families – mostly kids – with interactive, hands-on
science exploration and fun.
Nodding heads and bright eyes with lots of questions made
the day for volunteers Bernard Halliwell, Joanne Palamountain,
Artists’ Circle Presents Members’ Works at the
Athenaeum in Alexandria, VA
Promotional card features Pink Magnolia
(detail), 20x24”, colored pencil on colored
paper, ©Merri Nelson, 2012
B
Lizabeth Leech Authors
Botany Guide for
Botanical Artists
rought up in Hong Kong and Singapore among many exotic
plants, at an early age Lizabeth knew that plants delighted
and fascinated her. Whatever she did in the future, she knew
plants would be involved. She trained as a botanist and ecologist, and taught biology for 20 years, then moving into research,
in soft fruit breeding, and
improving frost hardiness in
fast growing tree species.
In 2002, after turning to
her love of art, she enrolled
in the English Gardening
School’s Diploma Course in
Botanical Art, under AnneMarie Evans, gaining her
diploma in 2002.
Liz has long noted that
botanical artists struggle
with aspects of plant
identification. A founding
member of the Hampton
Court Palace Florilegium
Society, she credits her
colleagues’ many questions
about botany as the final
spur to create this book.
Botany
for
Artists,
published by The Crowood
Press, England (www.crowood.com), is organized into 13
sections, and provides diagnostic details of many common
plant features, groups and families, to provide a starting point
for the botanical artist.
A unique aspect of the book is Liz’s “help sheets” – forms that
guide one to observe and record salient, essential details for
flowering plants, while sketching flowering plants, or observing
and sketching other selected specimens. You see her completed
sheets, with blank help sheets to copy and use in the field in
the appendix. available in the US from Trafalgar Square
Publishing, Chicago, IL. Email orders should be addressed to
orders@ipgbook.com.
(Editor’s note: also available at amazon.com)
A series of columns that highlight the work of members pursuing and promoting
an educational awareness of native plants through individual initiatives and projects.
Here Debbie Bankert, an ASBA grant recipient, offers an account of an
unusual and ambitious endeavor. The result is an artist’s journey into the
mountains of the Sierra Nevada de Santa Marta of Colombia. The quest? To
document the endemic and endangered plant species in Colombia. Not a task
for the faint of heart, it is another example of a member being passionately
involved with the documentation of rare and endangered species, making for
a greater understanding of plant conservation and ecological challenges
worldwide.
Currently, I am working on a watercolor of one of the Puya
bromeliad species that is difficult to reach. It grows only on
steep slopes, and scooting on my derriere while hanging onto
the underbrush is the only means of reaching it. Planned
strategies are essential! I learned to measure with a flexible old
sewing tape that allows me to maneuver around plant parts
more easily than a rigid ruler. Toting an array of colored pencils
I am able to create accurate colors in the field, to inform final
color choices in the studio. Clear shipping tape was a huge
success! I taped down flower or bract parts on sketch pads,
preserving details and color. For rare plants like the Puya, I
collect only a single flower, and dozens of photos, for details.
My first trip in November, 2009, allowed me to capture
several bromeliad varieties, in graphite and colored pencil. I
quickly learned that finished paintings would have to be done
at home, as the climate in that season is too humid for
watercolor. On a subsequent trip in February, 2012, weather
conditions were much drier and allowed opportunities for
watercolor. However, favorable weather conditions brought
birders from across the globe, and the Lodge teemed with
activity. So, whether from
problems of dampness,
being
overrun
with
birders,
or
the
tediousness of applying
thin layers of color hoping
for sufficient dry time, I
found that final work was
better managed in my
Virginia studio.
Days begin early to avoid
being
caught
in
the
descending clouds, rains or
thunderstorms. The early
daylight filtering through
forests left me amazed by
changing colors, depth of
field and differing scenes
within the same location.
Guzmania pallida is a
watercolor where I wanted
to capture this ethereal
feeling,
showing
deep
darkness paired with bright
light within the same frame.
In Tillandsia sigmoidea
and Santa Marta Parakeet
(the parrot is also endemic
and endangered), a more
spectacular bromeliad is
shown. Found in abundance
on the higher ridges, it’s
seldom found on lower
ones. The specimen I used was found on a lower ridge in
high grasses laced with rusting barbed wire. This area is
in an invasive Mexican pine forest that is wreaking havoc
in the delicate ecosystem.
We pursued my desired specimen through a tunnel created
by plant life that opened onto a precipice. Overlooking trees
that appeared as small broccoli far below, the trail was difficult
due to the steep decline down the mountain side. We quickly
collected the documentation needed, retracing our steps,
hurrying to avoid approaching cloud cover.
Another challenge is being on “visual overload” at day’s end,
which is challenging. However, the rhythm of keeping my nights
available to journal, mornings available for exploration, and
afternoons for sketches and artwork is seductive and makes
up for the challenging circumstances. The days spent in the
rhythm needed are idyllic in this little-known paradise. And I
find that with my next trip planned, my anticipation grows, and
the difficulties simply fade.
Into Colombia’s Mountains: an Artist’s Journey
By Debbie Bankert
road twists on the flanks of a tropical mountain, filled
with jagged rocks, fallen trees and treacherous depths,
meanders through small waterfalls and leads to the most
spectacular views amidst one of Earth’s rarest ecosystems. The
trek, taking 2.5 to 3 hours in a fourwheel drive vehicle, rises from the sea to
over 7000 feet in a little over 15 miles.
Upon arriving at El Dorado’s Lodge, the
cloud forest removes its green veil to
reveal a breathtaking display of tropical
color, views of mountain ranges and
cities, which lie in the far distance
below.
The El Dorado Reserve, located in a
Galapagos-like mountain range cut off
from the surrounding Andes, prevents
endemics from migrating and so boasts
rare teeming life and beauty. While
interest has been given to birds and
other fauna, plants in the 2200-acre
reserve have not been assessed for more
than 50-100 years. These
endangered species, threatened
by the failure of human
husbandry, are largely ignored,
with lack of services, finances
and interest.
Working as a 2009 & 2011
ASBA Grant recipient, I research
endemic and endangered plants
that reside here, in the Sierra
Nevada de Santa Marta of Clockwise from lower right: Guzmania
Colombia, SA, and capture their pallida, Parallel Dimensions, watercolor on
©Debbie Bankert 2009; Debbie
portraits in paint. The El paper,
working on the porch at the Lodge; Debbie
Dorado Reserve, one of 18 and her guide assessing a viable
under the careful management approach to a perched terrestial
once the cloud cover breaks,
of ProAves, Inc., exists for the bromeliad;
the views are breathtaking.
conservation of birds and other
wildlife and plants, while promoting ecotourism.
My guide, an ornithologist with an interest in botany, and I
have chosen the bromeliad family as a focus for study and
documentation. Different epiphytic and terrestrial bromeliads
are found in several forests, which demonstrate great changes
from one elevation to the next. Various trips, planned around
blooming seasons and prevailing seasonal weather systems, are
necessary for proper identification.
Knowing what actions or collection methods can be used with a
given species is essential before going into the field. We are able to
collect plants and parts using permission granted by the Colombian
government to ProAves, Inc., our legal sheltering agent. Whenever
possible, we re-plant specimens around the Lodge and cabin areas.
They are thriving, provide delight to visitors and leave natural
habitats untouched and well protected.
I had to quickly learn methods for observation and collection in
the field, while maintaining personal safety and protecting at-risk
habitats and species. The underbrush is extreme, so that one must If you have a tale to tell we’d love to hear it. Please e-mail your story to
use caution, and still many places are so steep and overgrown that Derek Norman at dereknorman@comcast.net. Please be sure to put
“Wildflower Watch” in the subject line. Thank you.
they are totally impregnable to human traffic.
A
WORKSHOPS
These are abbreviated
listings. Please be sure to go
online at www.asba-art.org
for full listings, including
fees, class details and
additional contact
information. ASBA is not
responsible for the accuracy
of the listings content.
Contact the sponsor for
prerequisites, materials and
other special requirements.
ASBA Member Workshops
Libby Kyer
June 18-20
Succulents in Colored Pencil
– Lush Form, Extreme
Perspective & Amazing
Color
Brookside Gardens, Maryland
Succulents are sculptural, lush,
colorful and beautifully
detailed. Learn new ways to
interpret form and portray
extreme perspective, create
perfect hues and portray
texture with wet and dry
colored pencil application.
Contact: PH: 301.962.1470,
email:
markrichardson@mncppcmc.org: All fees and class
descriptions + online
registration, visit
www.parkpass.org
September 15, 2012
Colored Pencil on
Marbledust Surfaces
Art Materials Expo, Santa Fe, NM
The more tools you have, the
more options you have. Learn
to use marbledust surfaces.
You’ll find that work on this
surface can be faster; toned
surfaces provide visual interest
and image mid-tones, line is
always organic, and so much
more. Materials included.
Contact: www.expoartisan.com
ASBA Institutional Member
Workshops
Due to limited space in this
issue because of extensive
Conference listings,
institutional members class
listings for summer classes
will appear only online for this
Journal.
Take a moment and go to their
listings at www.asba-art.org for
details on their varied and
interesting offers.
Academy of Botanical Art
2068 Sunnyside Lane,
Sarasota, Florida
The Academy of Botanical Art
holds regular classroom
sessions in Sarasota from
October to May. Distance
Learning courses are offered all
year long in both Botanical Art
and Entomological Illustration.
The Academy offers three certificate
programs: 1) Botanical Art; 2)
Entomological Illustration; 3)
Design & Decorative Arts. Prices for
classes and books are listed on
the Academy Marketplace.
Contact: PH: 941.953.9999.;
email:
olivia@academyofbotanicalart.com
www.academyofbotanicalart.com
June – September, 2012
Chicago Botanic Garden,
Botanical Art Certificate of
Merit
1000 Lake Cook Road,
Glencoe, IL
Contact: PH: 847-835-8293;
email:
certificateprogram@chicagobotani
c.org;
www.chicagobotanic.org/school/cer
tificate/art
July through September, 2012
Filoli Botanical Art
Certificate Program
86 Canada Road, Woodside, CA
94062
Classes listed below are part of
the Filoli Botanical Art
Certificate Program.
Enrollment in the
Certificate Program is not
necessary to participate
however, prerequisites must be
completed.
Contact: PH: 650.364.8300 x
508; email: classes@filoli.org;
website: www.filoli.org
June-September 2012
Friends of Wellesley College
Botanic Gardens
Formerly known as “Wellesley
College Friends of Horticulture”
106 Central Street, Wellesley,
MA
We offer a Certificate in
Botanical Art and Illustration
Contact: PH: 781.283.3094;
email:
wcbgfriends@wellesley.edu;
www.wellesley.edu/wcbgfriends
July 9 - 13, 2012
The NY Botanical Garden Botanical Drawing I
2900 Southern Boulevard,
Bronx, NY
Contact: PH: 718.8178720.;
email: adulted@nybg.org;
www.nybg.org
JOIN THROUGH A CHAPTER!
onsider joining through your local chapter. You'll receive all
C
the benefits of national membership plus added chapter benefits such as local workshops, exhibitions, 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.)
Allegheny Highlands - Amanda Zimmerman,
salamandaz@hotmail.com
The Botanical Artists Guild of Southern California Leslie Walker, lesatelier@mac.com
Florida Society of Botanical Artists - Susan Benjamin,
rsbenjamin1@verizon.net
Great River Chapter - Nancy Gehrig, nancygehrig@gmail.com
New England Society of Botanical Artists - Nancy Savage,
nancy@allthesavages.com
Northern California Society of Botanical Artists - Sally Petru,
sal@sallypetru.com
Pacific Northwest Botanical Artists - Wanda Booth,
saul08@juno.com
Rocky Mountain Society of Botanical Artists - Dorothy
DePaulo, ddepaulo@gmail.com
Southwest Society of Botanical Artists - Lynn Reves,
lynnreves@cox.net
Artists’ Circles
These Circles provide peer interaction and support for ASBA
member artists who are not yet interested in chapter formation. If
you are interested in forming a chapter or Artists' Circle, please
contact Terry Ruiter, Chapter Liaison at tlruiter@msn.com or at
PH: 303.798.9452.
Idaho
Inland Pacific Northwest
PH:208.267.1423
Linda Wolfe
llwolfe@wildbluet.net
Illinois
The Reed-Turner Botanical Artists,
Chicago
Ann Lesciotto
lesciotto@sbcglobal.net
www.reedturnerbotanicalartists.net
St. Louis, Missouri,
Southern Illinois
Jody Williams
fieldstone_jody@sbcglobal.net
Maryland, Virginia, District
of Columbia
Botanical Art Society of the
National Capital Region
Pamela Mason
pamelarmason@verizon.net
www.basncr.org
Maryland
Chesapeake Circle of Botanical Artists
Dori Novak
DENovak@comcast.net
Greater New Jersey
Mid Atlantic Society of
Botanical Artists
Ann Hoffenberg
footly@earthlink.net
FLORA, Long Island, NY
Irene Messina
irene.messina@gmail.com
Portland, Oregon - Southern
Washington
Connie Ratti
PH: 503.620.5141
activitydirectorclass@hotmail.com
Austin, Texas
Sally Fraser
PH:512.447.2284
sngfraser@gmail.com
Central Virginia Botanical
Artists
Celeste Johnson
cbotanart@aol.com
Planning ahead? Here’s the ASBA
Meeting and Conference schedule for
the next three years. Hope to see you!
u2012, Chicago, IL, October 18 - 20
u2013, Pittsburgh, PA, September 26 - 28, with
14th Hunt International Exhibition
u2014, Denver, CO, October 16 - 18, for the ASBA
20th Anniversary
The World is Looking at the ASBA Members’ Gallery at
www.asba-arts.org
To have your botanical artwork shown in the ASBA Members’
Gallery, please visit www.asba-art.org, select Gallery, then
Gallery Guidelines under Member Gallery.
SUGGESTION BOX
If you have an idea that would enrich the experience
of ASBA Membership, please send it to:
dnd.org@comcast.net.
Be sure to put “Suggestion Box” in the subject line.
Yours may be the next great idea!
Membership Application/Renewal
embership in ASBA is open to all individuals
and institutions worldwide who are interested
in botanical art. Annual fees are based on the
calendar year, with all membership renewals due in
January.
Membership benefits include:
s4 issues of The Botanical Artist Journal, which
includes the annual directory volume for networking
with members in your area and worldwide
sEligibility to enter ASBA juried exhibitions and
participate in invitational exhibits
sEligibility to present your work online at the ASBA
website
sAnnouncements of your exhibitions, workshops,
events or group activities published in The Botanical
Artist as space allows.
sEligibility to attend the Annual Meeting and
Conference.
sEligibility for membership in regional chapters
sEligibility for ASBA awards.
You may join ASBA directly or through a local
chapter (see p. 30). To become a member of ASBA
or to renew your national membership, please
complete the following form and enclose it with your
membership fee in an envelope addressed to:
M
Deadlines for Submission
For The Botanical Artist
Volume 18, Issue 3 - September, Deadline August 6, 2012
Volume 18, Issue 4 - December, Deadline November 5, 2012
Volume 19, Issue 1 - March, Deadline February 1, 2013
Volume 19, Issue 2 - June, Deadline May 1, 2013
Submission Guidelines:
Articles, calls for entries, exhibition notices, artworks and other items of interest
to ASBA members may be submitted by any member for inclusion in The
Botanical Artist. All submissions should be sent to the editor on submission forms
available at amsocbotartists.org. Email completed forms to Libby Kyer,
journal@lkyerstudio.com. Dated entries must be resubmitted each quarter if
repeat inclusion is desired.
Do not submit original photos, slides, prints or illustrations as they will
not be returned. All submissions are published at the editor’s discretion on a spaceavailable basis, and are subject to editing.
10th
ASBA/HSNY
(52pp)
12th
ASBA/HSNY
(58 pp.)
13th
ASBA/HSNY
(60 pp)
Small Works
2011: Order
your print-ondemand
Legacy/Phoenix catalog from
Blurb.com at
Exhibitions
www.blurb.co
(72 pp.)
m/bookstore/d
etail/2532414
American Society of Botanical Artists at NYBG,
2900 Southern Blvd., Bronx NY 10458-5126.
Please print clearly, Detach and Mail
Name:__________________________________________
Address:_______________________________________
City:______________________State/Province:_______
ZIP/Postal Code _______________ Country:________
Home PH:______________________________________
Work PH: ______________________________________
Email:__________________________________________
Website:________________________________________
Please print clearly. Your information will be published
in the Annual Members Directory unless you check
here to decline:
qPlease do not list me in the directory.
2012 Membership Dues:
Individual Member: USq$85 Non-US q$100
Institutional Member: USq$150
Institutional Member Non-US q$175
Please Help by Giving a Donation
The basic membership dues (above) cover only a portion of ASBA's operating expenses. We invite you to
make a donation in addition to your dues, if you can.
ASBA is a non-profit, tax-exempt organization. Your
support will be gratefully acknowledged in the "Thank
You" issue of the Journal.
Please accept my donation in addition to my annual
dues (above) in the category of:
qFriend $40 - 99 qContributor: $100 - 249
qSupporter $250 - 499 qSponsor $500 - 999
qOther________________________________________
Total amount enclosed:
________________________
14th ASBA/HSNY
(58 pp.)
Losing Paradise?
(116 pp)
Reduced Price:
$20
Colorful
Edibles
ASBA Coloring
Book
(28 pp)
Green Currency
(64 pp)
Reduced Price: $25.
To order, go to
www.nybgshop.org
/Green-Currency-p22004
ArtPlantae Books - your official source for ASBA Catalogs! We are pleased
that ArtPlantae Books, a respected name in botanical art education and as
a book distributor, will fulfill your orders.
For fastest service and easiest ordering, please order with your
credit card directly from the ArtPlantae website at
www.ArtPlantaeBooks.com.
Click on “ASBA Exhibition Catalogs.” and complete order form.
ASBA members receive the Losing Paradise? catalog for $20 (Reg. $29.95). Please
write “ASBA Member” in the Comment Box during checkout (or on your check).
Or send this order form, with check written to ArtPlantae Books to: ArtPlantae Books,
5225 Canyon Crest Drive, Ste 71-127, Riverside, CA 92507.
Order Form for ASBA Exhibition Catalogs and Coloring Book
r14th ASBA/HSNY #____x US $20.00
r13th ASBA/HSNY, #____x US $20.00
rLosing Paradise? #____x US $20.00
rLegacy/Phoenix ,
#____x US $20.00
rColorful Edibles
#____x US $8.99
Total number ordered:
Total amount for catalogs:
=
=
=
=
=
=
=
=
=
_________
_________
_________
_________
_________
_________
_________
_________
_________
(NY residents add 7.375% /CA residents add 7.75%) Sales Tax = _________
*S&H: US, $5.25, add $1.25 each additional book.* Total S&H = _________
Total amount enclosed: = _________
Name:________________________________________________________________________________________
Address: _____________________________________________________________________________________
City: _________________________________________________State:___________________________________
Country: _____________________________________ZIP: ____________________________________________
Email:
___________________________________________________________________________
*International mail order customers will be contacted with shipping and handling costs
TBA ~ VOLUME 17‐4 DECEMBER 2011 ‐ 31
at NYBG
2900 Southern Blvd.
Bronx NY 10458-5126
The History of Botanical Art
By Jutta Buck
n the late 17th and early 18th centuries,
Johann Jacob Dillenius (1687-1747) was
noteworthy for the drawings and etchings
illustrating his Hortus Elthamensis (1732).
However, another vast effort in publishing
botanical books looms large, carried out by
Johann Wilhelm Weinmann(1683-1741)
whose eight volumes of the Phytanthoza
Iconographia were printed in Augsburg from
1735-1745. With 1025 copper engravings
depicting over 4000 figures of plants printed
in color and finished by hand, it is a massive
tour de force.
Still another popular work of the period
was that of Mrs. Elizabeth Blackwell (c17001758), with the refreshing title A Curious
Herbal, published in London from 1737 to
1739 featuring her own drawings and
engravings.
Illustrated treatises pertaining to subjects
of natural science now began to appear
regularly, reflecting the intellectual curiosity
of naturalists, botanists and artists, who
were captivated by the latest discoveries
I
made by explorers returning from their most recent
expeditions. This curiosity was applied to the exact study
of materials both familiar and those more recently
discovered.
In this connection, the Swedish
botanist and taxonomist Carolus
Linnaeus (1707-1778), considered as
the founder of modern scientific
classification of plants and animals,
published his Genera Plantarum in
1737, which described plants in
rigorous detail in terms of their
gender and species. In his lifetime,
Linnaeus published more than 180
works, and for many years thereafter
exerted a major influence on
botanists. In our time, recent
advances in the study of natural
science are redefining how plants are
grouped, due to DNA and other newly
discovered details, are leading to
methods of defining taxa and
grouping them.
Jacobaea Africana annua minor and Jacobaea
Africana frutescens folius absynthia, by Johann
Wilhelm Weinmann in Phytanthoza Iconographia,
Folio 4 c. 1740

ASBA Journal 18-2_ASBA Journal - American Society of Botanical

Transcription

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