Botanical Art Quotes

The decor bowled me over. Everywhere I looked, there was something more to see. Botanical prints, a cross section of pomegranates, a passionflower vine and its fruit. Stacks of thick books on art and design and a collection of glass paperweights filled the coffee table. It was enormously beautiful, a sensibility I'd never encountered anywhere, a relaxed luxury. I could feel my mother's contemptuous gaze falling on the cluttered surfaces, but I was tired of three white flowers in a glass vase. There was more to life than that.

Literary criticism can be no more than a reasoned account of the feeling produced upon the critic by the book he is criticizing. Criticism can never be a science: it is, in the first place, much too personal, and in the second, it is concerned with values that science ignores. The touchstone is emotion, not reason. We judge a work of art by its effect on our sincere and vital emotion, and nothing else. All the critical twiddle-twaddle about style and form, all this pseudoscientific classifying and analysing of books in an imitation-botanical fashion, is mere impertinence and mostly dull jargon.

In 1967, the architect Lewis Mumford wrote of the human brain as a 'neural efflorescence' like those 'in the botanical realm', one of those 'extravagances and exuberances of nature' in which evolution overreaches itself: The very excess of 'brainness' set a problem for man not unlike that of finding a way of utilizing a high explosive trough inventing a casing strong enough to hold the charge and deliver it. This, he argued, must have proved maladaptive, thus endangering the survival of early humans. Nature's grandest flower was drooping under its own luxuriant weight. Mumford suggested that it was only by unloading and storing this 'hyperactivity' into 'cultural containers', damning up our sapient surplus in the supererogations of art and curiosity, that our species has avoided 'behaving like a racing motor that burns itself out for lack of a load'. But latent self-destructive potential still lurked just beneath the surface.

Sometimes I defy flower anatomy & other times I try and replicate it intricately!

If a fountain could jet bouquets of chrome yellow in dazzling arches of chrysanthemum fireworks, that would be Canada Goldenrod. Each three-foot stem is a geyser of tiny gold daisies, ladylike in miniature, exuberant en masse. Where the soil is damp enough, they stand side by side with their perfect counterpart, New England Asters. Not the pale domesticates of the perennial border, the weak sauce of lavender or sky blue, but full-on royal purple that would make a violet shrink. The daisylike fringe of purple petals surrounds a disc as bright as the sun at high noon, a golden-orange pool, just a tantalizing shade darker than the surrounding goldenrod. Alone, each is a botanical superlative. Together, the visual effect is stunning. Purple and gold, the heraldic colors of the king and queen of the meadow, a regal procession in complementary colors. I just wanted to know why. In composing a palette, putting them together makes each more vivid; just a touch of one will bring out the other. In an 1890 treatise on color perception, Goethe, who was both a scientist and a poet, wrote that “the colors diametrically opposed to each other . . . are those which reciprocally evoke each other in the eye.” Purple and yellow are a reciprocal pair. Growing together, both receive more pollinator visits than they would if they were growing alone. It’s a testable hypothesis; it’s a question of science, a question of art, and a question of beauty. Why are they beautiful together? It is a phenomenon simultaneously material and spiritual, for which we need all wavelengths, for which we need depth perception. When I stare too long at the world with science eyes, I see an afterimage of traditional knowledge. Might science and traditional knowledge be purple and yellow to one another, might they be goldenrod and asters? We see the world more fully when we use both. The question of goldenrod and asters was of course just emblematic of what I really wanted to know. It was an architecture of relationships, of connections that I yearned to understand. I wanted to see the shimmering threads that hold it all together. And I wanted to know why we love the world, why the most ordinary scrap of meadow can rock us back on our heels in awe.

The three of us spend much of our week together at art museums and botanic gardens and other tourist attractions. We are drawn to these places of silent staring and confused, enervated wandering because they make us seem and feel less like freaks as we stare in speechless shock at one another.

Are you chuckling yet? Because then along came you. A big, broad meat eater with brash blond hair and ruddy skin that burns at the beach. A bundle of appetites. A full, boisterous guffaw; a man who tells knock know jokes. Hot dogs - not even East 86th Street bratwurst but mealy, greasy big guts that terrifying pink. Baseball. Gimme caps. Puns and blockbuster movies, raw tap water and six-packs. A fearless, trusting consumer who only reads labels to make sure there are plenty of additives. A fan of the open road with a passion for his pickup who thinks bicycles are for nerds. Fucks hard and talks dirty; a private though unapologetic taste for porn. Mysteries, thrillers, and science fiction; a subscription to National Geographic. Barbecues on the Fourth of July and intentions, in the fullness of time, to take up golf. Delights in crappy snack foods of ever description: Burgles. Curlies. Cheesies. Squigglies - you're laughing - but I don't eat them - anything that looks less like food than packing material and at least six degrees of separation from the farm. Bruce Springsteen, the early albums, cranked up high with the truck window down and your hair flying. Sings along, off-key - how is it possible that I should be endeared by such a tin ear?Beach Boys. Elvis - never lose your roots, did you, loved plain old rock and roll. Bombast. Though not impossibly stodgy; I remember, you took a shine to Pearl Jam, which was exactly when Kevin went off them...(sorry). It just had to be noisy; you hadn't any time for my Elgar, my Leo Kottke, though you made an exception for Aaron Copeland. You wiped your eyes brusquely at Tanglewood, as if to clear gnats, hoping I didn't notice that "Quiet City" made you cry. And ordinary, obvious pleasure: the Bronx Zoo and the botanical gardens, the Coney Island roller coaster, the Staten Island ferry, the Empire State Building. You were the only New Yorker I'd ever met who'd actually taken the ferry to the Statue of Liberty. You dragged me along once, and we were the only tourists on the boat who spoke English. Representational art - Edward Hopper. And my lord, Franklin, a Republican. A belief in a strong defense but otherwise small government and low taxes. Physically, too, you were such a surprise - yourself a strong defense. There were times you were worried that I thought you too heavy, I made so much of your size, though you weighed in a t a pretty standard 165, 170, always battling those five pounds' worth of cheddar widgets that would settle over your belt. But to me you were enormous. So sturdy and solid, so wide, so thick, none of that delicate wristy business of my imaginings. Built like an oak tree, against which I could pitch my pillow and read; mornings, I could curl into the crook of your branches. How luck we are, when we've spared what we think we want! How weary I might have grown of all those silly pots and fussy diets, and how I detest the whine of sitar music!

In 1853, Haussmann began the incredible transformation of Paris, reconfiguring the city into 20 manageable arrondissements, all linked with grand, gas-lit boulevards and new arteries of running water to feed large public parks and beautiful gardens influenced greatly by London’s Kew Gardens. In every quarter, the indefatigable prefect, in concert with engineer Jean-Charles Alphand, refurbished neglected estates such as Parc Monceau and the Jardin du Luxembourg, and transformed royal hunting enclaves into new parks such as enormous Bois de Boulogne and Bois de Vincennes. They added romantic Parc des Buttes Chaumont and Parc Montsouris in areas that were formerly inhospitable quarries, as well as dozens of smaller neighborhood gardens that Alphand described as "green and flowering salons." Thanks to hothouses that sprang up in Paris, inspired by England’s prefabricated cast iron and glass factory buildings and huge exhibition halls such as the Crystal Palace, exotic blooms became readily available for small Parisian gardens. For example, nineteenth-century metal and glass conservatories added by Charles Rohault de Fleury to the Jardin des Plantes, Louis XIII’s 1626 royal botanical garden for medicinal plants, provided ideal conditions for orchids, tulips, and other plant species from around the globe. Other steel structures, such as Victor Baltard’s 12 metal and glass market stalls at Les Halles in the 1850s, also heralded the coming of Paris’s most enduring symbol, Gustave Eiffel’s 1889 Universal Exposition tower, and the installation of steel viaducts for trains to all parts of France. Word of this new Paris brought about emulative City Beautiful movements in most European capitals, and in the United States, Bois de Boulogne and Parc des Buttes Chaumont became models for Frederick Law Olmsted’s Central Park in New York. Meanwhile, for Parisians fascinated by the lakes, cascades, grottoes, lawns, flowerbeds, and trees that transformed their city from just another ancient capital into a lyrical, magical garden city, the new Paris became a textbook for cross-pollinating garden ideas at any scale. Royal gardens and exotic public pleasure grounds of the Second Empire became springboards for gardens such as Bernard Tschumi’s vast, conceptual Parc de La Villette, with its modern follies, and “wild” jardins en mouvement at the Fondation Cartier and the Musée du Quai Branly. In turn, allées of trees in some classic formal gardens were allowed to grow freely or were interleaved with wildflower meadows and wild grasses for their unsung beauty. Private gardens hidden behind hôtel particulier walls, gardens in spacious suburbs, city courtyards, and minuscule rooftop terraces, became expressions of old and very new gardens that synthesized nature, art, and outdoors living.

she pairs real plants with their illustrated counterparts on beautiful posters from the Dutch label My Deer Art. To break up the style, she adds her own botanical frames with dried leaves. The entire look has a striking effect, mixing depth, textures and sizes. Another favourite prop for plant stylings are woven baskets with ethnic patterns – Pepper uses these to cover up unspectacular plant pots and thus adds a bohemian vibe to her houseplants.

Pattern Rixty

These New World practices (enslavement and genocide) formed another secret link with the anti-human animus of mechanical industry after the sixteenth century, when the workers were no longer protected either by feudal custom or by the self-governing guild. The degradations undergone by child laborers or women during the early nineteenth century in England's 'satanic mills' and mines only reflected those that took place during the territorial expansion of Western man. In Tasmania, for example, British colonists organized 'hunting parties' for pleasure, to slaughter the surviving natives: a people more primitive, scholars believe, than the Australian natives, who should have been preserved, so to say, under glass, for the benefit of later anthropologists. So commonplace were these practices, so plainly were the aborigines regarded as predestined victims, that even the benign and morally sensitive Emerson could say resignedly in an early poem, 1827: "Alas red men are few, red men are feeble, They are few and feeble and must pass away." As a result Western man not merely blighted in some degree every culture that he touched, whether 'primitive' or advanced, but he also robbed his own descendants of countless gifts of art and craftsmanship, as well as precious knowledge passed on only by word of mouth that disappeared with the dying languages of dying peoples. With this extirpation of earlier cultures went a vast loss of botanical and medical lore, representing many thousands of years of watchful observation and empirical experiment whose extraordinary discoveries-such as the American Indian's use of snakeroot (reserpine) as a tranquilizer in mental illness-modern medicine has now, all too belatedly, begun to appreciate. For the better part of four centuries the cultural riches of the entire world lay at the feet of Western man; and to his shame, and likewise to his gross self-deprivation and impoverishment, his main concern was to appropriate only the gold and silver and diamonds, the lumber and pelts, and such new foods (maize and potatoes) as would enable him to feed larger populations.

I adore the elegance of botanical realism but I also can't help but dream of my very own neo-surrealistic fantasy flowers, and so I paint and illustrate both; I always find myself between both of those worlds.

Deep, fluting emotions were a form of weakness. She'd seen the softening in her work over the years, she'd started making the lazy, homey treats like apple crumble, chocolate muffins, butterscotch pudding, and lemon bars. They were fast and cheap and they pleased her children. But she'd trained at one of the best pastry programs in the country. Her teachers were French. She'd learned the classical method of making fondant, of making real buttercream with its spun-candy base and beating the precise fraction off egg into the pate a choux. She knew how to blow sugar into glassine nests and birds and fountains, how to construct seven-tiered wedding cakes draped with sugar curtains copied from the tapestries at Versailles. When the other students interned at the Four Seasons, the French Laundry, and Dean & Deluca, Avis had apprenticed with a botanical illustrator in the department of horticulture at Cornell, learning to steady her hand and eye, to work with the tip of the brush, to dissect and replicate in tinted royal icing and multihued glazes the tiniest pieces of stamen, pistil, and rhizome. She studied Audubon and Redoute. At the end of her apprenticeship, her mentor, who pronounced the work "extraordinary and heartbreaking," arranged an exhibition of Avis's pastries at the school. "Remembering the Lost Country" was a series of cakes decorated in perfectly rendered sugar olive branches, cross sections of figs, and frosting replicas of lemon leaves. Her mother attended and pronounced the effect 'amusant.

What we see depends on history and culture as much as it does on the structure of our eyes, he wrote. Contemporary humans are less and less able to see the plentitude of the world. “Nothing is less cultivated these days in Western societies than the art of seeing.” Seeing what is takes time, he wrote; it requires a kind of depth perception that is no longer characteristic of this age. The promise of herbal medicine is that it offers products that bring wellness not only to each of us, but also to humanity and the earth. But that is only the case if individuals and companies are truly committed to wellness each step of the journey, not just in the finished product on the shelf. Laral value captures this fuller meaning of tending the whole.

remember I’ve been obsessed with numbers and creating. It could be any kind of project: beading, stitching, papercrafts, painting, etc,. It really didn’t matter. I would take to any new craft like a fish to water. The same was true for anything related to mathematics and numbers. I spent hours on end listening to music and making my way through numerous math problems.

CREATES

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book,

reserved.

overwhelming

working

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