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US Release - August 6, 2013

US Release – August 6, 2013. Notify Me

After reading Music Hiding in the Air, I was speechless. 

I knew of Rory McEwen and his work before reading the memoir written by his niece Christian McEwen. However Rory was simply a name on the timeline of botanical art history I try to organize in my head; his paintings, work to admire and study in books such as Wilfrid Blunt’s The Art of Botanical Illustration: An Illustrated History.

When I put the book down, I couldn’t think beyond what I had just read. I realized I was no longer looking at a timeline with Rory McEwen’s name on it. I stopped being an outside observer because Christian brought me into the timeline of her uncle’s life and allowed me to experience some of it with her.

Christian McEwen’s recollection of her relationship with her uncle is extremely moving and we are fortunate she has chosen to share this relationship with us.

Christian writes about her uncle’s privileged upbringing, his love of music and art, and his hunger for solitude and world travel. She shares personal letters and writes about the impression Rory McEwen made upon her life before his death in 1982 at the age of 50.

Music Hiding in the Air is not a new book. It appeared online ten years ago on a website called Archipelago. It was transformed into book form by Bauhan Publishing because of the exhibition Rory McEwen, The Colours of Reality now at the Royal Botanic Gardens, Kew (May 11 – September 22, 2013). Christian wrote her memoir in the late 1990s while living in the United States. She says she wrote the memoir because at the time she “was hungry for my people and Scotland. Writing about Rory enabled me to connect with Scotland.” 

Christian wrote about her uncle to ground herself in her own family story. When she wrote her book, Rory McEwen was an unknown artist partly because he sold his work to private collections. People eventually began to learn about him, however, and Dr. Shirley Sherwood was among those collecting Rory’s work. Now 15 years later, Rory McEwen is receiving recognition that is long overdue. Christian says Rory is “being resurrected” by the event at Kew.

Credited with revolutionizing botanical art, Rory painted images of plants with incredible detail. He painted on vellum and used a heart surgeon’s magnifying glass to look at flowers closely. Christian says that poet Alastair Reid once told her Rory worked with a kind of pulley system that allowed him to hover his hand over the vellum so he wouldn’t smudge it.

How many hours did Rory spend in his studio? Christian isn’t sure. She remembers visiting his studio when she was a teenager, and says Rory could be a very solitary person, and also very gregarious. Somehow he managed to balance family time with long hours alone, painting.

When asked to identify who she would like to read her book, Christian replied:

Those in the immediate family who have been born or have grown up since Rory died.

Botanical artists at all levels of expertise.

The people of Scotland, who up till now may have known him only as a musician. They will rediscover him as a Renaissance man, a poet and an artist, a true cosmopolitan.

Fellow artists and admirers in the United States.

Christian went on to say that many people have connected with her book. Since publishing her memoir online, Christian says strangers have written to her saying they were moved by Rory’s story. His story – a human story – is a good story all by itself.

Whomever reads her book, Christian wants people to understand one thing about her uncle. She wants them to see he understood the true power of the Latin phrase, carpe diem (“seize the day”). She wants people to be inspired by Rory’s story, his art and “the power of life lived in the service of one’s art. Of one’s heart.”



About Christian McEwen

Christian McEwen is a writer, teacher and workshop leader. She came to the University of California at Berkeley on a Fulbright Scholarship, and has lived most of her adult life in the United States. She returns to Scotland to teach each summer. This year, she will be teaching on the Scottish Island of Tanera Mor with the textile artist, Jan Kilpatrick.

Later this year, Christian will teach The Art of Letter Writing: Voice, Calligraphy & Spirit with calligrapher, illustrator and author, Barbara Bash. This September workshop will be taught at Sky Lake Lodge in Rosendale, NY. Learn More

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I hope you are enjoying the conversation with Katie Zimmerman. I asked Katie if she was going to write a book based on her years of research.

She replied:

I’m in the final stages of writing up my dissertation, and all along I’ve been writing with the book in mind. There are a few books out there already, but they have all treated North as an anomaly in the “intrepid spinster” vein. I don’t want to downplay North’s extraordinary achievements and personality, but to really understand her work and its value beyond its eccentricity, we need a more complete narrative. North’s individualized vision and visualizations, however idiosyncratic, were…

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exhibitPostcard_NESBA_2013
From the Mountains to the Sea: Plants, Trees and Shrubs of New England

The first exhibition of the New England Society of Botanical Artists (NESBA) opens on Sunday, May 19, at The Art Complex Museum in Duxbury, MA, the first stop on its six-venue journey around New England. The exhibition will feature 60 portraits of native New England plants. Each venue will also feature the drawings and paintings by NESBA members in that state.

The touring schedule for From the Mountains to the Sea includes:

Learn more about the New England Society of Botanical Artists on their website. Follow them on Twitter (@NESBAArtists), Like them on Facebook.

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When reading about artists traveling on European expeditions, we learn that artists worked in watercolor. Marianne North worked in oil. Does North ever explain why she chose oil over watercolor or other color media?

Yes, she does – and the answer is really interesting in terms of getting a handle on North’s motivations for painting and her self-image as an artist. North took watercolor lessons as a young woman, but once she tried oil painting she found it to be “a vice like dram-drinking, almost impossible to leave off once it gets possession of one.” Besides enjoying the feel and effects of oil colors, it is important to note that North was not a botanical illustrator. If we examine North’s oil sketches within this tradition, the only conclusion that can be, and has too often been made, is that she was bad at her work. This isn’t helpful for reconstructing what it was she was doing. North’s project is more closely aligned with the kind of work being done by the Hudson River School painters in North America, who traveled throughout the United States, the Arctic, Jamaica, and South and Central America with the goal of painting the beauty, unity, and character of nature – and who did so in oils. For North, it wasn’t interesting to paint an uprooted, idealized type-specimen against a white background as per botanical illustration. Instead, she treated the plants and botanical landscapes she encountered as individuals and groups of individuals met with in distinctive settings, all of which she wanted to portray with the vibrancy and materiality of the original encounter, a task best done with oils.

Catch up with our conversation with Katie Zimmerman

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DrawingFood9781452111315 Here is a new resource that takes a fun and lighthearted approach to drawing. This resource provides more than prompts to remind you to draw everyday. It is a guided sketchbook complete with drawing techniques, instructions about how to use different media and a guidebook with plenty of room for sketching.

Drawing Food: A Journal by illustrator Claudia Pearson is composed of two key sections. The first section is titled, How to Draw Food, and contains instruction about how to draw fruit and vegetables, how to draw meat and dairy products, how to draw treats from the bakery, and how to draw household kitchen items. In this section, Pearson discusses line drawing, shading, how to work with colored pencils, and how to work with color pastels. Her instructions are clear, simple and doable.

In Part Two of her book, Pearson establishes a two-page spread for each week of the year and provides fun prompts for sketching enthusiasts. She challenges readers with thought-provoking tasks such as drawing what they find at their local farmer’s market, drawing something seasonal that isn’t produce, and challenges them to describe other culinary subjects in a visual way.

If the word “draw” makes you nervous, this book will help you begin to see your world through the eyes of an illustrator. It isn’t focused narrowly on any one culinary topic and provides plenty of room for you to take the journal in any direction you want to take it.

Interested in beginning your own illustrated food journal and discovering how plants intersect with our lives?

Join ArtPlantae next week when it launches the Botany Craft Bar, a creative place to learn about plants, during the Spring Open House at Aurea Vista on
Friday, May 17 (5-9 PM). In June, the Botany Craft Bar will become a regular feature during Riverside ArtsWalk, a monthly celebration of the arts in downtown Riverside.

If you can’t make it to the open house next week, visit ArtPlantae’s Botany Craft Bar on the first Thursday of the month during ArtsWalk. The Botany Bar will be open from 6:00 – 8:30 PM at Aurea Vista.

This monthly gathering is a CRE8TIME event and is community, fun and education all rolled into one!

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In my review of Marianne North: A Very Intrepid Painter by Michelle Payne, I ramble though calculations as I think aloud as to how Marianne North could have completed 832 paintings in 14 years. What have you discovered about how she worked that would make such an impressive accomplishment possible?

It is impressive! Calculated out it’s something like one painting every six days for fourteen years! And when we consider that the majority of this work was done on-the-spot in distant locales, the achievement becomes even more impressive. There are a few factors that made North’s project as prodigious as it was: first, and a great lesson to all, was the possession of an extraordinary work ethic. North woke early and worked through all kinds of weather, sometimes for up to twelve hours a day. She also famously preferred plants to people, and was often able to carve extra time to work by excusing herself from the many social obligations central to colonial and ex-pat community life in the places she visited. In Sarawak, for example…

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Summer classes with artist Susan T. Fisher have been announced at Wellesley College Botanic Gardens in Wellesley, MA.

Here is the latest at Classes Near You > Massachusetts.


Friends of Wellesley College Botanic Gardens
Certificate Program in Botanical Art and Illustration

www.wellesley.edu/wcbgfriends
This program offers several weekly and two- or three-day classes on botanical art and scientific illustration with Sarah Roche and Jeanne Kunze and and visiting instructors. The courses offered through this program cover all aspects of botanical art. Here is a peek at the 2012-2013 schedule:

  • Graphite Fundamentals: Basic Drawing Skills
  • Learning Botany by Drawing
  • Leaves 101
  • Plant Painting for the Petrified
  • Photoshop Demystified
  • Extreme Lumps and Bumps
  • smART Business
  • Colored Pencil Fundamentals


Summer 2013 Classes

Don’t miss these summer classes with visiting artist, Susan T. Fisher!

    Turn on the Lights!
    Friday, July 26 – Sunday, July 28, 2013
    9:30 AM – 3:30 PM BAC 14 132
    Go beyond flat botanical drawings with Susan Fisher. Graphite exercises shift your work from blah to bright and show how values enhance any illustration. Create art to grab the viewer; express a three dimensional quality, and fully express the important characteristics of the plant. Make better choices at the beginning of a piece to avoid a big “fix” at the end. Using supplied colored pencils, discover unusual approaches to seeing color and eliminate poor color choices forever. All skill levels. Cost: WCBG Friends Members $350 / Non-Members $440


    Optimizing Colors in Botanical Paintings

    Tuesday, July 30 – Thursday, August 1, 2013
    9:30 AM – 3:30 PM BAC 14 114
    You understand how to mix color, now focus on a systematic method for manipulating color to create your vision. How do you optimize color mixtures in your botanical watercolors? Do you use washes or glazes? Do you mix colors on the paper or on the palette? When you need to make adjustments what do you adjust first – value, hue or chroma?

    Increase your ability to make good color choices for different painting situations in a series of fun exercises with Susan Fisher. Learn to anticipate drying shifts and how they affect your work. Recognize various lighting aspects and see how they encourage or derail color choices. Focus on the challenging qualities of plant/vegetable specimens to practice color-mixing possibilities. A selection of watercolor exercises will guide students in the skillful use of warm or cool; light or dark; vivid or neutral colors; and related darks in botanical paintings. Although minimal drawing is needed, some watercolor experience mixing colors is required. Cost: WCBG Friends Members $350 / Non-Members $440

    To register: email: wcbgfriends@wellesley.edu or call (781) 283-3094

Learn more about Wellesley’s certificate program.
View current schedule

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Click to view poster.

Click to view poster.

Annual Wildflower & Art Festival
Idyllwild Nature Center
Idyllwild, CA
May 25-27, 2013
9 AM – 4 PM

Visit the Idyllwild Nature Center in the mountain community of Idyllwild this Memorial Day weekend to learn about local wildflowers and native plants. This fun-filled weekend also includes guided nature walks, an art exhibition, and activities for the entire family.

Weekend visitors to Idyllwild also have the opportunity to start a personalized guide to plants at ArtPlantae.
Learn more below!


Free Workshops with Purchase of Sketchbook at ArtPlantae

Create your own personalized guide to plants! Purchase a sketchbook at ArtPlantae during the Annual Wildflower Show and Art Festival at the Idyllwild Nature Center (May 25-27, 2013) and attend any of the sessions below for free during the Memorial Day weekend. Limit 10 people per session.
Cost: $9.95 per person

Participants may repeat a session if space is available. Priority goes to first-time attendees. Waiting lists will be established if necessary. Please register early. Sessions will begin promptly at their scheduled start times.


Let’s Explore Plants
Memorial Day Schedule

    Saturday, May 25
    9:30 – 10:30 – What makes a stem a stem?
    11:00 – 12:00 – What makes leaves, leaves?
    12:00 – 1:00 – Lunch Break
    1:00 – 2:00 – What makes flowers, flowers?
    2:30 – 3:30 – What makes fruit, fruit?


    Sunday, May 26

    9:30 – 10:30 – What makes fruit, fruit?
    11:00 – 12:00 – What makes a stem a stem?
    12:00 – 1:00 – Lunch Break
    1:00 – 2:00 – What makes leaves, leaves?
    2:30 – 3:30 – What makes flowers, flowers?


    Monday, May 27

    9:30 – 10:30 – What makes flowers, flowers?
    11:00 – 12:00 – What makes fruit, fruit?
    12:00 – 1:00 – Lunch Break
    1:00 – 2:00 – What makes a stem a stem?
    2:30 – 3:30 – What makes leaves, leaves?


Click here to reserve a seat!

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Our conversation with featured guest Katie Zimmerman continues…


Part of your research explores how the Marianne North Gallery works as a built environment and how the gallery functions within the broader context of the gardens at the Royal Botanic Gardens, Kew. Why study these aspects of North’s contribution to botany?

One of the really fascinating things to me about North’s life and work is how such an individual and solitary woman, pursuing an equally individual project, was actually a fairly ordinary part of a broader, and highly social, botanical enterprise. We can see this very nicely when we look closely at the North Gallery as a space and the ways in which that space transcended its walls to become an integrated part of the gardens and the world beyond. Looking at how the gallery functioned as a built environment allows us to chart…

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Crop 2 Linda C Miller at York Hall Gallery Demonstration June 5 2011 Award-winning artist
Linda Miller will demonstrate how to create botanical portraits of garden treasures at The Gallery at York Hall in historic Yorktown, VA.

Watch Linda work and learn more about botanical art on Friday, May 3 and Saturday, May 4 from 10 AM – 4 PM.

This special event will be held in conjunction with Yorktown’s Hidden Treasures Garden Stroll in historic Yorktown Village. Visit some of Yorktown’s most beautiful private gardens and be inspired by the gardens and the two and three-dimensional art that will be on display. Plants will be available for purchase at Yorktown Baptist Church.

The garden tour costs $10 per person. Linda’s demonstration is free.
All are welcome!

View Details / Map

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Yuka Saito's Spores Brooch and its plant life inspiration. Image courtesy of Peninsula School of Art.

Yuka Saito’s Spores Brooch and its plant life inspiration. Image courtesy of Peninsula School of Art.

The Nature of Jewelry: Botanical Design & Symbols
Peninsula School of Art
Fish Creek, WI
April 19 – July 13, 2013

Inspiration from plant life provides both lyrical and geometric design possibilities for 29 notable jewelry artists from throughout the United States, Ireland and Canada. Representing a range of today’s media and techniques, some of the works are also symbolic of the human experience – growth, femininity or even life itself. Artists display a sampling of process drawings and reference materials to trace the creative process for  their works. A retrospective of the jewelry of master silversmith and Peninsula School of Art instructor, Sylvia Youell, is also part of this exhibition.

The variety of work presented in The Nature of Jewelry is indicated by the following partial listing of artists: Paulette Werger (metals), Jeffrey Lloyd Dever (polymer clay), Sabrina Meyns (handmade paper and metal), Yuka Saito (polypropylene), and Annie Pennington (mixed media).

There will also be a representation of the jewelry created from real plant life from the Philadelphia Flower Show by Jane Kilduff.

View a slide show about this exhibition and download an exhibition catalog and a poster at the Peninsula School of Art.

Among the media that Sarah Hood uses to create her jewelry is model railroad landscape materials. Image courtesy of Peninsula School of Art.

Among the media that Sarah Hood uses to create her jewelry is model railroad landscape materials. Image courtesy of Peninsula School of Art.

Jeffrey Lloyd Dever polymer clay jewelry. Image courtesy of Peninsula School of Art.

Jeffrey Lloyd Dever polymer clay jewelry. Image courtesy of Peninsula School of Art.

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7c4d2e1f4ced43b38be5553328ec3e3b Botanical Art in the Third Millenium
Museo della Grafica
Pisa, Italy
April 20 – July 15, 2013

An exhibition of contemporary botanical art curated by Lucia Tongiorgi Tomasi and Alessandro Tosi. Now on view at Museo della Grafica, Palazzo Lanfranchi, Pisa.

Lucia Tongiorgi Tomasi and Alessandro Tosi co-edited Flora and Pomona: Horticulture in Drawings and Prints of the 16th-19th Centuries (1990).

Lucia Tongiorgi Tomasi is the author of
The Flowering of Florence: Botanical Art for the Medici (2002), as well as An Oak Spring Flora: Flower Illustration from the Fifteenth Century to the Present Time – A Selection of the Rare Books, Manuscripts and Works of Art in the Collection of Rachel Lambert Mellon (Vol 3) (1997).



Update 5/10/13
:
A reader has sent information about how to purchase the catalog from the publisher. Click on Come ordinare on the right side of the product page to view information about how to order the catalog. Then click on the English version of this page. The price of the catalog (EURO 29,75), together with shipping and dollar conversion, costs $59.14.

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