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See what’s new at Classes Near You > Australia!

David Reynolds
http://botanicart.wix.com/davidreynolds#!
David is a botanical artist based in Melbourne, Australia who specializes in Australian native plants and exotic plants. David is creating short tutorials about botanical art techniques. Subscribe to Botanic Art TV to be notified when new videos become available.

    Botanical Art with David Reynolds
    Glasson Art World
    Dookie Campus Shepparton Victoria
    May 25-27, 2013

    During this three-day workshop, students will be guided through the techniques used to create a painting of a beautiful flowering Australian eucalypt with stunning bark, dramatic foliage and vibrant pink flowers. Take a look!

    All levels of artist are welcome
    Cost: $445 AUD

Teach a person to see any one thing, just as it is, in form and color, and as it stands related to other objects around, and you accomplish much.

— Lewis P. Clover (1861)

As Marianne North painted habitat studies, plant portraits and botanical still life paintings while traveling the world, she had an educational objective in mind. Because she was alarmed at how little people knew about plants, North drew and painted plants so that others could learn about them.

Learning about nature and the world through the drawing process is the subject of a presentation Lewis P. Clover made to the State Teachers’ Institute in Quincy, Illinois in 1860. His presentation was reprinted in The Crayon in 1861 and it is this reprint we’ll take a look at today.

An advocate for “educating the eye” (Clover, 1861), Clover makes a case for drawing to become a core requirement in all schools. He makes his case in Drawing, as Connected with the Common and Higher Pursuits of Life.

Clover (1861) argues that there is not a pursuit in life that does not benefit from the act of drawing. He explains how botanists, geologists, machinists, physicians, carpenters, builders, architects, mechanics and even lawyers can benefit from knowing how to present information visually. He also argues that anyone can learn the principles of drawing, learn how to measure distances between objects, and learn to see (and appreciate) nature in a new way.

In his paper, Clover agrees with philosopher John Locke and states that drawing instruction in the school system should not be about creating master artists. It should instead be about equipping students with the skills to “represent tolerably on paper anything (one) sees.” (Locke, as quoted in Clover, 1861).

Clover argues that students need to be taught to see and to learn through drawing so they can have “awakened thoughts” (Clover, 1861) about the world and other things that would otherwise go unnoticed. Clover’s plea to teachers is best summarized in this statement:

Make drawing a branch of study in the schools, and you adopt the most successful mode of teaching pupils to discriminate.

— Lewis P. Clover (1861)

To get a copy of Clover (1861), search the stacks at your local college library.


Literature Cited

Clover, Lewis P. 1861. Drawing, as connected with the common and higher pursuits of life. The Crayon. 8(4): 73-77



More About Marianne North

This month we will learn more about Marianne North from featured scholar,
Katie Zimmerman. We’ll learn about North’s work and her contributions to botany. I hope you take advantage of the opportunity to learn from Katie directly and to ask her questions.

Join the conversation

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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In 1871 Marianne North, a forty-year old woman from a wealthy Victorian family, embarked on an adventure to paint the plants of the world. Even by today’s standards, North’s travels are an amazing accomplishment. You might think Marianne North is a one-of-a-kind wonder, however she shares the title of brave pioneering female naturalist with women such as Maria Sibylla Merian (1647-1717) who was one of the first to describe metamorphosis, and Jeanne Baret (1740-1807) who was the first woman to circumnavigate the globe and the herb woman whose expertise as a field botanist made her an invaluable asset to botanist Philibert Commerson during the Bougainville expedition (1765-1768).

Through her paintings, Marianne North made several contributions to the field of botany. This month we have the unique opportunity to learn more about Marianne North from Katie Zimmerman, a PhD candidate at the University of Cambridge whose research is dedicated to the work of this fearless naturalist and artist.

Please welcome Katie Zimmerman, the Featured Scholar for May!



About Katie Zimmerman

Katie is a PhD candidate at the University of Cambridge and an instructor at the University of Washington where she teaches courses in the history of science. She is broadly interested in the relationship between art and science, the geography of knowledge, and Victorian natural history. Before taking up her dissertation on Marianne North, Katie taught high school and university courses in Warsaw, Poland, worked at the National Museum of American History in Washington, DC, and earned her MA in the history of science at Oregon State. Katie lives in Seattle, WA with her husband, two children, and a dog named Huxley – all of whom greatly admire and appreciate the botanical wonderland produced by that rainy state.

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

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.

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.