The remainder of this post is mostly recycled from a homework assignment I wrote in my floral design class in 2007. Our wonderful instructor, Wendy Pine, asked us to write about at least two of our favorite creations and one that we did not like. Thank you, Wendy, for making this post a breeze to publish!
I’ve lost count how many times I’ve been to Bouquets to Art. I remember going the very first year that it was offered back when it was at the old De Young Museum. I clicked my heels with delight and was awed at the brilliance of marrying fine art with floral art – two of my favorite passions. My excitement for this show never waned from year to year. Each year offered new ideas, new combinations, and new interpretations; and yes, each year offered misguided creations allowing me and my friends to feel smug about our impeccable taste. This year did not disappoint us. I had to miss last year’s debut of Bouquets to Art because I was traveling, so this was my first time seeing the exhibit in the new De Young Museum building.
I have to admit that I miss the fabulous winding drive up to Legion of Honor location with the spectacular view of the Golden Gate Bridge. I miss seeing the tent set up in the courtyard signaling a very special event before you even walk into the building. Arriving from the garage elevator at the De Young comes up short. The De Young is much more spread out; in some cases, you almost have to look for the bouquets. The Legion of Honor imparted a more intimate feeling and every room was filled with flowers. Nevertheless, the show at the De Young was fantastic again.
Some of the interpretations were very literal:
I know those braids were made of plant material, but they look so close to human hair that it gave me a bit of the willies.
Some arrangements were extensions of a painting. This “tree” could have been on the other end of the courtyard and echoed the feeling of the sunlight and shadow in Albert Bierstadt’s painting.
Other arrangements conveyed the spirit of the art:
Posing barbed wire like a lasso in this interpretation of Frederic Remington’s bronze sculpture "The Bronco Buster" created movement and is also representative of the cowboy’s political cry “Don’t Fence Me In”. The clever use of cut branches helped create a strong line but also appeared to defy the laws of physics.
Ron Morgan's design is wonderful as always. Only he would be bold enough to use a discolored leaf as a major design element.
It's easy to overdo the props, but the black satin was a great a prop here because it exudes the drama of this painting byRobert Henri, "Lady in Black with Spanish Scarf", 1910.
Wayne Thiebaud’s paintings of the San Francisco hills like this one:
Wayne Thiebaud, Down Eighteenth Street, 1980 Oil and charcoal on canvasThis arrangements has some many wonderful textures, it looks like Joseph’s dream coat. The floral artist writes:
“My intention is to create a panorama as we see it in the painting and then ---
a reminder to really see and appreciate the infinite textures, shapes, and
subtle colors in a forest.”
Some arrangements looked good enough to eat:
This interpretations of Wayne Thiebaud’s wonderful work of pop art "Three Machines" (1963) is called "Gumballs Gone Wild":
I hope you enjoyed coming along; I wish you could have smelled the fresh fragrance of these flowers. Which were your favorites?
Flickr set here.