Now that we finished touring the Upper Galleries of the 2010 Bouquets to Artin the of the De Young Museum, please follow me downstairs to the Concourse Level to see the 20th Century Contemporary collection. Bouquets to Artis the San Francisco Fine Art Museum's biggest fundraiser where floral designers from the San Francisco Bay Area are annually invited to interpret the art in the permanent collection. The first couple of interpretations were decidedly literal but each adds a trans-formative element. For example, Heather Dunne and Mari Tischenko matched William T. Wiley's witty art when they replicated the blue palette and then created an unexpected explosion of splattered "paint" using Giant Onion (allium schubertii). Read what the floral designers wrote here.
Gail Emmons of Orinda carefully, and literally, duplicated the black and white walking stick, Japanese wooden shoes, and wizard hat, but then added a wonderful dynamic element to her work by featuring the S-shaped Hala leaf to convey the bent figure in a more abstract way.
For a closer look of artwork, click here.
Even in all its complexity, Sue Morford's arrangement worked well with the simplicity of Edward Hopper's depiction of Main Street, USA in "Portrait of Orleans". Floral artist Sue Morford writes:
"When I found a photograph of the location depicted in the painting I was struck by the unchanging quality of the location 60 years after the date of the painting. Some of the details had changed (the name of the gas sstation, the addition of a second station, different building, etd.) but the character of the scene remains. The place has retained the same sense of a quiet crossroads on the to Someplace."
--Sue Morford, AIFD
The tall stature of the yellow heliconias provided a great line while their green stems and tinge of red aptly implied "traffic light". The black calla lilies were a great choice to complete the line of the rubber tire. The esso sign on this side of the arrangement was a nod to its faded past...
...whereas the Mobil sign on its reverse side depicted the present:
Read a wonderful blog post about the donor of this painting here.
The next room is normally only black and white...
...but during Bouquets to Art it was splashed with of understated color, like this green and white grouping by City College of San Francisco
The intricate pave design made effective use of the bright green button chrysanthemums that many in the business call "Kermit mums" but are officially called "Yoko Ono" chrysanthemum.
On the opposite wall was a stark study in texture that looked like plant life emerging after a volcanic explosion.
Or maybe this is what we would find if we flipped over the canvas of the original artwork.
In the adjacent rooms, we are greeted with more color. The urban painting of skateboarders was matched with the urban arrangement using what looks like concrete blocks.
Hats off to first-time exhibitor Marian LeBrun of SSavage Rose Florals for her beautifully-balanced entry.
Pico Soriano's entry lampshade of yellow Billy Balls (craspedia) is filled with whimsy and sparkle
Speaking of abstracts, the Orinda Garden Club's creation, by Diana R. Kennedy and Phoebe Kahl, is geometric bliss.
Mrs. Lurline R. Coonan's perfectly-matched tropical arrangement of proteas and birds of paradise straddles beautifully between these two paintings.
Richard Diebenkorn's "Seawall" (1957) is a favorite amongst the Bouquets to Art designers. Pomegranate's idea to use materials found at the seawall was great.
The last rooms we will visit today feature fine art photographs. Ron Morgan's designs never disappoint. His turban of ti leaves, flax leaves and dark purple mini calla lilies was a work of art.
Alena Jean's sunflowers brought bright sunshine to the poignant portraits they accompany.
Svenja Brotz of Chestnut and Vine Floral Design in Berkeley created an artful urban garden in this sepia setting.
Next time, the lobby arrangements.
For more Macro Mondays, visit Lisa at Lisa's Chaos.