Category Archives: New York Botanical Garden
The New York Botanical Garden is an enjoyable respite and shelter from the storms and stresses of life. Throughout the year their amazing seasonal exhibits which combine spectacular floral shows with art, sculpture, poetry, music, and literary narratives provide a way for one’s soul to rejuvenate and be refreshed to face whatever fate deals next.
I especially enjoy the New York Botanical Garden’s exhibits during the evening hours. It is then the shadows dissolve through the dancing, twinkling lights draped along tree trunks and foliage, and darkness blends in chiaroscuro with a spotlight of brilliance strategically placed here and there. The humidity and moisture are ripe; the whirring fans cool the air which feels luscious and exotic. It is a faerie landscape where the extraordinary is one with the natural and I almost expect to glimpse out of the corners of my eyes a glorious supernatural figure flash up, float mysteriously then evanesce as a vibrant fuschia phalaenopsis (moth orchid), emerges from behind the creature’s vaporous wake.
Bar Car Nights, the over 21 adult evenings offered during the Holiday Train Show, are particularly whimsical and romantic. As the trains strum exuberantly along the 1/2 mile of track that circles through the three thousand square feet of extended space (added last year), then snakes through the Enid A. Haupt Conservatory coming to rest in the Palms of the World Gallery, the thrill of the Winter season from one’s childhood is recalled. Couples can saunter through the galleries with liquid refreshments for purchase and completely relax. It is an awakening to a simpler, happier time when morose emotions weren’t joggled by news events and chaos was a scientifically theoretical construct, not haphazard human emotions effected by bellicose, maniacal human beings.
The New York BotanicalGarden is an otherworldly place of peace and beauty. All of the volunteers, the staff of Applied Imagination who have created and constructed the beautiful replicas of present and past New York landmarks from natural plant parts, and the permanent Garden staff, receive great delight from knowing how much enjoyment they give to the thousands of visitors who attend the show.
Each year the exhibit manages to be singular. The more than 150 buildings and structures of New York City and upstate New York: Rockefeller Center. Sachs Fifth Avenue (video above) Empire State Building, Morris-Jumel Mansion, Poe Cottage, Olana, Kykuit, The Jewish Museum, New York Public Library, Park Avenue Armory, Yankee Stadium, Senator William Andrews Clark House (demolished right before the depression as too expensive to maintain), Tammany Hall, the National Arts Club, Macy’s, etc., are situated uniquely throughout the conservatory’s lush greenery. It is fun to identify the re-creations and compare them with their originals, which if you haven’t seen or toured (Kykuit, Edgar Allan Poe Cottage, Olana, the Morris Jumel), you will be motivated to do so as an examination of New York State and US history.
The likenesses are exceptional considering how the recreations are made with twigs, acorns, rose petals, seeds, gourds, buds, pistachio shells, moss, bark, pine cones, leaves, fruits, etc. In short anything we might throw off on the compost heap, ingenious Applied Imagination botanical artists conceptualize as part of a building edifice or roof and in the case of the cherub sculptures of Kykuit, a prominent body part.
Various years not all of the structures are included; the World’s Fair buildings didn’t appear this year to make way for new additions which are the unique design of Director of Applied Imagination Leslie Salka in collaboration with Founder Paul Busse. The piece de resistance of the Holiday Train Show is the Brooklyn borough’s Coney Island exhibit that shines in the Palms of the World Gallery.
Several Coney Island structures from previous years (the Galveston Flood Building, the Luna Park Arch, the Luna Park Central Tower, etc.), are included in the exhibit with the new structures and all are situated in the reflecting pool. As you walk under the Brooklyn Bridge, you will see the famous Cyclone, the Coney Island Wonder Wheel and the Elephantine Colossus, the gigantic elephant-shaped hotel from the 1890s that has since burned down.
Director Leslie Salka was determined to include the hotel to memorialize Topsy, a female Asian elephant, who helped build Coney Island. The innocent Topsy was electrocuted to death by Thomas Edison as a huge draw for the 1903 Luna Park Coney Island exposition. Edison luridly filmed her heinous death, a fact that Michael Daly reveals in his book Topsy.
Daly’s book chronicles the story of the elephant’s travails as a pawn first in the greedy hands of a circus competitor of P.T. Barnum and then in the irate claws of Edison. In an article in the New York Daily News about his book, Daly says, “The electrocution was for Edison a means to vent his fury and frustration over his defeat” (with Westinghouse in the war of the currents), “as well as an opportunity to film the first death of any kind.”
Thus, Leslie Salka’s and Paul Busse’s addition of the Elephantine Colossus hotel replica, has a much greater significance than one would imagine upon first glancing at its beauty and ingenious creation from gourds and other plant parts. And Nikola Tesla fans will appreciate this final triumph of Topsy memorialized in the Holiday Train Show. It is a reminder that Thomas A. Edison’s reputation in mainstream history books belies the reality of what and who he really was.
The Holiday Train Show plantings always vary as does the placement of the variety of trains which are all G-gauge and include passenger trains, freights, trolleys, novelty cars, streetcars, diesels and locomotives. This year all but one of New York’s bridges reside high above strolling visitors. Trains whiz back and forth over trestles and one imagines what it might be like to be a passenger in miniature looking at the view of the panorama of orchids, cyclamen, hedges, ficus, begonias, palms, sage grass, camelias, and more.
For complete New York Botanical Garden Holiday Train Show programming, check their website HERE. Magical Bar Car Nights run the following dates on Fridays and Saturdays: December 2, 3, 16, 17, 23, 30; January 7, 14 from 7 – 10 pm. For family and children’s events (Winter Harmonies Concerts, poetry readings with NYBG poet Laureate Billy Collins and former Vassar College Professor Eamon Grennan, children’s activities-Evergreen Express and “All aboard with Thomas & Friends”) check out the NYBG website or this Blogcritics article for listings.
The Holiday Train Show Bar Car Nights and the entire exhibition are sure to ignite your seasonal spirit and bring joy and vitality to help you usher in the New Year. The show runs until January 16, 2017.
For those of you who have visited Japan in the fall, you are familiar with kiku and will most probably have fond memories of kiku that you saw in amazing displays wherever you may have walked around Tokyo or other cities in the country. Kiku is the Japanese word for “chrysanthemum.” It is the most venerated of all Japanese fall flowering plants, not only for its beauty, but also for its medicinal qualities and ancient cultural tradition.
What is most amazing is how the Japanese for centuries have maintained what is now becoming the dying art of training and shaping liku into the most incredible designs. It is becoming a dying art because the process of training the growing, fragile Kiku into such lovely shapes requires great skill and is tremendously labor intensive. One false move, one mistake and the entire display may be ruined. Kiku are “no joke.” And it is for that reason they are celebrated in Japan as part of the traditional Japanese custom of enjoying the ephemeral beauty of flowers, known as hanami.
Kiku presentations in conceptualization and philosophy are perhaps one of the most fleeting flower arrangements of all. The displays cannot be preserved beyond a few weeks. They are original. They are easily damaged and during the process of the pruning and training, they are incredibly fragile. Considering that it takes 11 months to grow, train and shape kiku into a cascade design, for example, for 11 months of labor, one receives, if one is careful, two to three weeks of beauty that vanishes as if it never lived at all. It is that impermanence of life that is so captivating a reminder for us to appreciate all that is beautiful for a season, until it withers. The irony is that kiku cannot even regrow their shapes. So, the artistry required to get them to their state of loveliness is truly exceptional
Indeed, one wonders why, in our fast paced digital age, anyone cares about pinching the buds off some flowers to effect beauty. Precisely. When one understands the process and the effort, one appreciates their pageantry. Besides, like all craft and artistry, if it can be preserved, we stay connected with our historical past and the past of other countries and their cultures. In our blink-and-it’s gone current cultural oppression of time, kiku are at once given to us from the ancients and are made modern by having those who care bring the art into the 21st century.
The NYBG has taken on the laborious craft in order to insure that the art will continue to be enjoyed by visitors from Japan as well as those who are familiar with the fall chrysanthemums, but are unfamiliar with the ability of the plants to be trained and designed into magnificent trees, cascades, bridges and more. Each year the NYBG has its kiku exhibit in the fall, pioneered by the chrysanthemum masters at the Shinjuku Gyoen National Garden in Tokyo who educated Yukie Kurashina. Yukie has trained others like James Harkins in the fine art of floral theater. And under the supervision of Marc Hachadourian, Director of the Nolan Greenhouses for Living Collections, James (foreman of gardeners) and kiku expert Yukie with scores of volunteers have made the kiku exhibit at the Enid A. Haupt Conservatory into a place of refuge mirroring the past and merging it with the present.
During the exhibit Kiku: The Art of the Japanese Garden, you will see three traditional kiku styles:
- Ozukuri which means thousand bloom. A single stem of a chrysanthemum plant is trained to produce hundreds of simultaneous blossoms in a massive umbrella-shaped display.
- Kengai which means cascade. Small-flowered chrysanthemums are pruned and pinched to frameworks that flow downward like waterfalls for lengths up to six and one-half feet.
- Ogiku which means double and triple stem. These are enormous individual flowers presented at the end of stems that can reach up to six feet tall.
Kiku: The Art of the Japanese Garden is running from October 8 through October 30. For the full programming schedule that follows this exhibit, click HERE for the NYBG website.
If gardens represent a fount of life, revealing some of humankind’s and nature’s finest living creative achievements, artists throughout the centuries have been inspired to recreate on canvas the fanciful delight of blooming plants selected and arranged to display the best of life’s natural pageantry.
As part of the 125th year celebration of the NYBG, the dynamic NYBG team (scores collaborated to mount this exhibition), are paying tribute to the gardens that inspired American Impressionist painters (a brand of impressionism that revolves around subject, not painterly style).
The showpieces of “Impressionism: American Gardens on Canvas” receive an exquisite rendering in a unique floral exhibit at the Enid. A. Haupt Conservatory, and complementary display of more than 20 paintings and sculptures in the LuEsther T. Mertz Library’s Art Gallery.
Both the art work at the gallery and the show gardens in the conservatory capture American historical trends in painting (in plein air, influenced by French impressionism), around the turn of the 20th century and reflect the renewed interest in Colonial Revival gardens found in private residences and art colonies in the Hamptons and Old Lyme Connecticut.
The vibrant impressionist paintings and the radiant, ebullient floral showcase in the conservatory are mirror images of one another. The paintings reflect the subject American Impressionists were most enthralled by, American gardens.
Artists appreciated that the gardens of the time uniquely characterized the domestic experience on the East Coast. They highlighted how middle and upper middle class Americans turned to their gardens for respite, relaxation, emotional uplift and sanctuary from the confusion of the cities, the unhealthful effects of pollution with heavy industrialization and unsettling urbanization.
The entire exhibition encompassing both venues reveals the marriage between the artists’ impressionism and their veneration of floral homespun, of gardens whose symbolism acknowledged a unique, national character distinct from the formal European gardens of France and the heavy-handed Victorian gardens of the gilded age. Americans seemed to have a desire for such subjects, though every now and then artists honed in on the more formal garden aspect sometimes for utilitarian reasons.
John Singer Sargent painted The Fountain of Oceanus (1917) and Terrace, Vizcaya (1917), when he was visiting two wealthy families to complete portrait commissions. (both paintings are at the LuEsther T. Mertz Library Art Gallery) William de Leftwich Dodge built a studio house on Long Island in an airy classical style and created a series of Impressionist paintings to magnify his design of the terraced formal gardens and intricate pergolas. (His painting The Artist’s Garden  may also be viewed at the Library Art Gallery)
At the time (1890s-up to WW I), there was a burgeoning interest in gardening and horticulture. Avid gardeners from spring to fall embraced planting multiple flowering species, so that when segments of flowers finished their growing seasons, others timed with sowings and plantings would be exploding into an exuberant cornucopia of petals as the earlier plantings waned. Thus, the gardens would always or nearly always be in a rainbow of blooms.
Concurrently, artists influenced by European impressionism were returning to America where they evolved their own cultural impressionism centered around intimate American lifestyle subjects.
They eschewed the panoramic landscapes of the frontier style paintings of the golden west and expansive, mountain stained vistas. They supplanted images of vastness with the discrete, intimate, homely patchwork of every day life in the East. Our impressionists (like the French impressionists), painted urban scenes, old farms, villages with colonial styled homes, picturesque public parks and unpretentious homestyle gardens where the gardeners themselves were nature artists. But these were uniquely American.
There was a synergy that occurred by happenstance. Following French Impressionist Claude Monet’s example at Giverney, some artists (Hugh Henry Breckenridge, John H. Twachtman, Maria Oakey Dewing, William de Leftwich Dodge), planted their own gardens to evoke inspiration, then applied paint to canvas distilling the picturesque living arrangement they had effected in an intriguing unity of aesthetics. The conceptualization was that the gardens were echoes of their canvas counterparts; they were living paintings. What the artist did was to telescope the natural beauty not with a realistic style of painting, but one that was restive, evocative, with heavier brushstrokes. The thickness of paint teased out amorphous shapes and these hinted at the innate virtuosity of animate flowers. Artists could glorify an expansive color palette which reflected life’s infinite variety and emphasized an explosive riot of colors bursts.
Gardens like Ceilia Thaxter’s (Appledore Island, Maine), provided a wealthy subject for artists like Childe Hassum, who was a regular visitor to Thaxter’s seaside garden.
He painted in plein air and enjoyed the luminosity of the sunlight bouncing off the alternate churning ocean waves and smooth glassine waters. Thaxter was a poet, writer, gardener and quasi-horticulturalist whose informal summer artist colony was frequented by renowned romantic/abolitionist/regional writers (i.e. Henry Wadsworth Longfellow, Nathaniel Hawthorne, John Greenleaf Whittier, Sarah Orne Jewett), and painters (William Morris Hunt and Childe Hassum), both of whom painted her and her colorful botanical evolutions.
Thaxter’s grounds, like other artist/gardeners of the period made sure her beds were replete with quaint and strikingly picturesque old-fashioned floral favorites of grandma’s “thrown-together” garden.
Through various seasons, these might include spiking blooms of phlox, hollyhock, lupines, piquant snap dragons and pointed delphiniums, the popular, tasty sweet peas, puff-ball hydrangeas, carpeting forget-me-nots, bachelor buttons and sweet-faced violas, that ran like pixies up to the edge of porches and backdoors and nooks and crannies.
And in corners blue and yellow iris might appear to their finest advantage. From spring to fall, an exquisite luxuriance of flowers blossomed. Examples of these species may currently be seen blooming in the Enid A. Haupt Conservatory floral showcase.
These widely planted varieties along with roses, peonies, cleomes (spider flowers), baby’s breath, cosmos, strawflowers, poppies, and golden tickweed at various times of spring and summer months flourished in wide swaths of varicolored beds planted to imbue a non-formal seemingly random outgrowth. Conscious gardeners intentioned the appearance of helter skelter, profuse arrangements, as if the plants themselves decided which spots suited them best and plopped there unceremoniously to stretch out and take the sun and rain with ease.
Attention was given to colonial revivalist styles where gardens were utilitarian, intimate and incorporated the lifestyle arrangements of the family so that the matron of the house, for example, could fling open the backdoor and pick the heavenly scented lavender to create sachets or go to the side of the house to pick peonies for a table arrangement.
Beginning with inspiration from the artists whose adoration of vintage gardens as a throwback to a more gentile and nostalgic time, Guest Curator Linda S. Ferber applied her expertise to investigate seminal works, some known, some from less renowned American impressionists.
From the guest curator’s selections which included one formal garden, the predominance of works encompassed the artistic loveliness of dooryard gardens of homes in various locales in the East, some in Pennsylvania and Maine and some in the Hamptons, New York which picture grey shingled houses festooned by splashes of variegated hued plants.
The various works then provided the creative heart for Francisca Coelho and the horticultural staff to gain their inspiration and provide the doorway into recreating a three season garden encapsulating the style, elegant simplicity and peace-filled homey comfort these American gardens exuded.
Their splendid result abides in the Enid A. Haupt Conservatory even to the recreation of the grey clapboard, white shuttered country cottage that one would adore living in to escape the frenetic pace of the city. The cottage has a porch with rocking chairs and if you sit in one and look out on the hollyhocks, foxgloves, delphiniums, sweet peas, beauteous painted tongue and all the flowers previously mentioned here (you need to take an up close and personal view to catch them all), you will exhale a deep breath and allow the fragrances and mystical plenitude of nature to incite your senses and move you to a peaceful sense of well being.
This splendid exhibit at the New York Botanical Gardens runs from May 14th through September 11, 2016. To purchase tickets and check programming for the event and throughout the summer click the website HERE.
A facsimile of this article appears on Blogcritics at this site.
The past week and one-half has been deary, cloudy and rainy as the cold front lingered. However, the week before, Earth Day weekend festivities at the NYBG sported good weather. The sun peeked out and it was warmer from noon on, just in time to appreciate the daffodil blooms at their height as well as the wine tastings and interesting wine and distilled spirit selections from upstate and around the city (The City Winery).
To celebrate the 126th anniversary, the NYBG is planting 1,000,000 daffodils and I had the opportunity of seeing their initial efforts which began with the expansion of the historic Narcissus collection at Daffodil Hill where staff planted 150,000 bulbs in October 2015.
On that Earth Day Daffodil Sunday, walking the by-ways past the Everett Children’s Adventure Garden into the farther reaches where I had never gone before, the daffodils were in heady bloom along with the flowering cherries and other blooming trees.
It was spectacular. I was glad that I arrived earlier in the day because I knew the crowds would be thick as they meandered with drinks and cameras in hand stopping for photos or sitting on the grassy areas in the sun to enjoy the wine and light snacks that were available for purchase.
The initial planting is now on the increase and over the next six years, staff, volunteers and members will be adding more plantings (in the tens of thousands), each year in October until that magical number is reached. British romantic poet William Wordsworth wrote about the spiritual renewal we feel through nature’s beauty.
In a famous poem of his, “I Wandered Lonely As A Cloud,” the narrator/Wordsworth discusses his feeling disconsolate and alone as he took long walks seeking to be uplifting in his soul. But it was only when he came across a dazzling array of golden of daffodils that stretched as far as his eyes could see, that his heart and spirits regenerated. And whenever those downcast feelings would arise, he had only to see “in his mind’s eye” that vision of the joyful daffodils “dancing in the breeze” to become restored to a state of balance and contentment.
When this daffodil initiative is completed in the next years our experience will recall Wordsworth’s. It will be breathtaking to see daffodils that span the lawns and Daffodil Hill in a great swath of yellow, gold, tricolor and cream yellow in a multitude of varieties. After the project is completed in a few years, for those who visit Daffodil Hill at the NYBG, as they look in the distance and turn around in every direction, they will see daffodils, thick and lush in the landscape, smiling and dancing in the breeze. Like Wordsworth it will be a picture that one can recall to remembrance in the heft of winter as a heavenly uplift that spring is on its way.
The pictures that follow represent the initial stages of the one million daffodil project. Daffodils which symbolize rebirth and are known elsewhere as the “Lent Lilly” because they grow and burgeon during Lent are a lovely choice to recognize and appreciate the NYBG’s 125th year in the Bronx.
The wineries who displayed their selections at the NYBG were from upstate New York. Some are featured below and their websites are listed if you click on the name: PALAIA WINERY.
The NYBG is offering an opportunity to become a part of the legacy. A contribution of $25.00 will support the planting of five daffodil bulbs that will be contribute to the one million daffodil display in the next few years. Gifts can be made in honor or memory of a loved one and the family member or honoree may be notified of your thoughtful gift with a card. To make a gift, be a part of the one million daffodil initiative or learn about other dedication opportunities call Lisa Sifre at 718-817-8545 or e-mail firstname.lastname@example.org. Or visit million-daffodils.nybg.org
It is dismal, cold, damp weather and Punxsutawney Phil has committed suicide because of his incorrect prognostications of an early Spring! So went a humorous Facebook post I saw yesterday with a picture of a dead groundhog with a gun lying across his chest. Well, Spring has come despite the rainy, chilly bleakness. But at the New York Botanical Garden nature is thrilled. The Garden is manifesting its beauty, despite the less than sunny conditions.
All through the Spring and summer months, the various sections of the Garden will be radiant in their finest of blooms: the rose garden, the lily ponds and more. Interspersed here and there to match the outdoor beauty, the conservatory exhibits will sport more magnificent floral theater centered around various themes. Throughout the year the Garden is always vibrant with the flavors, sights and sounds of natural horticultural beauty. Some feel the fall retains the most vibrant pageantry of all the seasons.
A celebration that represents something we all should lift up is recognition of the planet that nurtures us. Earth Day is upon us and the NYBG is commemorating with three days of activities. Perhaps the the finest, most reckoning event is on Earth Day (Friday, April 22nd). Earth Day, a national event with parades and festivals, is the underappreciated and understated day that is relevant to our lives and those of our posterity.
To recognize its importance, on Friday, the Garden will be screening Seeds of Time. Directed by Sandy McLeod, the film is a compelling documentary about global agriculture, the increasing difficulties facing the world’s food supply and the seeds that must be stored for future generations.
Hopefully, these seeds will not be hybrids or Monsanto tweaked seeds, but will be heirloom seeds that can be planted for lifetimes.
If you stay after the screening, you will be able to enjoy a discussion and Q and A by CaryFowler, Senior Advisor of the Global Crop Diversity Trust, and the Academy Award-nominated director of Seeds of Time, Sandy McLeod. Both will be discussing how agriculture, unless it is rethought and redirected will not be able to supply the world with food unless there are sustainable practices. Both will discuss the vital issues the filmmaker raises in the film.
Barring inclement weather, Saturday and Sunday, April 23 & 24, the Botanical Garden is showing off her splendor in a panoply of spectacular spring blooms Along the paths and the beds throughout the Garden, the 150,000 daffodil bulbs planted in November 2015 will be bursting with joyful glory and unmistakable fragrance.
If you are familiar with William Wordsworth’s poem, “I Wandered Lonely As A Cloud” you will remember how Wordsworth, a romantic poet, uplifted nature to stave off the growing industrialization and mechanization of the factories which dehumanized, and brutalized city life. The romantics believed that through the spiritual aspects of nature man could be restored. The opening lines of Wordsworth’s “I Wandered Lonely As A Cloud” begin:
Daffodils are a joyful harbinger of warmer weather and Wordsworth commented that their wealth of beauty lasted with him long after he left that location. All he had to do was remember in his mind’s eye their lovely happiness and he was spiritually refreshed.
Well, this weekend will offer not only spiritual rest and peace the Garden brings to rejuvenate one’s soul to face Monday, but there will be liquid refreshment, a wine tasting against the amazing backdrop of the Garden’s blooming trees and sprightly flowers. New York State vintners will offer palate-pleasing local wines while experts on winemaking and viticulture will host demonstrations and presentations all weekend long.
For the full media alerts, go to:
Seeds of Time screening (Friday, April 22):
Daffodil Celebration & Wine Weekend (Saturday and Sunday, April 23 & 24):
The Earth Day weekend promises to be a memorable one. What better way to celebrate Spring, the 125 Anniversary of the NYBG and the sustenance and sustainability of our planet?