In times of trouble, the New York Botanical Garden has been a place of asylum and peace for many.
The 250 acres of various gardens, the serene walks, the waterfall, old growth forest, LuEsther T. Mertz Library, greenhouses, Stone Mill, ponds and Zen water designs (the Native Plant Garden, one of my favorites) provide places to contemplate, restore, clear one’s mind and rejuvenate from the noise and chaos of our culture.
In keeping with our steadfast and wise Governor Cuomo’s phased approach to the COVID-19 pandemic, the NYBG has reopened carefully since July. They’ve accomplished this with timed-entrances, hand sanitizer stations everywhere and close monitoring of members and visitors along one-direction paths to provide 6 feet social distancing.
The bathrooms are meticulously disinfected as is the cafe which provides drinks and outdoor dining as does the Hudson Garden Grill. There is no indoor dining anywhere and the Hudson Garden Grill provides a few salads, wine, beer, cold drinks and snacks. You can sit at one of the tables under an umbrella and enjoy a light lunch viewing the beautiful pine trees, plantings and the seasonal gardens in the distance without fear of crowds, all tables separated from each other six feet or more.
Above all, one must visit the Garden with a mask. If one has symptoms of COVID: temperature, dry cough, body aches, digestive problems, difficulty breathing-94 oxygen level as tested by an oximeter, unusual rashes not typical of characteristic allergies, eczema, etc., in addition to cold-like flu symptoms) stay home, rest and recuperate. COVID requires not infecting others and taking care of oneself. The disease is deadly and social responsibility is an imperative when an infectious disease is easily spread in public. The Garden is a respite, but quarantine, rest, liquids, Elderberry, UMCKA and what the doctor prescribes is the only respite for COVID to avoid getting worse and having to be hospitalized.
I visited on Friday, September 25th at the last minute and found 10:30 A..M. available to visit Enid A. Haupt Conservatory and then go for a walk on the grounds. With a membership, one has free entrance to the Conservatory and parking passes are given.
The above pictures are what is happening around the Garden if you just plan to lift your spirits with a walk and not get involved in any other activities or go into the conservatory. The pictures below are the conservatory environs.
If you’ve run out of parking passes as I did, parking for members is discounted at $10.00 and that is well worth it. The visual beauty and healthfulness of the plants and gorgeous landscape with lovely, coordinated plantings is better than a sedative for one’s emotional state.
The Garden staff are preparing for the Kiku exhibit which takes place in the fall every year and coincides with fall activities like Pumpkin Weekend which they are already preparing. Both take place in October.
The Conservatory is monitored by following the path through all of the galleries in the Conservatory, from the Rainforest plantings, through the Desert plantings and the exhibition galleries.
One can also step outside to visit the Lotus and Water Lily Pond where one will see water plants, Lotus and a variety of Water Lilies.
Swimming amidst the plants are coy of various sizes. One old gentleman looks to be a few decades old and has grown to a renowned size.
There is also a frog whom I heard on a few visits to the Lotus and Water Lily Ponds hanging out in the vegetation. Two Lily Ponds are in the Courtyard in the center of the environs of the conservatory.
And there are frogs in the swampland and wild plants area of the Garden. I have heard them in the area of the Native Plant Garden.
I have also seen hummingbirds and cardinals in that area. The birds are as beautiful as the flowers that line the water features.
You will need a timed ticket to enter the Garden even if you do not go into the Enid A. Haupt Conservatory. If you are a NYC resident, your entrance fee is discounted. If you go on Wednesdays, you may visit the Garden for free. Members may enter the grounds and the Enid A. Haupt Conservatory for free.
For information and tickets go to the NYBG website. https://www.nybg.org/visit/admission/?keyword=NYCResidentZIPCheck
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The doldrums of winter signify their passing with the arrival of the annual NYBG Orchid Show, whose splendid displays of orchids bring their cheer, and lift our spirits. For this 17th year of The Orchid Show: Singapore, the Garden selected an appropriate theme to go along with its year long festival of #plantlove by celebrating a city which prizes the creation of green spaces so that its populace can commune with nature, meditate and spiritually regenerate surrounded by wondrous botanical beauty.
Singapore is a city-state at the tip of the Malay peninsula between Malaysia and Indonesia in Southeast Asia. It comprises one main island and dozens of tiny ones in an area around the size of New York City. It is a nation whose forward-thinking ideas and ambition for speed-of-light progress moved it from a third-world country to first world status in one generation, thanks to its brilliant Prime Minister Lee Kuan Yew. The Prime Minister conceived of his island nation and its multicultural population as a lush urban oasis. He realized his dream with greening projects and innovations that included nature preserves, glorious parks, and spaces and places for the populace to relax in natural environs.
From this burgeoning vision, the nation has made it an imperative to recognize the importance of plants, nature and tropical gardens so that the city has become a veritable “City in a Garden.” Every new building, every new development must include plants and green places by law. Over the years Singapore has remained true to Prime Minister Yew’s conception so that today, it is recognized as the city with the greatest percentage of tree canopy cover anywhere in the world. And how it creates this tree canopy is absolutely gobsmacking. The orchids make it especially so..
Singapore has one of the greatest and oldest orchid cultures in the world and is home to 220 distinct orchid species. The only nation that doesn’t have a wild plant species as the national flower, Singapore’s national flower is a hybrid orchid indicating how important hybrids are to their culture and economy.
The hybrid Vanda Miss Joaquim which produces striking purple-pink and flame-orange blooms throughout the year is named for its creator Agnes Joaquim (1854-1899) who was a member of Singapore’s small American community. Agnes Joaquim entered her orchid in Singapore’s annual Flower Show in 1899 which garnered a first prize as the rarest orchid. Subsequently, in 1981, Miss Joaquim was selected to represent Singapore as the national flower. Their choice of a hybrid honors the storied history of Singapore’s venerable orchid cultivation, and the multicultural and religious blend of its citizens.
Cultivators enjoy creating new orchid hybrids the total of which now numbers in the many thousands globally. Horticulturists have hybridized orchids in Singapore since the 19th century because the species naturally flourishes in the wet, tropical climate. Visiting Singapore one notices the daily orchid pageant as gorgeous varieties cling to trees and populate the gardens, parks and greens spaces. Each year growers export millions of stalks for the international flower market
This historical attention to plants and the gradual veneration of orchids began in 1859 when a group of horticulturists and agriculturists established the Singapore Botanic Gardens. Botanists at the Gardens experimented with utilitarian plants like the rubber tree which became a vital agricultural crop turned into a product used in industrial manufacturing. They began their serious experimentation and cultivation of orchids in 1928, developing groundbreaking techniques for propagation which helped to establish Singapore’s prodigious orchid cultivation industry. The Botanic Gardens have propagated and developed more than 630 hybrids. The National Orchid Garden displays thousands of orchids. Many of them have been created there. Also, they display more than 1000 species from around the world.
Paying homage to Singapore’s appreciation and love of plants, the NYBG fashioned its floral spectacular with features represented in two botanical gardens in Singapore: Gardens by the Bay and Singapore Botanic Gardens. Walking down the familiar paths in the NYBG Palms of the World Gallery and Reflecting Pool, to reach the Central Rotunda at the opposite end of the Enid A. Haupt Conservatory, one sees a panoply of orchids festooning simulations of the architectural elements found in Singapore’s famed gardens which the NYBG developed in partnership with them to create The Orchid Show: Singapore.
The Gardens by the Bay is a 250 acre public space in Singapore’s downtown area which opened in 2012 and is Singapore’s largest tourist attraction. The acreage comprises multiple gardens, futuristic glasshouses and a grove of Supertrees, Singapore’s paean to art, nature and technology. These Supertrees exemplify biomimicry in their design and engineering, modeled after natural forms and processes. The NYBG was inspired to create its own dynamic trees in celebration of Singapore’s amazing artistic/technological/horticultural sculptures, whose towering, 160 feet tall vertical gardens are unlike any other structure in the world. They are unparalleled for their utility and purpose which is to mimic the functions of trees using modern technology.
Cascading ribbons of rainbow colors of,Vandas, Oncidiums, Phalaenopsis, Dendrobiums and other plant varieties flow down from these massive, tree giants that are embedded with photovoltaic cells that harvest solar energy. Their wide canopies provide shade and a habitat for epiphytes like orchids and other plants which grow on trees high in the air rather than in soil. Supertrees collect and distribute rainwater and are fitted with solar panels that sustainably power dramatic light displays as real trees harvest the sun’s energy for photosynthesis. These Supertrees especially showcase that Singapore’s heart is in the right place with environmentally sustainable horticulture.
Two gorgeous Supertree models are in The Orchid Show: Singapore, at either end of the conservatory. In the central showcase of the Rotunda, you will see fabulous orchid theater: every shape, color and major species of orchid hybrid reaches upward toward the lattice dome of the greenhouse in a breathtaking tower. The second marvelous Supertree replica is in the Palms of the World Gallery and Reflecting Pool. Look into the waters of the pool to see the mirror of the tall tree massed with white orchids which are interspersed with lovely fillers of ferns and colorful bromeliads. The NYBG’s eye popping orchid architectures are 18 feet tall and symbolize Singapore’s incredible structures found throughout the “City in a Garden” and featured spectacularly in the Supertree grove of The Gardens by the Bay.
The other architectural element you will find in The Orchid Show: Singapore is inspired by the magnificent Arches of Singapore Botanic Gardens’ National Orchid Garden. In Singapore, the arches are radiantly festooned in the stunning yellow Singapore dancing lady hybrid (Oncidium Gloldiana). And these grow grow year-round. The replication of this design feature in the NYBG walkway stuns. On first glance in the Enid A. Haupt Conservatory sauntering on the path to either Supertree Showcase, one understands immediately why the NYBG was inspired to include both architectural elements from Singapore in this year’s orchid show.
Following the passage from one Supertree to the other, you will move through five glorious arches clothed with hundreds of vibrant fuschias, blues, yellows, pinks, purples, golds of the various Vandas, Oncidiums, Phalaenopsis, Dendrobiums. The sheer number and abundance create breathtaking bowers along a stirring fantastical path which enthralls BECAUSE it is treasured living botanical art. The archway’s profusion of exotic, shimmering beauty and the effects of the flowing Spanish moss, dangling blooms and beckoning orchid faces recall a pleasure garden paradise.
If one can’t be a snowbird in February, then happily visit the NYBG a number of times in the next months until 28th of April to luxuriate in the tropics and allow your senses to revel in the exotic sights, smells and music, especially during Orchid Evenings (March 16, 23, 30; April 5, 6, 12, 13, 19, 20, 26 and 27 from 7-10 pm with entry times at 7, 7:30 and 8:00 pm.)
Kudos to Marc Hachadourian (The curator of NYBG’s Orchid Show: Singapore, Director of the Nolen Greenhouses for Living Collections and a staunch CITES advocate to preserve rare orchids and rescue them at NYBG) who oversees the orchid collections for the show.
And equal praise goes Christian Primeau (Manager of the Enid A. Haupt Conservatory). Christian Primeau a few years ago mentioned that he likes the Paphiopedilums (Lady’s Slippers) and I noted their placement in key areas featured on rocks near reflecting pools, recalling their natural habitats. Marc and Christian collaborate to come up with the orchid selections to display most effectively in the architectural elements so that the exhibits will remain fresh and gorgeous. They and the entire staff work assiduously to get the show up and running after the Holiday Train Show is struck. The beds must be graded and prepared for the orchid plantings. Then comes the staff to complete the design and color coordinated exhibits in keeping with the current show’s theme. And having spoken to each of these experts over the years (see my previous posts on Blogcritics and Youtube) their #plantlove obviously has manifested in this extraordinary exhibit.
As has Karen Daubmann’s #plantlove (Associate Vice-President for Exhibitions and Public Engagement). Her extensive collaboration with Gardens by the Bay and Singapore Botanic Gardens to help make The Orchid Show: Singapore a success is apparent from the moment you enter the Palms of the World Gallery and Reflecting Pool. Karen mentioned that she had spent a bit of time in Singapore and attested to its forward innovations and emphasis in recognition of the vitality of plants, orchids, flowers everywhere you go in the “City in a Garden.”
A few last points follow here about the NYBG Orchid Show: Singapore. Along your journey through the various galleries of the conservatory, make sure to watch out for the sign indicating the Vanilla Orchid. Yes, vanilla comes from an orchid. And stop by to view the amazing variety of rare orchids (delicate, lovely) in their glass case which houses some of the Garden’s rescued orchids. Since 1990 the Garden has been a designated CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora) Plant Rescue Center.
The Garden preserves and rehabilitates orchids that have been rescued from poachers around the world (Brazil, Thailand, Peru, India, etc.) who exploit rare orchids from their native habitats and sell them. Because such rare orchids can bring a substantial price for the right buyer, poachers are constantly on the lookout, especially if they have an unethical collector at the ready. Coupled with their low growth densities in the wild and other threats to the species (deforestation, habitat destruction, climate change) wild orchids are among the most endangered plants in the world.
Words cannot easily define the wonder and hope that has been realized from Yew’s dream of an oasis. It is that wonder which now resides until April 28th at the New York Botanical Garden. That the Garden has extolled Yew’s vision of “The City in a Garden” vision and honored it this year with The Orchid Show: Singapore cannot be underestimated nor underappreciated. It must be understood for its symbolism, especially now that many of the institutions that have been created to preserve and protect our nation and its environs, parks, preserves, green spaces are being threatened by those in power obsessed with a different form of greenery. Though most Americans are abjectly opposed to the rapacity for the accumulation of profits in industries that are unsustainable and run counter to our planet’s well being, De-regulation in the wrong direction is happening in the US.
In light of this potential threat and the threat of Global Warming, Singapore shines an incredible light of hope in innovation, and faith that where “there’s a will, there’s a way” to create sustainable, fabulous green spaces to uplift and regenerate the citizens of a nation. Thanks to the NYBG, its scientists, botanists, researchers, horticulturists, staff and volunteers, all #plantlovers who constantly remind us of what we must not lose, the beauty of our planet whose flora and fauna are sacred and integral to ourselves.
The Orchid Show: Singapore has excellent activities that reflect the culture of Singapore in its music and dance during the daytime and especially during Orchid Evenings. Again, there will be the Bronx Night Market Pop-up featuring Barbecue, Vegan, Fried Chicken, Empanadas and other offerings to enjoy while listening to DJ’s perform and watching dancers freestyle. And if you are sick and tired of killing your orchids because you over-water them, you need to attend a few “Orchid Care Demonstrations” in the Conservatory’s GreenSchool on a Saturday or Sunday between 2:30-3:30 pm. Let an expert help you save your plants.
The Orchid Show: Singapore runs until 28th of April. For select programming, membership, children’s activities and more CLICK HERE.
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.