exhibition map - Worcester Art Museum

Flora inWinter
R
◆
st
Level
Access
Elevator
JANUARY 27-30, 2011
7
1 6 5
Medieval
A
Men’s Room
Chapter
House
2
Roman
Challenge Class
Jan 28
Concerts
Jan 29 & 30
Women’s Room
Prints,
Drawings, &
Photography
P
H
Q
Q
Shop
M
WORCESTER ART MUSEUM | 55 Salisbury Street | Worcester, MA 01609 | 508.799.4406 | WORCESTERART.ORG
R Virginia Orlando Designing at Floral Elegance, North Grafton: Balcony of Renaissance Court
O Outside the Window Box, Andrea T. Graveline, Event Florist, Hopkinton: Higgins Education
Wing Restrooms
Greek
Renaissance Court
Q
Salisbury
Lobby
Salisbury Street
Entrance
Earle Hall
Visitor Services
Egyptian Asian
G
M
C
Information
Coat Room
Telephone
Vending
C
H
Q
Discovery
Gallery
4
Asian
Asian
3
Asian
Music with Mr. Kim
Jan 29
Origami Flowers
Jan 30
N Native Landscaping, Charlton: Lancaster Lobby Garden
M Mugford’s Flower Shoppe, Westborough: Entrance to The Museum Shop;The Museum Shop; Stair
Landing between Howard G. and Esther Freeman Hall and Myles and C. Jean McDonough Court; Frances L.
Hiatt Wing Corridor
L La Jolie fleur, Worcester: Myles and C. Jean McDonough Court
K June Donnelly Designs, Milford: Higgins Education Wing Hall
J Julie Lapham Designs, Southborough: Sculpture of Flora on Balcony of Renaissance Court
I Jeff French Floral and Event Design~The French Bouquet Florist, Worcester: The Museum Café
Corridor Wall
H Holmes-Shusas Florist, Inc. Flower Merchants, Worcester: Renaissance Court
G Herbert E. Berg Florist, Inc., Worcester: Lancaster Lobby Entrance Desk; Newell Posts in Renaissance
Court, Flora Euphoria Loose Flowers and Flora’s Head Garland
E Flowers from the Heart, Sutton: Balcony of Renaissance Court
D Floral Elegance, North Grafton: Stephen Salisbury Hall Stair Landings
C Danielson Flowers, Shrewsbury: Earle Hall; Renaissance Court; Stephen Salisbury Hall
B Dagilis & Company, Worcester: Lancaster Lobby Back Wall
Professional Floral Designs in Public Spaces
Valet Parking
Museum Café
Museum Shop
Water Fountain
Numbers represent Interpretive Floral Designs in Galleries
Letters represent Professional Floral Designs in Public Spaces
S Worcester Garden Club, Worcester: The Museum Café Tables
Q Sprout, Worcester: Museum Restrooms; Salisbury Street Entrance Desk
P The Plant Bazaar Florist, Westborough: Renaissance Court
F Gardens by Lisa, Oakham: Lancaster Lobby Garden
A Bloomer's, Worcester: Chapter House
The Worcester Art Museum’s presentation
of Flora in Winter is generously sponsored
by People’s United Bank and Unum.
The Worcester Art Museum appreciates the
generosity of the arrangers, garden clubs, and
professional designers for their talents, resources
and support of Flora in Winter. Thanks also to
Stop & Shop on West Boylston Street, Worcester.
Flora inWinter
JANUARY 27-30, 2011
InterpretiveFloral Designs in Galleries
First Floor
Special recognition to Kim Cutler, Kathy
Michie, Sarah Ribeiro and Robin Whitney,
Co-chairs of Flora in Winter at
the Worcester Art Museum.
1 Old Man Contemplating, Florentine, Andrea N. Driscoll, Sterling Garden Club
I try to alternate between paintings and three-dimensional works and this statue has always been appealing to me.
The colors are still vivid despite its antiquity, and I can relate to the studious pose and obvious love of books. The figure's
contemplative pose makes me wonder what he was thinking or planning. Was he trying to solve a problem, or was he
reading to enrich his mind and spirit? I was drawn to the detail in his jacket, the curls in his beard, and his strong hands
clasping the rolled paper.
2 Marsyas / Marsyas , Roman, Michele Landes, Southborough Gardeners
I have always loved the quality of stone—the texture, the depth, the dimension. I am also drawn to the lineal strength
of these two figures. My goal is to meld the strength and line of the stone, the impact of color and the grace of the human
form together in a floral design.
3 Seated Buddha in Māravijaya, Thailand, Virginia Camille Orlando, Floral Elegance
I was drawn to the Seated Buddha in Māravijaya due to the Buddha’s powerful message of enlightenment and peace.
I hope to compliment this iconic statue of the Buddha calling the earth to witness through simple, contemporary floral
design. I hope to make a strong connection with this iconic piece of art by using symbolic botanicals in my piece.
4 Head of Guanyin, Bodhisattva of Compassion, Chinese, Beverly McClure, Floral Elegance
I was drawn to this Bodhisattva for the interesting shapes of the carved flowers, fern curls and braided hair. My intention
though is to focus primarily on the urna or third eye. In Chinese culture it is known as the "mind’s eye" or the part of your
brain that connects the right hemisphere (the creative part of your brain) with the left hemisphere (the logical thinking
part of your brain). It just so happens that this is also my personal goal as a floral designer. Wish me enlightenment!
5 Hand Warmer with European-and Chinese-style Nature Scenes, Chinese, Mary Barbara Alexander
and Danielle Alexander, Sherborn Garden Club
This piece embodies the very concept of Flora in Winter. The exquisite colors and all-over floral design captured my heart
and imagination. Its practical use as a hand warmer places the piece in a wintry setting; yet while the burning coals inside
produce a physical effect of warmth, the beautiful garden scenes produce a psychological effect of warmth. I think the
piece is adorable. If it were mine, I would carry it around as a pocketbook.
6 Nobleman Hunting on the Nile, Egyptian, Kim Cutler, Worcester Garden Club
Nobleman Hunting on the Nile depicts a wealthy man at leisure, hunting for birds and game from a small skiff. It
came from the wall of a tomb in Sakkarra, Egypt and ensures that the man buried there would be able to hunt in the
afterlife. I was attracted to this work by the elegant, naturalistic contours defining the nobleman and the animals in
the relief. The rigid organization of the vegetation, hieroglyphics and smaller figures in graphic registers will play a part
in my floral design.
7 Storage Jar (Amphora) with Geometric Designs, Cyprus, Lois Frampton and Deborah Dowson,
The Garden Club of Harvard, Lincoln Garden Club
Our intention is to mirror the simplicity and elegance of this 2800 year-old Grecian jar by reflecting its essential geometric
elements. We have used plant material appropriate to the climate on Cyprus.

Flora inWinter
JANUARY 27-30, 2011
Level
◆
Level
nd
Level
th
Access
Elevator
8
9
Higgins Education Wing
Library
Frances L. Hiatt
Wing Corridor
Stoddard Garden Court
D
Accessible Entrance
Café
Stephen Salisbury
Hall
C C
O O
16
15
European Renaissance Court European
rd
Men’s Room
Women’s Room
Garden Club Lunch & Demonstration
Jan 27
Floral Demonstration
Jan 29
J
10 11 12 13 14
D
M
R E
European
S
Lower 3rd
18
I
F
N
G
Contemporary
Public Tours
Begin Here
17 19
American
Upper 3rd
20
M
K
21
American
Howard G. and Esther
Freeman Hall
22 23
Conference
Room
O O
B
Lancaster
Lobby
Lancaster
Street
Entrance
L
American Pre-Columbian
Information
Coat Room
Telephone
Vending
Myles and C. Jean
McDonough Court
Valet Parking
Museum Café
Museum Shop
Water Fountain
Numbers represent Interpretive Floral Designs in Galleries
Letters represent Professional Floral Designs in Public Spaces
Second Floor
8 The Dead Toreador, Édouard Manet, Sarah Ribeiro, Worcester Garden Club
Choosing a painting to interpret for Flora in Winter is never easy. The painting I chose, The Dead Toreador, here on loan from
the National Gallery, presented a new challenge so my interpretation may bring something different to Flora’s traditional
make-up. After selecting the painting I learned that the National Gallery prohibits the presence of water in the gallery. My
initial plan to use fresh flowers had to be abandoned, and instead, I have chosen dried or dead plant material to reflect the
lifeless bullfighter.
9 Portrait of Don Fr. Miguel Fernandez y Flores, Francisco José de Goya y Lucientes, Joan Moreschi, Shrewsbury
Garden Club, Herbert E. Berg Florist, Inc.
I was drawn to this work because of its great use of limited colors. Knowing that blue is a very difficult natural flower color
for this time of the year, I knew I chose a challenge. While Goya used his oils for expression, I used flowers.
10 Mr. and Mrs. James Dunlop, Sir Thomas Lawrence, Sally E. Jablonski, Herbert E. Berg Florist, Inc.
Sir Thomas Lawrence was the most popular English portrait painter of his time. I was drawn to this painting because of
the facial expressions and the beautiful detail in the fashionable dress. I plan to create a floral arrangement with a lot of detail
and texture, interpreting the masculine and feminine elements of the painting.
11 The Rhetoricians, Jan Steen, Cathy Walsh, Sprout
I could give you a lot of words about men talking, but I'll let the flowers speak for themselves!
12 An Old Woman Praying, Nicolaes Maes, Kae Collins, Sprout
What could be more fitting to represent a painting that is an allegory of the transience of life than an interpretation done
in what is inherently a transitory medium?
13 Barnyard Scene with Two Figures and a Cart, Egbert van der Poel, Mary Fletcher, Worcester Garden Club
I love this quiet painting and find it very appealing. The artist's use of soft colors and the play of light give a feeling of calmness,
gentleness and peace. As earth tones have always resonated with me, I liked the idea of trying to work with a monochromatic
color scheme. Arranging in multiple containers occurred to me right away and the challenge is to see whether this will come
together to express the tranquility I feel when looking at this painting.
14 Allegory of Folly, Quentin Metsys, Jackie Potenzone and Katie White-Plyos, Hopkinton Garden Club
We admired this painting last year while doing Flora in Winter and thought how much fun it would be to do a floral creation
of this painting. We feel fortunate to have been chosen to mimic this work of art. He is playful and mischievous. Although
this painting does not have much color, tropical flowers will make a bold statement of his personality.
15 Saint Anthony of Padua, Defendente Ferrari, Helen Cohen, Piscataqua Garden Club
I was particularly attracted to the soft symmetry of St. Anthony’s robe and the use of line and light. The painting is full
of grace—soothing and unconflicted.
16 The Virgin with Angels Adoring the Child, Attributed to Pastura, Kenneth J. Bositis, Bloomer’s
I was drawn by the depth of the figures and the vivid colors of such an old painting. I was also intrigued that this religious
painting was depicted outside in a pastoral setting unlike most of the other paintings in this gallery.
Third Floor
17 The Savage Family, Edward Savage, Kathy Michie, Worcester Garden Club
How could I resist The Savage Family? Each year when I am reviewing the artwork for Flora, there is something that grabs
me and tells me this is the one—some inspiration such as a color or a form that clicks into the beginnings of an idea. This
year I see in The Savage Family a wonderful, repetitive charm, some definite magic, and a whole bunch of badly proportioned
people. These are the qualities I plan to have in my arrangement. (FYI: He became a much better painter later in his life as
shown in the portrait in Gallery 21.)
18 Portrait of an Unknown Man, José Francisco Xavier de Salazar y Mendoza, Sandra Tosches and Michele
Creamer, Greenleaf Garden Club of Milford
The steady gaze of this unknown man drew us to the portrait. What was the look in his eyes: sadness, impatience, boredom?
Yet, so focused on the viewer! This was the selection that intrigued us. Then reality! What would be the focus of the floral
interpretation, as the portrait is colorless? After much thought, the geometric shapes and the curves, as well as the textures
from the tunic and ruffles will dictate the choices. Most of all, it must be formal and controlled to match the man and his eyes.
19 Looking East from Denny Hill, Ralph Earl, Thelma H. Shoneman, Acton Garden Club
Designing with foliages is fascinating and a favorite of mine. At first glimpse of Looking East from Denny Hill, I saw an exciting
opportunity to “paint a floral tapestry” of green tints, tones and textures. To capture the tapestry feeling, I selected foliages
and flowers for shape, texture and color and organized them using design techniques of mounding, terracing and foliage
manipulation. By using multiple containers, I was able to emphasize the geometric shapes in the painting as well as create
depth, suggesting the masterful landscape in Earl’s masterpiece.
20 Portrait of My Daughters, Frank W. Benson, Susan B. Dewey, Worcester Garden Club, Osterville Garden Club
I have always loved this painting because it reminds me of my childhood. Until I was 10 years old, my family lived in a house
on the Mount Hope Bay, and my three sisters and I spent a lot of time creating things out of natural materials (like painted
shells, daisy chains, and seaside floral bouquets!) by the water. Also, the delicacy and immediacy of Benson's Impressionistic
style and his mastery of color, light, and shadow make this a perfect choice for a floral design. With this horizontal design, I
have tried to capture the emotional and physical connections between the three sisters, their whimsical femininity, and their
carefree joy at being together on a beautiful seaside day.
21 Reine Lefebvre Holding a Nude Baby, Mary Cassatt, Robin Whitney, Worcester Garden Club
This painting expresses the pride and contentment that Reine feels toward the baby. It is a calm and beautiful depiction
of motherhood—I hope this baby was always as calm and contented! The lovely curves of the woman's arms and the baby’s
bottom appealed to me as a designer. I hope to capture it too.
Fourth Floor
22 Without Pause, Enters, Touches, Passes, Arthur B. Davies, Tia Lotuff, Worcester Garden Club
I was inspired to choose the Arthur Davies painting Without Pause, Enters, Touches, Passes for several reasons. For one thing,
when I was studying painting at art school, my favorite classes were figurative drawing. In addition, I found this painting lovely
not just for the nudes themselves, but also for the very strong use of negative space. To me, it is almost as if there is another
mysterious subject in the painting behind and around the serene, calm figures in the foreground.
23 Tripod Vessel, Costa Rica, Minal Akkad, Framingham Garden Club
I have been participating in Flora in Winter since its inception except for a couple of years and have arranged in different
galleries. This time I wanted to select artwork in the Pre-Columbian gallery. I intend to capture the weight, color and mass
of the vessel, using innovative plant material that would interpret strength and an overall sense of the primitive era.