|
Dear Friends:
We've had a really great year together. I've enjoyed seeing your skills progress and your artwork develop. I look forward to seeing you in 2010 and witnessing more of your masterpieces. Till then, my best wishes to you and your families for the holidays.
Elements of Composition in Botanical Art
By O.M. Braida
Part One: The Necessity of Learning the Elements of Composition
Organizing the various botanical requisites within one's canvas to create an effective design relies on the ability of the painter to position elements where they both explain and delight the viewer. Since nature does not always offer a perfect example of itself for botanical artists to copy, it is essential for effective composition to "draw what we see so that others can see clearly." (Omisim #1) And, at the same time it is required of us to create a balance between drawing what we see and arranging elements to allow for a certain amount of design.
Instead of looking at composition as a set of 'rules,' view it as a set of 'elements' that can be used to make a great painting. These 'elements,' once they are understood become our reference for all future compositions. Just as one would never decorate with all their ideas in one room, the botanical artist learns to select the elements of composition that work to perfectly express their botanical painting.
The decision-making process begins first with our initial observation of the subject. It is with our gesture sketches that we pull the composition from the subject. For as Kimon Nicolaïdes (1891-1938) American art teacher, author and artist tells us, "The composition is inherent in the subject." In gesture studies we find the best way to view our subject. We discover its natural rhythm, and where its natural composition "stems" from. It helps us find the composition inherent in the subject and allows us to do so with no early commitments. Contour sketching helps to see the detail we wish to include in our composition. Once we decide which parts of our subject to include, then we need to organize them effectively to convey our story (our Matrix).
And, as you develop as a botanical artist you will need to concentrate on seeing detail. This sounds simple, but the beauty in botanical art is its detail. So our requirement to look up close is a significant part of our development. Both gesture and contour drawing are two important steps in helping us create a valid composition that is aware of the necessary elements to make it great.
Part Two: Elements of Composition
Matrix (Spatial Relationships of Positive & Negative Shapes) - Our true success in creating a three-dimensional image on two-dimensional surfaces is dependent upon illustrating all five elements of geometric form: line, value, shadow, cast shadow, and reflected light. The process of creating our three dimensions leads us to the natural understanding that this arrangement creates foreground, middle ground, background, and far ground. This spatial platform is what I refer to as the "OM Braida Matrix Theory." The Matrix Theory contends that all images take up space, and when that space is confined in a three-dimensional grid box we are able to decipher spatial arrangements. This includes negative space (openings where there is no subject). Negative space contributes to design. The Matrix Theory further states that when light appears on the subject in the box, the components of the subject will reflect their appropriate value in relation to the light and th
eir spatial arrangement.
Images within this spatial environment that recede in the background and are seen as far away are obscured by the atmosphere and thus lose their light and color value and the subject's detail loses its light and color value as well. This concept is Leonardo's explanation of Aerial Perspective. The Matrix Theory contends that by using the changing values of light, shadow, and detail, we create a story within our story. Thus, our composition is enhanced by all elements of form and light and since detail follows form and light, it, too, enhances composition.
Contour & Shapes - Contour Lines, Curves, Horizontals, Verticals, Diagonals are effective elements of design because it can lead the viewer's eye in and out of a painting. Their direction and orientation imply certain emotions. As they represent the "path" you wish the viewer to follow, they also represent the feeling you wish to express. The four dominant lines in art are: Horizontal lines to imply tranquility and rest; Vertical lines to imply power and strength; Oblique (diagonal or slanted) lines to imply movement, action and change; Curved lines or S shaped lines to imply quiet, calm and sensual feelings.
Shapes are simply closed lines and include for example circles, squares, triangles and hexagons all of which appear in nature. Positive space is where shapes and forms exist; negative space is the empty space around shapes and forms. For images to have a sense of balance, positive and negative space can be used to counter balance each other.
Form (Lights and Darks) - Form in its widest sense is the total structure of a thing - the visible aspects of which allow us to distinguish its character. As an element of art, form is three-dimensional (height, width, and depth) and encloses volume. Refer to Botanical Drawing I, Volume I by O.M. Braida to once again review the five elements of geometric form. As we have learned, when light from a single direction (upper left at 11:00 in the case of botanical art) hits our subject, part of the object is in shadow. Both light and dark areas on our subject provide contrast which suggests volume.
V.I.T.H. is the vocabulary of color:
Value: lightness and darkness of the color
Intensity: the purity or saturation of the color
Temperature: use of warm or cool colors, or both. Warm colors advance: yellows, reds and oranges. Cool colors recede: blues, violets, greens.
Hue: refers to the names of colors - red, green etc.
(Monochromatic color: one color with only value changes)
(Analogous colors: adjacent colors on the color wheel)
So, when you think that color is all in one's head, you're right! To be more exact, color is in the eye of the beholder. In the eye "two types of photoreceptor cells are clustered on the retina, or back portion of the eye...Rods detect differences in light intensity and cones detect color. Opsins are chemicals that bind to cone cells and make those cells sensitive to light of a particular wavelength (or color). Light reaching a photoreceptor causes a breakdown of the chemical rhodopsin [A visual pigment contained in the rods of the retina in the eye]. This breakdown eventually signals neurons that connect to the optic nerve. The optic nerve connects to the occipital lobe of the brain. Humans have three types of cones, each sensitive to a different color of light: red, blue and green." (Info excerpt taken from "The Nervous System" by M.J. Farabee.
The Experience of Consistent Quality - Surface quality or texture refers to the "feel" your subject imparts - smooth, rough, soft, etc. In botanical art this element is essential for portraying the correct genus and species. The obligation of the botanical artist is to explain but at the same time provide the viewer with an experience of consistent quality. So, be sure that your illustrated example of plant surface and the contributing texture of its environment is consistent in appearance and not contradictory (veins traveling in the same direction at the same angle; trichomes the same density, direction, etc.) Simultaneous with including the all important element of detail, know that this applied texture, while necessary to botanical art, can often be overstated and therefore overpowering. Too much display of texture can make the painting overly busy and cause the focus to be lost thereby contributing to a loss of compositional quality.
Harmony & Agreement - These two elements help to unify our composition. When we speak of harmony, we refer to harmony of color, size, balance, flow etc. All aspects of our composition contribute to the whole and therefore must be in agreement for the result to be seen as a whole. Be careful, for example, in your mixing of colors and their subsequent de-saturation that you do not alter the color so visibly that it is no longer in agreement. With these element successful, the viewer will have more reason to stay with the work and not lose interest early.
Dominance (Primary Importance) & Subordination (Secondary importance) - All good composition requires that the artist attempts to control the sequence and the amount of attention the elements of their design deserves. Dominance can be achieved through all elements of a painting. Large objects dominate smaller ones; warm colors dominate cool colors; strong values dominate pale values; and heavy detail dominates light detail. Placing your main subject in the center will dominate the painting and draw attention to it. However, this is considered not to be the best composition. It is better to place the most dominant element slightly to the side of center.
In plant portrayal there are often very many converging and radiating lines. The eye tends to follow these lines and they can often dominate a painting. To help this try to alter color, tone, shape, value so that the giant "X" of crossing branches, etc. in your composition loses dominance.
Coherence (Logic) - With the OM Braida Matrix Theory we discuss the idea of spatial relationships. When working out this platform, keep in mind that a logical display of plant parts brought together to relate through shapes, sizes, color, etc. will help create a sense of unity. Individual aspects of the botanical subject are just as important as the sum of its parts. Be careful however that you do not create an overall sense of 'sameness" which can lead to a rather uninteresting plant portrait.
Balance (Symmetry) - Have you ever seen a flower drawing or painting that looked as if it were going to topple over? Well balance implies there is a sense of weight. Large objects appear to weigh more than small ones just as dark objects weigh more than light ones. Positioning is critical, for too large a flower on one side not balanced on the other will cause it to look like it is about to fall over. This issue of symmetry and balance is especially important for botanical artists who paint without a background. The weights of the objects have nothing to hold on to but air and this just emphasizes the element of balance or imbalance.
Pattern (Arrangement Relationships) - At the Academy we often refer to music when describing values. Too much of the same value is like singing flat. In addition to values, too much of the same imagery in your painting can be boring. Find ways to break up the repetitive forces of the multitudes of leaves we often need to paint in order to explain your subject. By moving things around, twisting leaves, etc., you will help to create a more interesting work.
Proportion - Proportion in botanical art may often be overlooked because the viewer may not be familiar with the actual size of the subject being portrayed. However, this aside, proportion still remains the relationship between two or more aspects of a composition. This "ratio" pertains to size, color, detail, quantity, values, etc. When a relationship is created between two or more compositional elements in a painting, it is said to be harmonious when correct proportion exists.
Size in Botanical Art is a particularly important aspect of proportion. For depending on the artist's ultimate goal, the work needs to be exact, enlarged, or diminished proportionately. In the instance of a relationship of size, especially with dissections, it is necessary to include a ruler with the size indicated simply ".5x" or "3X". In the attempt to be "botanically correct" be careful not to ignore the rule of diminishment. Parts as they move back in space become smaller and this needs to be shown. When drawing your plant subjects, remember the ratio between stems, leaves, and flowers. If you enlarge one part, you must enlarge all other parts proportionately.
Simplicity Versus Complexity - Frequently in our natural world, the subjects we wish to capture express a rather complex state of affairs. Our goal is to present to our audience what we see clearly without destroying the natural attitude of our subject. We need to be careful not to remove essential elements for the sake of simplicity. Somehow we need to find the balance between portraying the complex world of nature and avoiding confusion. Using a mix of the front of leaves with the back of leaves helps to clarify imagery as well as explain the species. This is an important aspect of botanical art and should always be included. This distinction applied well also helps with pattern and balance as well as color. Applying the O.M. Braida Matrix Theory will also help the plant portrait by fading out plant parts without weeding out!
Part Three: Botanical Art Through the Centuries
Since the Scientific Revolution and the age of Colonial expansion, which began in the sixteenth century, gathering plant specimens was (and still is) a critical part in recording botany. At a time when the scientist-artist gave us an unprecedented glimpse into the world of naturalists who were responsible for creating collections of original drawings and watercolors in support of medicinal research, most of the early scientific renderings were in fact accomplished either by the hand of a scientist/botanist or at their direction. The practice and production of this area of science depended largely on the evidence of these recordings. The published botanical works of the sixteenth century revolutionized the study of science because they contained pictures. These early achievements were thus dictated by the needs of science and when it came time to deciding how the plant recordings should look, science dictated. The artist had little or no say in the matter. As times ch
anged, so did the expression of botanical art.
The famous collection of botanical works from the 16th and 17th century by Theodore Clutius (1546-1598), known as the Clutius Watercolors, and Basil Besler's (1561-1629) Hortus Eystettensis, leave behind the rules of classical art and unveil for us a particular style that elevated the importance of botanical art for science and medicine. The path now laid out, a so-called yellow-brick road, leads to further exploration by other scientific botanical artists, like Maria Sibylla Merian, who left her husband and Holland and traveled to Surinam, South America in 1701 to record the relationships between plants and insects; the Bauer brothers, Francis (1758-1840) and Ferdinand (1760-1826), who Wilfred Blunt in the Art of Botanical Illustration referred to as "the finest draughtsmen in the whole history of botanical art."
As we will see, the actual ability to render more than "acceptable" drawings developed as the need developed - and then so did the appreciation and the acclamation for the artwork. By the late 18th century botanical art was enjoying itself not only as a science, but also as an art form. Artists made their own selection and design decisions while remaining scrupulously close to realistic plant portrayal. The term "Masterpiece," once again reflects a moment in time that made it possible to achieve such a state in art. Skill, awareness, tools and techniques are thus products of time and place.
One Final Word:
In the Botanical Drawing IV program of the Academy of Botanical Art we have an opportunity to study the work of the masters. By comparing the styles of different master works, ones that we particularly admire and respect, we have an opportunity to develop our own style and our skill at determining good composition.
It is always advisable to be critical of your own work. View your compositions in the mirror, and even upside down. Look for lack of focus, congested color, odd shapes like motorcycle handle bars or tongues sticking forward, or large floppy dog ears. The more you learn to see in your own work, the more you will "see" and overcome.
I am always asking my husband, "What do you see in this painting?" "What is happening to the plant to the composition?" "How is it moving within its spatial arrangement" His feedback is extremely valuable and he has become quite use to telling the truth!!
God bless. OM
NEWEST OM BOOK!!!
Volume 12 and Course Pak #12
Click Here To Order
ACADEMY @ Kentucky
Mark your calendars
Botanical Art Exhibit
Nature,
Naturally!
June 9-12
Artist Reception
Date to be announced
Academy @ Kentucky Arboretum
Botanical Art Workshop
June 14-17, 2010
9am to 4pm
INTRODUCING
FINE ARTIST RON SANDERS, PAA
THE ACADEMY'S NEWEST CERTIFIED ACADEMY INSTRUCTOR
The Academy has recently appointed renowned artist, Ron Sanders, as a Certified Academy Instructor. Ron Sanders is an extremely talented artist and the Academy of Botanical Art is proud to have him as part of their education team.
Ron is a Signature Member of the Paint America Association and Associate Member of the Oil Painters of America. With his inclusion in numerous national juried exhibitions and ever increasing Best of Show Awards, this dedicated artist houses his beautiful work in both private and public collections throughout the United States, including the Indiana State Museum Collection. Recent awards include First Place in the 2009 Richeson 75: Portrait/Figure competition and the Most Innovative Painting Award at the National Oil & Acrylic Painters Society “Best of America 2008” exhibition.
Ron integrates design, draftsmanship, and layered painting techniques of his classical training with the color, texture and edges inspired by impressionism. Ron has a developed and thorough understanding of color theory and paint application which explains his advanced skill in expressing temperature and edge shifts that occur in natural light. He is author of the book Color Mixing/Color Matching: How to mix clean bright colors and beautiful neutrals.
In an effort for the Academy to offer students advanced techniques in painting that will assist in creating authentic habitats in combination with their botanicals, the Academy is delighted to offer this fall:
Ron's experience in historical painting and his vast knowledge of color theory and application will help guide not only botanical artists but nature artists and plein air artists to a higher level of expertise.
In conjunction with the Marie Selby Botanical Garden, the Academy will be offering a Certificate in Advance Studies to those individuals who complete the four course program and submit a "Senior Thesis" painting for review.
It is an honor to have Ron Sanders on our staff and we look forward to some very beautiful work coming out of this program.
To learn more about Ron and his work, visit:
www.sanders-studios.com
The All New OM ART Book Store
We keep adding information on Products & Art Supplies
Click Here To Visit Our Book Store and See What's New
Book Buys
Today's Botanical Artists
By Cora Marcus and Libby Kyer
Mastering Composition: Techniques and Principles to Dramatically Improve Your Painting (North Light Books)
by Ian Roberts
Pictorial Composition (Composition in Art)
by Henry Rankin Poore
Composition: Understanding Line, Notan and Color
by Arthur Wesley Dow
A Painter's Guide to Design and Composition
by Margot Schulzke
The Simple Secret to Better Painting: How to Immediately Improve Your Work with the One Rule of Composition
by Greg Albert
Need Supplies? Visit Our Store!!
OM Art Book Store
OM Art Class Art Supplies
OM Art Instruction Books
For Shipping & Storing
Archival Clamshell Box
And
Glassine Interleaving Paper
Soul Biz
"Soul then is the life principle and the root cause at the core of everything, for nothing can come into manifestation without it."
Kirpal Singh
~
"Creativity is��..seeing something that doesn�t exist already. You need to find out how you can bring it into being, and that way become a playmate with God."
Michele Shea
~
"A "yes" is a "yes,"
and a maybe is not now."
Cathy Drew, intuitive
"The creative is the place where no one else has ever been. You have to leave the city of your comfort and go into the wilderness of your intuition. What you'll discover will be wonderful. What you'll discover is yourself."
Alan Alda
~
"It is better to have enough ideas for some of them to be wrong, than to be always right by having no ideas at all."
Edward de Bono
~
Conditions for creativity are to be puzzled; to concentrate; to accept conflict and tension; to be born every day; to feel a sense of self."
Erich Fromm
~
"The best way to have a good idea is to have lots of ideas."
Linus Pauling
~
"An invasion of armies can be resisted, but not an idea whose time has come."
Victor Hugo
~
|
Art Classes & Workshops
You can now combine
Distance Learning with Class Time
at any of our locations!!!
Private Classes with O.M.Braida
Studio 20 Resumes October 2009
Time:
All Private Studio Classes
are from 10:30am to 3:30pm
Location:
2068 Sunnyside Lane, Sarasota, FL, 34239.
Just off 41 in the Southgate area two blocks north of Webber and the Mall.
Dates:
2009
December 3, 7, 8, 9, 10, 11, 17
2010
January 7, 14, 21, 22, 28
February 4, 11, 12, 18, 19, 25
March 4, 11, 12, 18, 25, 26
April 1, 8, 15, 16, 29
May 6, 13, 14, 20, 21, 27
Tuition:
4 classes/20 hours: $450
Individual class: $125
Refreshments provided, but you may want to bring your own lunch.
Credit Cards Accepted!
Register Here
Or contact olivia@omartdesigns.com
Or Call 941-953-9999 for more information
PHOTOGRAPHY COURSE @ ACADEMY
Program Objective: Students will learn
In Session One:
- Class One: Basics
- Class Two: Indoor Lighting of Plants Class Three: Plant Macro Photography
In Session Two:
- Class Four: Nature Photography I
- Class Five: Nature Photography II
- Class Six: Critique & Photoshop Demo
TAKE ONE OR BOTH!
Time:
10:30am to 3:30pm
Location:
2068 Sunnyside Lane, Sarasota, FL, 34239.
Just off 41 in the Southgate area two blocks north of Webber and the Mall.
2010 Dates:
Part I: January 25, 26, 27
Part II: February 8, 9, 10
Tuition:
$375 FOR ONE
$595 FOR BOTH
Please bring your lunch.
Credit Cards Accepted!
Register Here
Or contact olivia@omartdesigns.com
Or Call 941-953-9999 for more information
Susan Coffey is a fine artist and photographer who has been involved in the arts for more than thirty years. Her studio creates fine art Gicl�e prints using state of the art equipment from Epson. Learn more about Susan from her website: www.susancoffeydesigns.com.
Academy of Botanical Art sm @
Marie Selby Botanical Gardens
To Register, visit www.selby.org
Or Call Marilynn Shelley 941-366-5731 x 239
2009/2010 Academy
@ Selby Schedule
Botanical Drawing & Watercolor
Noon to 5pm
Dates:
Three Day Workshops
$350 Members/$375 Non Members
2010
January 18, 19, 20
February 15, 16, 17
March 22, 23, 24
April 19, 20, 21, 22, 23 (5-Day Workshop)
May 17, 18, 19
Advanced Studies in Nature Painting
Habitat Painting for Nature Artists
& Botanical Painters
Academy of Botanical Art and the Marie Shelby Botanical Garden are proud to announce their newest program
Open to anyone who meets one of the following criteria:
- Inter to Adv Watercolorists
- Nature Artists
- Certified Botanical Artists
- Inter to Adv Flower Painters
- Plein Air Painters
This program offers a Certificate in Advanced Nature Studies To students who complete all four courses and submit a "Senior Thesis"
- Participants can take one or all of the following courses.
- Everyone needs to take Course #1
- Only Certificate students must take all four courses
- Certificate students submit a "Senior Thesis" to receive their Certificate.
PROGRAM OBJECTIVE:
The objective of Advanced Studies in Nature Painting is to equip artists with the tools to incorporate the natural habitats that complement their paintings. Students will learn to think differently about art and one's artistic goals and meet the challenges of the ever changing effects of natural light. Students will be instructed in fundamental abstract principles of art and design which will be reinforced by a range of artistic schools and movements.
Course #1
Dates for 2010 to be announced.
10am-3:30pm PREREQUISTE
$350 Members/$375 Non-Members
$25.00 Book Fee
MIXING TEMPERATURE BIASED COLOR
Learning to see and mix temperature biased color for the depiction of natural sunlight and skylight on form. This first course will be held at Studio 20. Payment for this course is made to the Academy of Botanical Art. Call for information 941-953-9999. Courses #2, #3, #4 are held at Selby Gardens. Please bring lunch.
Course #2
January 9, 16, 23
10am to 3:30pm
$350 Members/$375 Non-Members
$19.00 Fee to Academy for Handout Materials
PLEIN AIR FIELD STUDIES
Gathering reference material for painted backgrounds through the use of plein air color/value sketches combined with photographic resources. Please bring lunch.
Course #3
February 13, 20, March 6
10am to 3:30pm
$350 Members/$375 Non-Members
$19.00 Fee to Academy for Handout Materials
DESIGNING FOR DEPTH & FOCUS
Compositional tools for building greater depth, form and pattern into your paintings
Please bring lunch.
Course #4
April 10, April 24, May 8
10am to 3:30pm
$350 Members/$375 Non-Members
$19.00 Fee to Academy for Handout Materials
$100 Fee to Academy for Graduates Review, Grade & Certificate
BOTANICALS IN BACKGROUNDS
"The Senior Thesis" of the Advanced Studies in Nature Painting series. Please bring lunch.
To learn more about your instructor, visit: www.sanders-studio.com
TO REGISTER FOR CLASSES CALL
MARILYNN SHELLEY @ 941-366-5731 X 239
TO LEARN MORE ABOUT THIS PROGRAM CALL
OLIVIA @ 941-953-9999
Academy @ Kentucky
with Leslie Ramsey
Botanical Art Workshops
Graphite - Watercolor - Pen & Ink
Beginners to Advanced
With
Leslie Ramsey
Certified Botanical Artist
Certified Academy Instructor
THURSDAYS
to June
Day & Evening Classes
Day: 10am to 1 pm $200 (individual class $75)
Evening: 5:30pm - 8:30pm $200 (individual class $75)
Location
4464 Stuart Hall Boulevard #33102
Lexington, KY 40509
Art supplies and books not included.
For recent Arboretum/Kentucky University
Workshop attendees who completed Drawing I and Watercolor I, pursue the next level book
Drawing II and Watercolor II.
For Books and Course Paks and
Art Supplies visit...
www.botanicalartsupplies.com
To Register, call Leslie Ramsey:
606-434-4280
Specials
Academy of Botanical Art
Distance Learning sm
Now Available for Anyone
Interested in Endangered Species,
Bromeliads or Palms
Endangered Species for Botanical Artists
This wonderful course is available to anyone interested in the study of endangered species.
Academy Students earn elective credits for taking this course and completing the enclosed exam. A wealth of information that all will find extremely interesting.
Academy Electives: 15
by John Beckner, Botanist
$150.00 Non Certificate Student ~ $275 Certificate Students
Bromeliads for Botanical Artists
The structure of bromeliad plants and their flowers
with suggestions for ways to illustrate and
better understand these exciting plants.
Academy Electives: 5
by John Beckner, Botanist
$50.00 Non Certificate Student ~ $175 Certificate Students
Palms for the Botanical Artist
This publication is just the tip of an iceberg.
Palms are plants inclined to large dimensions.
They are very numerous and more varied than you first imagine. This text is for the person interested in illustrating them in various ways;
artistic or scientific and as a motif for crafts. But nearly all of it will be useful to plant lovers, tropical nature fans, gardeners and other people.
Academy Electives: 5
by John Beckner, Botanist
$50.00 Non Certificate Student ~ $175 Certificate Students
Click here to learn more about the
Academy and its instructors
ABA Instruction & Course Paks
The Academy of Botanical Art's flexible program allows for distance learners to tailor a schedule of botanical art training to their needs that includes phone tutored lessons, classes with the Ringling College of Art and Design, the Marie Selby Botanical Garden, and Academy workshops now offered in several locations. Distance learners take advantage of classes offered in their hometown as part of their study program. There is hardly an excuse left not to join the Academy's growing school.
Book Volumes 1-8 = $38.00 each
Book Volumes 9 & 10 = $50.00 each
Plus Shipping and Handling
Accompanying ABA Course Paks
Volumes 1-9 = $19.00 each
Volume 10 = $25.00
Plus Shipping & Handling
Click Here To Order
Volume 12
Colored Pencil for the Botanical Artist $38.00
Course Pak #3a
Research on the Internet $35.00
Course Pak #11
Marketing Your Art $35.00
Course Pak #12
Colored Pencil $19.00
Course Book/Pak #16
Combined Endangered Plant Species of the World $125.00
Click Here To Order
Events
Tours to Costa Rica
With Mindy Lighthipe
~
Academy Exhibit
at the
U of Kentucky Arboretum
June 2010
~
Academy@UKentucky
Arboretum
4 Day Workshop
June 2010
~
Academy@UKentucky
Arboretum
4 Day Workshop August
Exhibits Museums
South Florida Museum
201 10th Street West
Bradenton, Florida 34205
(941) 746-4131
http://www.southfloridamuseum.org/
John and Mable Ringling Museum
5401 Bay Shore Road,
Sarasota Florida 34243
(941) 359-5700
http://www.ringling.org/
Museum of Fine Arts
255 Beach Drive NE, St.
Petersburg, FL 33701
(727) 896-2667
http://www.fine-arts.org/
Salvador Dali Museum
1000 Third Street South
St. Petersburg, Florida 33701-4901
(727) 823-3767
http://www.salvadordalimuseum.org/home.html
Hunt Institute for Botanical Documentation
Carnegie Mellon University
5000 Forbes Avenue
Pittsburgh, Pennsylvania 15213-3890
(412) 268-2434
http://huntbot.andrew.cmu.edu/
National Museum of Women in the Arts
1250 New York Avenue, N.W.
Washington, DC 20005-3970
(202) 783-5000
1-800-222-7270
http://www.nmwa.org/
Smithsonian Institute
10th Street and Constitution Ave., NW in Washington, D.C. 20560
(202) 633-1000
http://www.si.edu/
Metropolitan Museum of Art
1000 Fifth Avenue
New York, New York 10028
(212) 535-7710
http://www.metmuseum.org/
American Museum of Natural History
79th Street @ Central Park West
New York, New York
(212) 769-5100
http://www.amnh.org/
American Museum of Natural History
79th Street @ Central Park West
New York, New York
(212) 769-5100
http://www.amnh.org/
Modern Museum of Art
11 West 53 Street,
New York, NY 10019-5497
(212) 708-9400
http://www.moma.org/
Brooklyn Museum of Art
200 Eastern Pkwy
Brooklyn, NY 11238
(718) 638-5000
http://www.brooklynmuseum.org/
High Museum of Art
1280 Peachtree Street, N.E.
Atlanta, Georgia 30309
(404) 733-HIGH
Receptionist: 404-733-4400
http://www.high.org/
Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois, 60603-6404
(312) 443-3600
http://www.artic.edu/aic/
Bruce Museum One Museum Drive
Greenwich, CT 06830
203-869-0376
http://www.brucemuseum.org/
Harvard University Museum of Natural History
Home of the famous Glass Flower Sculptures
by Leopold Blaschka (1822-1895)
and his son Rudolf (1857-1939)
22 Divinity Ave.
Cambridge, MA 02138
(617) 495-2365
http://www.hmnh.harvard.edu/
Locate Other Fine Art Museums
Locate Garden Events
|
)