The Finnis Scott Foundation has announced a Call for Applications for its NEW Botanical Art Award worth £10,000 for organisations involved with botanical art.
A number of leading people in the botanical art world have been helping to get the award set up. Applications will judged by a sub-committee of experts with knowledge of botanical art.
Below is a briefing about this brand new award. [Please note minor modifications have been made since this was first posted as matters have been clarified]
This is a very long post so there's a READ MORE break inserted - so make sure you click READ MORE to read the complete post.
The Finnis Scott Foundation Botanical Art Award (£10,000)
I've been asked by Charlotte Brooks, the Botanical Art Award Secretary, to help promote this award - which I'm very happy to do.
Below I've tried to do my usual review of the terms and conditions for a "call for entries" and have created a digest, highlighting key facts and making some suggestions.
Any queries need to be addressed by emailing the Secretary: firstname.lastname@example.org
What is the Botanical Art Award?
The Finnis Scott Foundation is offering a NEW biennial award (every two years) valued at up to £10,000, to support and promote the practice of botanical painting.
The aim of the Award is that it should enable established botanical art groups to:
It's important to note that it's expected that the funding from the Award will last for no longer than two years - hence if any project is to have a longer life it will need to secure recurrent funding from other sources before or during the project.
The award will fund
discrete projects that promote and encourage the practice and appreciation of botanical painting.
It enables dedicated botanical art societies and similar groups to apply for funding to develop projects they wouldn’t otherwise be able to carry out.
It encourages botanical artists, who often work alone, to collaborate and co-operate with other botanical artists with a view to promoting the practice of botanical art and and creating and outcome for those who appreciate it.
It recognises the contribution of those who have already helped raise the profile of botanical art and now want to further extend their reach to new audiences by enabling them to carrying out something 'extra-ordinary' (i.e. not just business as usual)
Obviously the nature of the project is up to individual groups to decide.
Projects might involve develop educational and creative opportunities e.g. developing
The judges are looking to reward fresh ideas, original projects and new ways of working.
My thoughts, for what they are worth - in terms of what I think are "gaps" in botanical art activities in the UK - is that a project might be
Next - the application process (who/what/how/when)!
Celebrating a renovated Garden Museum
Tradescants’ Orchard: A Celebration of Botanical Art will be the first exhibition in the brand new exhibition space in the renovated Garden Museum (which has been closed for a major redevelopment in the past year).
The garden at the Museum re-opens on 22nd May. However the opening date for the exhibition is still not confirmed - but will be on display at between late May and September (opening date to be finalised)
The Tradescants' Orchard is a contemporary exhibition comprising watercolours by fifty eminent botanical artists is to be staged alongside a display of ‘The Tradescants’ Orchard’, a seventeenth-century volume of sixty-six watercolours depicting fruit varieties that John Tradescant and his son might have grown in their market garden at Lambeth.
Hence, the exhibition has two parts:
The Tradescants' Orchard
The Tradescants' Orchard is a practical document that records the size, colour and texture of fruit with their ripening dates.
The standard of the plant portraits is so high and the text so illuminating that this will make a memorable book and exhibition. I do hope that it will also be exhibited in the Shirley Sherwood Gallery at the Royal Botanic Gardens, Kew in 2018
Dr. Shirley Sherwood Patron of the Florilegium Society
The plants are painted life-size, unless noted otherwise on the painting, and most are reproduced at about half painted size. Some show the plant in its entirety, some the flower and fruiting bodies, in others, the focus is that most recognisable and showiest of all structures, the flower, further playing out its biological role in attracting attention.
Beverley Allen - President of the Florilegium Society
The botanical art displayed in this book is definitely at the high end of the spectrum; these are works of incredible accuracy and of undeniable beauty that fully respect the plants they portray,
Dr Brett Summerell (Preface) - Director of the RBGS
“These two striking exhibitions celebrate the fine tradition of botanical art in Australia, from early 19th century watercolours to contemporary artworks, and reveal the extraordinary plant life abundant across Sydney and New South Wales,”
Mark Goggin, Executive Director of Sydney Living Museums
The fragrant Magnolia grandiflora, now a familiar plant in Sydney, was introduced to NSW by William Macarthur in the 1830s, and was growing not only in the Royal Botanic Garden but also in large private gardens by the early 1840s. Vaucluse House in the eastern suburbs reputedly grew one of the largest magnolias in the colony, its striking flowers and dark foliage providing a dramatic border to the pleasure garden of William Charles Wentworth where he also grew exotic plant species from across the world.
Katherine Tyrrell writes about botanical art and artists and has followers all over the world.
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