Battle Ready: Weapons and Tactics of the European Soldier

In the previous section of this two-part WAM Update, we learned how, beginning in the 14th century, European armies began to shift their focus from knights and heavy cavalry towards infantry and common-born soldiers. This led to changes in tactics, in the shape of fortifications, and in the organization of the army itself. In this section, we will look at the rapid rise of firearms, and the further changes they brought to both armor and fighting style, ultimately making cavalry obsolete.

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By the mid-16th century, the man-at-arms was rapidly adding pistols to his arsenal, often without the lance and in some cases adding an additional firearm, the carbine. These shorter barreled firearms were less accurate and thus needed to be used at close ranges. It was discovered that by increasing the thickness of the cuirass (breast and backplate) of the armor, it could be made proof against pistols and other light firearms. Thus it was that the heavily armored cavalry of the mid-16th century onwards became known as cuirassiers, in reference to their reinforced armor. 17th century cavalry continued to make shock attacks, with drawn swords followed up by pistols after the enemy line had been broken through.

Master "NEH", Puffer (wheel-lock pistol) for the Mounted Guards of Elector Christian I of Saxony (r. 1586-91),
German, Saxony, dated 1588. Steel with blueing, walnut, and horn. 5 lb, 2 oz (weight).
The John Woodman Higgins Armory Collection. 2014.47

Three-Quarter Armor for a Cuirassier, Southern German, Augsburg, 1620–1625.
Steel and brass with modern leather. 47lb. 1oz. (weight).
The John Woodman Higgins Armory Collection. 2014.1135

Not all cavalry were heavy types. Lighter cavalry had long existed, using light lances and less armor. By the late 15th century they came to be known as demi-lancers. As firearms were introduced, new types of light cavalry evolved creating a variety of new types whose roles would often overlap, blur and change definition as time passed. An example is the dragoon, whose role was originally as a mounted harquebusier, essentially a mounted infantryman who dismounted to fight, using the horse as rapid transport. However, dragoons quickly adapted to the role of using their firearms from the saddle and by the 18th century were essentially an unarmored form of cavalry using pistols, sabers, and carbines.

 

Wheel-Lock Carbine for the Personal Guard (Trabanten) of Wolf Dietrich von Raitenau,
Prince-Archbishop of Salzburg (r. 1587-1611), German/Suhl, about 1590.
Steel, brass, bone, iron, and wood. 4 lb, 3 oz (weight).
 The John Woodman Higgins Armory Collection. 2014.51

In the mid-16th century the army infantries typically had 2 soldiers with firearms (or shot) to every 5 pikemen. The shot, like archers previously, were primarily for ranged combat, supporting the pikes in their melee combat, which was seen as the primary role of infantry. Pikemen also defended the shot from assault by enemy pikemen and cavalry. This ratio gradually shifted as the lighter arquebus was replaced with the powerful musket. By 1600 the ratio had become 3 shot to every 1 pike. This was partially due to the large amount of siege warfare in the second half of the 16th century, where a man with a firearm was far more effective than one with a pike.

 
 

Matchlock Musket, Austrian, Wiener-Neustadt, about 1675. Steel, iron and wood. 15 lb 4 oz (weight).
The John Woodman Higgins Armory Collection. 2014.616

The 17th century would see the armor of the cuirassier gradually reduced to just a cuirass and helmet, with all other plate defenses removed to increase speed as the more powerful musket could more readily pierce even reinforced armors. Other forms of cavalry would abandon armor altogether. As the century progressed cavalry came to be used in more of a supporting role to the infantry, though still used to deliver the fatal blow to an enemy after they had been broken.

 
 

Italian Army on the March, European, early 17th century. Ink engraving on paper. Prints.
The John Woodman Higgins Armory Collection. 2014.594

As the ratio of shot to pike continued to shift in the former’s favor, so too changed the tactics. Instead of using large blocks of slow moving pikemen supported by shot, the new ratio required spreading out the shot in longer thinner lines to maximize firepower, as well as offering a smaller target. The formation was also more maneuverable, as the tactical units shifted from larger regiments of 2,000 men to smaller companies of 120. The pikemen adopted the same formation to spread the limited number of pikes facing the enemy and to continue to support the shot from melee attack. Additionally, the use of larger numbers of field artillery enhanced the overall firepower of the linear formation, giving it an emphatic punch. Cavalry were used to scout and sweep the flanks. The Battle of Breitenfeld, September 17, 1631 saw the Swedes use linear tactics to beat bulky Imperial pike squares; this would become a model for linear tactics that was used up to the First World War.

 

Engraved by Amos Doolittle (American, 1754–1832), Plan of Military Evolutions,
American, early 1800s. Engraving on cream wove paper. Prints.
Charles E. Goodspeed Collection. 1910.48.837

 

Philibert Louis Debucourt (French, 1755–1832), Cuirassier Prussien, about 1800.
Aquatint and watercolor on cream wove paper. Prints.
Mrs. Kingsmill Marrs Collection. 1926.1122

Isaac Cruikshank (Scottish, 1764–1811) after Woodward, The Soldier's Farewell, 1803.
Etching with watercolor on cream wove paper. Prints.
 Gift of Dr. Samuel B. Woodward. 1934.872 (Detail)

By the 18th century the musketeer had become the main fighting force of the armies of Europe, supported by artillery and cavalry; cuirassiers were now few in number. The flintlock musket would replace the matchlock while the socket bayonet, developed by the French, allowed musketeers to convert their weapons into spears. This enabled musketeers to shoot and effectively engage in melee, making the pikemen obsolete. However, Napoleon made great use of cuirassiers and brought them back into vogue in the 19th century, though cavalry would never again dominate the battlefield as it had in the Middle Ages. The 19th century saw the musket supplanted by the rifled musket and then cartridge fed rifles. Cuirassiers continued to serve on the battlefields of Europe through the First World War. In the 1930s, French cuirassier units would have their horses and armor replaced by tanks, effectively ending the age of armored horsemen.

Christian Sell (German, 1831–1883), Two Patriots, 1870s. Oil on panel. Paintings.
Gift of Mrs. Roger N. Heald. 1972.50

—By Neal Bourbeau, Programming Coordinator

April 30, 2021

Pages of Patterns: The "Kosode Hinagatabon" and Kimono Design

Our current show, The Kimono in Print: 300 Years of Japanese Design, examines the kimono as a significant source of ingenuity and experimentation in Japanese print culture, from the Edo period (1603-1868) to the Meiji period (1868-1912). Through stunning works created by artists such as Kikugawa Eizan (1787-1867), Tsukioka Yoshitoshi (1839-92), and Utagawa Kunisada (1786-1865), the exhibition emphasizes the intersections between kimono woodblock print production. 

Among my favorite works in The Kimono in Print are pattern and fashion books, known as kosode hinagatabon. They create a bridge between kimono woodblock printing by being an integral part of the kimono design selection process. Customers, as well as the makers and sellers of kimono, would first turn to kosode hinagatabon for assistance. These books contained illustrations of designs and patterns that were usually accompanied by notes on colors.

Figs. 1 & 2. Tsuda Seifu (Japanese, 1880-1978), Spirals (Kamonfu), Unkidō (publisher),
2 vols., Japan, 1900, color woodblock-printed book. Museum purchase
through the Eliza S. Paine Fund, the Stoddard Acquisition Fund,
and the Harriet B. Bancroft Fund: 2019.12.2

During the Edo period, men lived in the “public sphere", and were required to wear clothing in compliance with their social status. Women, on the other hand, lived in the “private sphere”, and were comparatively free to select clothing styles based on their own circumstances as long as they did not run counter to their social status. They could choose details such as the fabric, design, color, and decoration techniques. An illustration from the 1722 reprint of Nishikawa’s Book of Patterns (Nishikawa hinagata), which was originally published in 1686, reveal on how women consulted and interacted with kosode hinagatabon. It depicts three women in a domestic setting as they choose designs from a pattern book; the image is accompanied by the following dialogue: 

Elder sister: “What an unusual design!” 

Mother: “Look for a pattern that you like.” 

Younger sister: “Let’s go with this one.” 

 

Other kosode hinagatabon volumes also provide more insight. For example, the front inside cover of Modern Patterns: Sleeves of One Thousand Years (Tōsei moyō hinagata chitose sode), published in 1754, bears an inscription that reads: “Look through this book, and let us know right away about which pattern you like!”

Women would consult these pattern books for inspiration, and place orders for their custom kimono following discussions with clerks at tailors’ shops or from the comfort of their own homes. A tailor  recorded the details of the customer’s request, which were then arranged and kept in ledgers. The notes would then be used to create full-size draft drawings with specifications. They were sent together with the fabric to other craftspeople, such as dyers and embroiderers, for the next stages of the production process. Once the decoration was finished, the garment was complete.

Fig. 3. Ito Shinsui (Japanese, 1898-1972),
Woman with Marumage Hairstyle, 1924,
 color woodblock print with burnishing on silver mica ground.
 Gift of Edward Kenway: 1960.7

Kosode hinagatabon were sold in urban bookstores—not unlike fashion magazines today—alongside other printed materials such as illustrated books and novels. Approximately 170 to 180 pattern and design books were issued in the roughly 150 years from the mid-17th to the early 19th century. Tailors would purchase and collect volumes to show to customers who came to their shops requesting commissioned pieces; they would even lend them to favored clients so that they could peruse and select patterns in private. However, the consumers of such publications were primarily urban townswomen, who purchased them as keepsakes to read and enjoy at home.

As women were the main consumers of both kosode hinagatabon and custom kimono, the majority of the designs featured in the books were targeted toward adult women. Pattern books were even organized according to the rank and age of the women ordering kimono. For example, designs in the 1677 publication, Newly Published Kosode Patterns (Shinpan kosode hiinagata), are divided into patterns for “young women” (shōjo), “young men” (shōnen), “courtesans” (yūjo), and the “elite”.

However, it should not be assumed that these designs were actually directed at a readership from these specific demographics. Rather, these were “in-the-style-of” illustrations that were intended to appeal to ordinary townswomen with a voyeuristic appetite for the fashions of these particular groups.

Figs. 4 & 5. Kamisaka Sekka (Japanese, 1866-1942),
  Faces of the Old Capital (Miyako no omokage), Japan, 1890,
color woodblock-printed book with graduated colors (bokashi).
Museum purchase through the Eliza S. Paine Fund,
the Stoddard Acquisition Fund, and the Harriet B. Bancroft Fund: 2019.14

Many kosode hinagatabon also focused on particular themes or specialized fashion techniques, which became popular from the early eighteenth century onward. For instance, the 1686 volume, Patterns from the Various Provinces (Shokoku on-hiinagata, published in 1686) is arranged based on regional styles, highlighting Kyoto, Edo (present-day Tokyo), Nagoya, and Okayama. Another example, Patterns from the Capital (Miyako hinagata, published in 1691, organizes its designs based on eight colors. 

In some cases, pattern books also supplied designs for other types of textiles, such as Lined Yukata (Yukata awase, published between 1781 and 1789) and Yūzen Patterns (Yūzen hiinagata, published in 1688), which provided designs for clothing such as the hemp katabira worn in the summer, and the yukata worn after bathing, silk yogi coverlets for sleeping, as well as motifs for waist sashes (obi). 

One of the many things I find so interesting about kosode hinagatabon is that in addition to serving as  inspiration for boldly patterned kimono, they also quickly became a source for artisans to create other commercial products as well as other genres of Japanese art, such as lacquerware, ceramics, and even arms and armor. For example, the two-volume book, Spirals (Kamonfu, published in 1900), contains a depiction of tsuba, or Japanese sword guards. The tsuba pattern could be used as a kimono design, to embellish other objects, or even inform the decoration of actual tsuba. 

Fig. 6. Left: Tsuda Seifu (Japanese, 1880-1978), Spirals (Kamonfu), Unkidō (publisher),
2 vols., Japan, 1900, color woodblock-printed book. Museum purchase through the
Eliza S. Paine Fund, the Stoddard Acquisition Fund, and the Harriet B. Bancroft Fund: 2019.12.2  
Right: Tsuba (sword guard) with Flowers, Sickle, and Bamboo Basket, Japan, 1600s,
copper alloy and gold. Bequest of Mildred Marcus Levin and Harold Lester Levin of Nutley, NJ: 1976.240 

—By Rachel Parikh, Assistant Curator of Asian and Middle Eastern Art

April 14, 2021

Battle Ready: Suitable Protection for the European Soldier

When we look at suits of armor, we see Medieval knights. Yet a great deal of the armor that survives was not necessarily worn by a man with the title of knight nor used during the Middle Ages. Most of the surviving European plate armor dates to the Early Modern Period, the 16th and 17th centuries, rather than the 15th century. The Renaissance that bridged the Medieval and Early Modern Periods introduced not only plate armors, but also new weapons and tactics along with changing social norms all of which influenced the armies of Europe at the time.

Hans Thoma (German, 1839–1924), The Knight, 1895. Chiaroscuro lithograph
 on cream wove paper. Prints. Mrs. Kingsmill Marrs Collection. 1926.842

During the 14th and 15th centuries, the number of men who met the social qualifications for the title of knight were in decline while the demand for heavily armored cavalry continued to exist. However, there were men with economic access to the skills and equipment needed to do the job but lacked the noble title. As such the term man-at-arms came into usage meaning any heavily armored cavalryman regardless of social class. The title of knight had become separated from its origins as a specific military role. 

The 14th to 16th centuries saw a gradual return to large scale armies centered mainly on infantry as they once were in classical times. Where up until that point the knightly class held the primary role of defense in Medieval society, increased use of common-born soldiers changed the social contract as now the common people were as much—if not more—responsible for their own defense. This further eroded the importance of the knight in society. 

Still, military professionalism was becoming more regarded. As the soldiers transitioned from mercenaries to citizens recruited to fight for their kings and states, greater emphasis was put on training and discipline. With the growth of unit sizes, the need increased for a more elaborate chain of command with a greater variety of officers to lead. Those positions were initially filled by experienced men during the 16th century but as those positions gained political importance gradually the aristocracy assumed officer roles by the 17th century. Consequently, a noble knight was effectively transformed into an aristocratic officer regardless of military ability.

Christian Rugendas (German, 1708–1781), after Georg Philipp Rugendas l,
  A Battle Scene, 18th c. Mezzotint on cream laid paper. Prints.
Mrs. Kingsmill Marrs Collection. 1926.1178

With the increase in army sizes came the need for more armor. While full armor was a knightly thing, partial suits and elements of armor were used by troops of various types. This usage depended largely on a soldier’s role, which during the Middle Ages depended on social class as troops were, with some exception, required to provide their own equipment. Pikemen, for example, were soldiers who wielded long spears or pikes about 14 to 18 feet long. Carrying such a long weapon required both hands and reduced maneuverability due to being in close ranks therefore creating the need for body armor and helmets. 

To meet this demand, armor makers began creating vast quantities of simplified, mass produced, munitions-grade armor. As the role of raising armies shifted in the 15th to 17th centuries from the nobility to more centralized bureaucracies overseen by absolute monarchs, a need also developed to control the gear of prospective soldiers. 

A soldier’s equipment, including armor, increasingly became issued by the state from government munitions supplies rather than privately procured by the soldiers themselves. As these government-raised troops became more common, the idea of unit history and identity was born with unique unit flags, badges, or other identifying marks, and military music all to help raise morale. Uniforms were initially created for individual units rather haphazardly with dedicated national uniforms only becoming more common by the late 17th and 18th centuries. 

Helmet probably by Richard Wright (English, d. 1654), 
Composite Half-Armor for a Pikeman, English, about 1625–1645.
Steel with modern leather. 14 lb 8 oz (weight).
The John Woodman Higgins Armory Collection. 2014.1167

By the 16th century, use of firearms on the battlefield impacted the role of the cavalry. The main role of the man-at-arms was the shock attack with the heavy lance, but in the face of disciplined hedges of pikemen and ranks of men armed with arquebuses (firearms), such tactics became less effective.

The Battle of Cerignola on April 28, 1503 would be the first battle where victory was decided by infantry with firearms. On February 24, 1525 the Battle of Pavia saw the role of firearms further cemented with a significant defeat of traditional men-at-arms by squares of pikemen supported by arquebusiers, cavalry, and artillery. These blocks of pikemen used force of numbers both in defense by absorbing the attacks made against it and on offense with brute force bowling over the opposition. But such tactics of using infantry in decisive roles would not become standard until the second half of the 16th century when firearms became more ubiquitous. Cavalry made up 20% to 30% of the French and Spanish armies—the leading powers of their day—and many battles were still decided by cavalry.

Spanish Army on the March, European, early 17th century. Ink engraving on paper.
 Prints. The John Woodman Higgins Armory Collection. 2014.595 

In this Early Modern Period, the primary mode of warfare was still the siege and raids. Armies were now far larger—often five times the size of those in the Middle Ages. This was due to infantry being far cheaper to outfit than cavalry, but also being far more useful in a siege especially those troops equipped with firearms who could engage the enemy at a distance. 

While the Medieval fortress was a towering, majestic castle, these proved vulnerable to gunpowder artillery. During the 14th and 15th centuries, the use of cannon shortened the length of sieges as castle walls proved easy targets to hit and knock down. Castle construction all but ceased, but by the 16th century fortresses were redesigned from high lofty towers to low heavily built-up bastions. These were constructed in a star pattern and known as star fortresses. This shape permitted maximum defensive firepower, which allowed for overlapping fields of fire and minimal blind spots—plus a low silhouette making assault and bombardment more difficult. 

Joachim von Sandrart I (German, 1606–1688), Map of Maastricht, about 1632.
 Etching on cream laid paper. Prints. Gift of Tom and Leslie Freudenheim. 2010.223

The scale of the sieges grew in tandem with the armies. It was not unusual for besieging armies to outnumber the populations of the cities they surrounded. Encircling armies and soldiers moving across country lived off the land often overwhelmed the ability of the country they moved through to supply soldiers with ammunition, clothes, and food, as well as fodder for the thousands of animals that accompanied them. This led to devastation of the areas that these armies moved through—or worse, lingered in. It didn’t matter whether they were in friendly territory or that of the foe. Often this led to both civilians and soldiers starving. 

This unfortunate situation ultimately led to whole populations becoming refugees and in turn overburdening the regions they fled to. Added to that the close quarters and squalid conditions soldiers lived in caused disease to run rampant wherever the armies went. Gradual attempts at improvements in the layout of camps to provide better sanitation, hospitals, and the development of supply depots, helped but efforts often fell short of needed goals due to graft and bureaucratic inefficiency. These problems would unfortunately continue to plague armies for centuries to come.

Marten van Cleve I (Netherlandish, 1527–1581), Demolition of the Citadel
 of Antwerp, late 16th century, oil on panel. Paintings. Museum Purchase. 1938.79

Coming soon: The next installment of this two-part WAM Update examines the rapid addition of pistols to the mid-16th century's man-at-arms arsenal and the gradual reduction of the 17th-century cuirassier's armor to just a cuirass and helmet to increase speed as the more powerful musket could more readily pierce even reinforced armors. This update also explores the swift rise of the musketeer. By the 18th century, these soldiers became the main fighting force of European armies supported by artillery and cavalry, leaving cuirassiers fewer in number. 

—By Neal Bourbeau, Programming Coordinator

    March 25, 2021

Fashioning Identity Through Kimono Patterns

Our current exhibition, Kimono in Print: 300 Years of Japanese Design, is the first show devoted to examining the kimono as a major source of inspiration and experimentation in Japanese print culture, from the Edo period (1603-1868) to the Meiji period (1868-1912). Print artists during these periods documented ever-evolving trends in fashion, popularized certain styles of dress, and even designed kimono. The show explores how different artists creatively engaged with the changing idea of the kimono and fashion throughout the history of Japanese woodblock prints. 

With kimono (lit. “thing to wear”), the pattern, through both decoration and color, can indicate one’s social status, personal identity, and cultural sensitivity. This is particularly helpful when identifying figures, such as kabuki actors and courtesans, in woodblock prints, whose depicted faces, before the 1760s, were typically generic. 

For example, in the print below (Fig. 1), created by Torii Kiyonobu (1664-1729), the figure wears a robe featuring a crest, consisting of a large, black circle surrounded by smaller ones, which identifies him as Sawamura Kodenji, who was a star onnagata, a male actor of female roles. Here, Kodenji is shown as the female character, Tsuyu no Mae, from the play, Kantō Koroku’s Up-to-Date Figure (Kantō Koroku imayō Sugata), who goes mad and performs a “lunatic dance” (kyōran), with a bamboo stalk in front of the Tadasu Shrine.

Fig.1. Torii Kiyonobu (Japanese, 1664-1729), Actor Sawamura Kodenji I
as Tsuyu no Mae, Japan, 1698, woodblock print with hand-applied color (tan-e).
53.2 × 30.9 cm (20 15/16 × 12 3/16 in.). John Chandler Bancroft Collection: 1901.59

Some actors also are identifiable by the particular designs and patterns that they promoted as their signature motifs, with the help of their close affiliations with textile retailers. For instance, in 1741, Sanogawa Ichimatsu I (1722-62) wore a robe with a checked pattern for his performance in the play, The Young Leaves of Ink Stained Cherry Blossoms (Sumizone futaba zakura). The pattern became known as Ichimatsu moyō (Fig. 2). As kabuki actors were also popular fashion icons, the craze of the Ichimatsu moyō quickly extended from Ichimatsu’s circle of loyal fans to the wider fashion-conscious townspeople in Edo (Fig. 3).

Fig. 2. Okumura Mansanobu (Japanese, 1686-1764), Segawa Kikunojo I as a
 High-Ranking Courtesan Attended by Sanogawa Ichimatsu I as a Young Male Attendant
Holding a Processional Umbrella and a Girl Attendant Holding a Portable Tray of Hot Coals,
  Japan, about 1748–1749, color woodblock print in red and green (benizuri-e).
45.3 x 31.1 cm (17 13/16 x 12 1/4 in.). John Chandler Bancroft Collection: 1901.73 

Fig. 3. Ikeda Eisen (Japanese, 1790-1848),
A Woman Returning from a Public Bathhouse, Japan,
about 1835, wooblock print. 65.6 x 21.9 cm (25 13/16 x 8 5/8 in.).
John Chandler Bancroft Collection: 1901.256

As mentioned above, courtesans also could be identified in prints through their kimono. These types of prints usually functioned as advertisements for the houses that the women were affiliated with as well as for the kimono designers. Courtesans on parade were a popular subject in ukiyo-e. They commonly depict these women in resplendent finery, often accompanied by their child attendants in matching kimono, on route to meet a client of for special occasions as is the case here. 

The top-ranking courtesan shown below (Fig. 4) is Yoyoyama of the Matsubaya, or “Pine-Needle House”. Her sash (obi) features a repeat pattern consisting of an elaborately framed phoenix, while the back of her kimono bears a large depiction of white bamboo, which looks striking against the black background. What is interesting about the latter is that it is meant to represent a brush painting. It was common to commission artists to paint directly on lavish kimono, further augmenting their value. The artist also included their seals; in the case of this print, its artist, Kikugawa Eizan (1787-1867), ingeniously incorporated his. 

Fig. 4. Kikugawa Eizan (Japanese, 1787-1867), The Courtesan Yoyoyama of
 Matsubaya with Her Two Kamuro Standing Under Cherry Blossom Branches,
 Japan, about 1830,woodblock print, ink and color on paper.
38.4 x 25.9 cm (15 1/8 x 10 3/16 in.).
John Chandler Bancroft Collection: 1901.59.2650 

There are, of course, instances in which patterns on kimono have more general, symbolic meanings, and are not tied to a person’s individual identity. The print below (Fig. 5) features a female figure, belonging to a genre within ukiyo-e prints known as bijin, or “beautiful people”, which is a reference to “beautiful women”. She wears a furisode (lit. “swinging sleeves”), a long-sleeve kimono, with a striking pattern comprising of peaches—representing immortality—set against a black ground on the sleeves and along the bottom. The robe of the young female attendant is decorated with a complementary youthful design of stylized plovers, a type of bird, paired with the motif of evergreen pine, a symbol of longevity.

Fig. 5. Torii Kiyomasu (Japanese, fl. 1690s – 1720s),
Courtesan Holding a Finger Puppet and Teasing her Attendant, Japan, about 1715,
 woodblock print (tan-e); ink on paper, with hand-applied color.
57 x 15 cm (26 3/8 x 5 7/8 in.). John Chandler Bancroft Collection: 1901.60 

—By Rachel Parikh, Assistant Curator of Asian and Middle Eastern Art

March 5, 2021

A Passion for All Things Floral

As part of our lead up to this week's 19th annual Flora in Winter, we recently featured two floral designers participating in WAM's bloom-filled extravaganza. Now meet two more talented, passionate arrangers, Carla Morey and Susan Dewey (celebrating 19 years participating in Flora!), who created original arrangements that interpret selected artworks from our collection. Among other things, we'll explore the inspiration and thought-process behind their floral masterpieces for this year's event, what excites them about participating in Flora, and learn more about a memorable experience for one arranger. Here's a hint: It involves Winslow Homer’s great-grandnephew!

Meet Carla Morey: Milton Garden Club, Museum of Fine Arts Floral Design Chair, GCA Floral Design Judge 

Years in Flora: Five

Carla enjoys a wonderful sense of accomplishment
when she puts the final touches on the floral design,
then steps back, and observes it next
to the artwork she's interpreted.

Favorite arrangement: Dark Release (1982) by Joan Snyder

Well, since it’s my only previous piece, it’s my favorite! It was a challenge to interpret because it is an abstract painting done on wood. The artist used mixed materials, so it gave me the chance to really think outside the box. I used wood, wire, paper, paint, and of course, fresh plant materials. The artist was in a dark period of her life, and that shows through the feeling of chaos throughout the painting. But there is hope, depicted in the title and, I think, the use of gold as a burst of optimism.

Carla poses with her striking Flora in Winter 2020 interpretative arrangement
 of  Joan Snyder's Dark Release (1980).

Flora 2021 artwork: Standing Figure of a Beauty (Bijin) (about 1680-1690)

Carla's inspiration: 

The colors, the interpretation of the piece, and the Japanese nature of the subject. I will use materials you can find in Japan—for instance, orchids. The colors range from recessive colors, such as blue and green, to dominant warm colors featuring tones of red and yellow. And I want to be sure the pure white doesn’t dominate the arrangement. The woman depicted is not from wealth. We know that because the materials are not fine, so I will use typical flowers as well, not just the expensive orchids. Using a round armature, I hope to capture the movement of her garments.

Kakiemon (Japanese) Standing Figure of a Beauty (Bijin)
(about 1680-1690). White porcelain decorated with enamels.
 The E. Rhodes and Leona B. Carpenter Foundation and
 the Stoddard Acquisition Fund, 1998.182

What makes you excited about Flora in Winter?

During the cold winter months in New England, it gives me the feeling spring is coming and the floral material available is bright and cheerful. It’s always great fun to see the other arrangers and their work. And I feel a wonderful sense of accomplishment to put the final touches on the design, step back, and look at it next to the artwork.

What material or technique would you really love to try? 

I would like to work more with wire and leaf manipulation. Practice, practice!

Meet Susan Dewey: Worcester Garden Club, Osterville Garden Club

Years in Flora: 19

Susan in WAM's Renaissance Court with a lovely
 Flora Challenge Class arrangement from a previous event.

Favorite arrangement: Coast in Winter (1892) by Winslow Homer from Flora in Winter, 2003.

I have always loved the simplicity and power of this painting.

This floral interpretation from 2003 of Winslow Homer's  Coast in Winter (1892)
 is Susan's most favorite Flora arrangement. 

Flora 2021 artwork: Overmantel from the Baldwin House, Shrewsbury, MA (American, 18th century)

Susan's inspiration:

I always try to choose an artwork that conveys a clear message, or emotion, or one that will work with a particular floral design style because of the work’s color scheme, thematic content, or visual movement. This painting’s strong horizontal movement, plus the simplicity of the content, inspired me to create a layered, horizontal design. I chose both traditional and tropical plant material, massed and layered in a design created atop a tall, classic urn.

Overmantel from the Baldwin House, Shrewsbury, MA (American, 18th century).
 Oil on panel. Gift of Mrs. Eveleth V. Hill and Mrs. John W. Lasell, 1980.32

What is your most rewarding Flora experience?

It is very hard to choose my favorite Flora in Winter experience over 18 consecutive years that I’ve been lucky enough to be a designer, but probably the design I created for Winslow Homer's Coast in Winter in 2003 was the most meaningful. I have always loved the ocean and Homer’s sense of natural drama and strong emotional message, yet simple use of subtle color and painterly texture, just spoke to me. 

I spent weeks doing mock-ups of my design at our dining room table, soliciting opinions from my husband and two teenage children. I walked the beaches of Cape Cod for inspiration with my mother-in-law, Frani Dewey, who introduced me to the Worcester Garden Club, and also loved the Museum.

My father-in-law, Chuck Dewey, whose grandfather was a founder of WAM, really loved my final design. I can see him now, sitting quietly on a bench in front of my Coast in Winter arrangement. I always think about those times when I am at Flora. Those memories are a comfort now that both Frani and Chuck are gone.

The true highlight of 2003 happened on the night of the "Flora Euphoria!" celebration. I met Jessie Winslow, Winslow Homer’s great-grandnephew, who was there with his girlfriend! He introduced himself to me as I was standing in front of the design and sharing my inspiration with some visitors. He waited until everyone was gone, then came close and said, “I am Jessie Winslow, my great-granduncle painted this, and I have to tell you that you captured the painting perfectly! I have been to Prout’s Neck [the Homer family’s place in Maine] many times and your design just captures that place. I’m going to take a picture of it and share it with the family!” 

I was thrilled, of course, because to me that is the essence of Flora’s value. This annual event is a  celebration of incredible art showcased and made more immediate (and sometimes more understandable!) with flowers, which helps to inspire all Museum visitors.

A 2003 photo captures Susan proudly posing with her floral interpretation
of Winslow Homer's Coast in Winter (1892) painting.

Experience the beauty of Flora from the comfort of home by registering for our “Passport to Virtual Flora." It includes all related online programming, plus a virtual tour of the 24 floral arrangements and Japanese table display in McDonough Court, along with a bonus video tour of the professional floral arrangements in the Museum's public spaces. View more details here.   

—Profiles compiled by Sarah Leveille, Digital Content Specialist, with editorial assistance from Cynthia Allegrezza, Marketing Coordinator

February 25, 2021

Please note: All images here are pre-COVID; visitors to the Museum are currently required to wear masks.