Between the years 1908 and 1911 Charles E. Burchfield created nearly 500 botanical sketches that show the different wildflowers and plants he found in the forests and fields around his childhood home in Salem, Ohio. Using books from the local library, Burchfield identified and documented these plants along with the location where he found them. These sketches, which to a large extent predate the artist's journals, are an important document of Burchfield's early fascination with the natural world.The exhibition Burchfield Botanicals will feature Burchfield masterworks, paired with these botanical sketches and objects from the Marchand Wildflower Collection at the Buffalo Museum of Science. Paul and George Marchand created the Hall of Plant Life in 1936. Paul Marchand, well known throughout the world for his meticulous work created "scientifically accurate and artistically superb casts of flowers and mushrooms" as well as dioramas for the museum throughout his career.

While there’s no shortage of information on restoring and maintaining the historical integrity of period homes, until now there has been no authoritative reference that provides comparable information for landscapes. American Home Landscapes is a comprehensive, fully illustrated guide to recreating nearly 400 years of historical landscape design and adapting them to modern needs. You will first learn how to research design elements for a particular property. Each of the following chapters focuses on the design characteristics of six well-defined historical periods, beginning with the Colonial period and ending with the last decades of the twentieth century. Each section features the most prominent landscape features of each era, such as paths, driveways, fences, hedges, seating, and accessories. Extensive bibliographic resources and historically accurate plant lists round out the text. Whether the goal is to create a meticulously accurate period landscape or simply to evoke the look of a bygone era, you’ll find the tools you need in American Home Landscapes.

'The English language is like a fleet of juggernaut trucks that goes on regardless.' In this fascinating book, Robert Burchfield, editor of the four-volume Supplement to the Oxford English Dictionary, expertly stresses both the resilience and flexibility of the English language, tracing its history from the 5th century AD to the present day. From the days of runes to the origins of printing, through social, religious, political and industrial change in the eighteenth century, through the rise of the British Empire and the development of world English, and into the twentieth-century, the English language has undergone sweeping changes. 'the best brief survey I have read on the development of English' Anthony Burgess 'an expert, absorbing guide to the English-speaking world's biggest asset' Sunday Times 'It can be recommended without reservation to all who are sensitive to the subtlety, richness and power of the language they speak' British Book News 'so skilfully written that it must surely take a place among the best three or four books ever written about our language' Birmingham Post

With its fragile beauty and dark power, the Amazon has fascinated people throughout the centuries. Enthralled by its exotic and impenetrable mystery on his first visit to the region in 1998, Jerry Burchfield sought to utilize his skills as a photographer both to celebrate the Amazon’s stunning beauty and also communicate his concern for its future. Primal Images is the product of his passion, composed of exquisite lumen prints created entirely without a camera or lens. To create his lumens, Burchfield placed plant cuttings directly onto aged black-and-white photographic paper that he secured to the deck of his Amazon boat. He then let the beautifully chaotic interaction of sunlight, rain, temperature, and each plant’s inherent moisture and chemistry, among other factors, play out freely in prolonged exposures. The result is an astonishing array of images—from the starkly representational to pure abstractions of color, shape, and form—that powerfully celebrate the rare and resplendent beauty of the world’s largest tropical rain forest. Burchfield’s photographic technique draws on methods formulated during the origins of photography, beginning with the shadowgrams of nineteenth-century pioneers William Henry Fox Talbot and Anna Atkins and, more recently, twentieth-century innovators Harry Callahan and Robert Heinecken. Yet Burchfield adds a depth to the process that, as Wade Davis writes in his foreword, “seeks to see beneath the surface of things to the very inner worlds that shamans desire to know.” “Jerry Burchfield’s images are a testament to the respect in which he holds the natural world. There is a reverence in these photograms that moves them beyond the decorative, outside the scientific, and above the formal. Burchfield quietly collaborates with the form and rhythms of the natural, celebrates the authority and simplicity of his process, and respects the products and demands of time. His images reflect an artmaking sensibility more attuned to discoveries than to dictates.”—Tim Wride, associate curator of photography, Los Angeles County Museum of Art

An opulent, joyful homage to the many ways of painting flowers, from Charles Burchfield to Amy Sillman "Flowers are always working in the service of the passage of time," writes Helen Molesworth in the opening pages of Nothing but Flowers. "In all of the paintings in this book where flowers are depicted, innocently standing in their vases, the minor gestures of gathering, arranging and display can be seen as a verb list dedicated to world-building." This clothbound volume gathers paintings of flowers by more than 50 artists from Charles Burchfield to Amy Sillman, Joe Brainard to Lisa Yuskavage, who have explored the perennial appeal of this richest and yet simplest of subjects. Nothing but Flowersdemonstrates the capacity of the humble botanical motif to capture sorrow, stimulate rehabilitation, and guide us through periods of mourning, celebration and rebirth. Writers Hilton Als, Helen Molesworth, Sarah Nicole Prickett and David Rimanelli contribute meditations on the many resonances of flowers in art. Artists include: Gertrude Abercrombie, Marina Adams, Henni Alftan, Ed Baynard, Nell Blaine, Dike Blair, Vern Blosum, Joe Brainard, Cecily Brown, Charles Burchfield, Matt Connors, Andrew Cranston, Ann Craven, Stephanie Crawford, Somaya Critchlow, Verne Dawson, Lois Dodd, Peter Doig, Nicole Eisenman, Ida Ekblad, Minnie Evans, Marley Freeman, Jane Freilicher, Mark Grotjahn, James Harrison, Lubaina Himid, Samuel Hindolo, Reggie Burrows Hodges, Max Jansons, Ernst Yohji Jaeger, Sanya Kantarovsky, Alex Katz, Karen Kilimnik, Zenzaburo Kojima, Matvey Levenstein, Shannon Cartier Lucy, Calvin Marcus, Helen Marden, Jeanette Mundt, Soumya Netrabile, Woody De Othello, Sanou Oumar, Jennifer Packer, Nicolas Party, Hilary Pecis, Richard Pettibone, Elizabeth Peyton, Amy Sillman, Elaine Sturtevant, Tabboo!, Honor Titus, Uman, Susan Jane Walp, Stanley Whitney, Jonas Wood, Matthew Wong, Albert York, Manoucher Yektai and Lisa Yuskavage.

Humanity's place in the natural order is under scrutiny as never before, held in a precarious balance between visible and invisible forces: from the microscopic threat of a virus to the monumental power of climate change. Drawing on indigenous traditions from the Amazon rainforest; alternative perspectives on Western scientific rationalism; and new thinking around plant intelligence, philosophy and cultural theory, The Botanical Mind Online investigates the significance of the plant kingdom to human life, consciousness and spirituality across cultures and through time. It positions the plant as both a universal symbol found in almost every civilisation and religion across the globe, and the most fundamental but misunderstood form of life on our planet. This new online project has been developed in response to the COVID-19 crisis and the closure of our galleries due to the pandemic. 'The Botanical Mind: Art, Mysticism and The Cosmic Tree' was originally conceived as a trans-generational group exhibition, but has been postponed. In the meantime, we have launched this complimentary online programme of new artist commissions, podcasts, films, texts, images and audio, expanding on and enriching the ideas and issues informing the show over at botanicalmind.online ... During this period of enforced stillness, our behaviour might be seen to resonate with plants: like them we are now fixed in one place, subject to new rhythms of time, contemplation, personal growth and transformation. Millions of years ago plants chose to forego mobility in favour of a life rooted in place, embedded in a particular context or environment. The life of a plant is one of constant, sensitive response to its environment - a process of growth, problem-solving, nourishment and transformation, played out at speeds and scales very different to our own. In this moment of global crisis and change there has perhaps never been a better moment to reflect on and learn from them.--https://camdenartcentre.org/the-botanical-mind-online/

In tumultuous 1860, South Carolina farmer Polly struggles to hold onto both her land and the slaves who plant and tend her valuable cotton, while still reeling from the murder of her young brothers years before. This horrific crime has gone unsolved and unpunished-until now. When details of the brutal murder come to light, she must make decisions that will change not only her own life, but the lives of every person on her farm.With a strong sense of place, the story chronicles the intertwined lives of Polly Burgiss and one of her slaves, a man named Ben. It spans generations and some of the state's most painful years, from the Civil War through its ugly aftermath. As Polly discovers unsettling truths about the evils of slavery, her revelations set in motion a monumental shift in her own small corner of the world-and far beyond.

Examines Burchfield's art as the culmination of a vein of pantheism that stretches from Emerson, Thoreau, and the Hudson River school to Burchfield's last great watercolors of the 1960s. The author draws on Burchfield's journal and letters to trace the artist's development (American Art Series) Illustrated.

Latin is one of two acceptable languages for describing new plants, and taxonomists must be able to translate earlier texts in Latin. Providing a simple explanation of Latin grammar along with an in-depth vocabulary, this is an indispensable guide for systematic botanists worldwide. All relevant parts of speech are discussed, with accompanying examples as well as worked exercises for translating diagnoses and descriptions to and from Latin. Guidelines for forming specific epithets are also included. The authors cross-reference their grammar to Stearn's Botanical Latin and to articles in the International Code of Nomenclature for Algae, Fungi and Plants. The comprehensive vocabulary is enhanced with terms from recent glossaries for non-flowering plants – lichens, mosses, algae, fungi and ferns – making this an ideal resource for anyone looking to hone their understanding of Latin grammar and to translate botanical texts from the past 300 years.