Flower Arrangement

Lesson 11 : Flower Arrangement Styles

Traditional/Western Flower Arrangements

The emphasis is on the use of many flowers as a mass in the floral arrangement. Traditional flower design, also known as Western flower arrangements, is the time-honoured common flower arranging style where the design is enriched with a large number of beautiful, colorful flowers. Apart from the vase in which the flowers are arranged, almost no other accessories are used in this flower style.

Traditional occidental flower arrangements are commonly known as "period" arrangements, and are a minor part of the three great decorative movements of Europe. These decorative movements are the Renaissance (1400-1600), the Baroque (1600-1775) (including the Rococo), and the Neoclassic (1775-1830). All of these except the Rococo started in Italy and spread over Europe and finally to America. Their decorative styles affected every art expression, from architecture and furnishings to floral decoration.

The Renaissance Period (1400-1600)
Italian Renaissance (This style, developed in Italy, was mostly a rebirth of the classical style of Greece and Rome. Most Renaissance flower arrangements were large, tall, symmetri­cal, and pyramidal in form. They were open, airy, and uncrowded; the containers were often about the same height as the plant materials. Some low compositions of flowers and fruit in low containers also appeared in the details of paintings. Arrangements were also made in cornucopias for carrying in parades. Bright, contrasting colors were the fashion, and triad color schemes were the most popular of aIl.

An adaptation of a Renaissance flower arrangement would be suitable today for church or stage or for a formal tea table. It might be given extra dignity by the addition of several marble bases. Some favorites were lilies, roses, violets, jasmine, pinks, lilies-of-the-valley, daisies, irises, anemones, primroses, and carnations, with laurel, olive, or ivy leaves for contrast.

The Baroque Period (1600-1775)
Italy. The Baroque movement was a reaction and a rebellion against the classical Renaissance style; it was inspired and led by the great artist Michelangelo. The many paintings of this period show us that flower decorations expressed the exuberant mood of the Baroque. The flower arrangements were very large, lush, and abundant, showing combinations of many kinds of flowers and fruits, some very large, some small. Symmetrical arrangements were used early in the Baroque period, especially in tall urns in the gardens.

Asymmetrical curves, especially large low S curves and arching stopped C curves, predominated in typical Baroque flower arrange­ments. Usually the dominant movement started low down on one side and swept upward to the top of the other side, often in a strong curved diagonal. Many other minor movements made every spot on the arrangement exciting and gay. Sometimes several centers of interest were in competition. The total effect was dynamic and mov­ing, but always graceful.

The arrangements were placed against cool green, blue, purple, or gray backgrounds for contrast. Textures were varied and exquisite in flowers, fruits, and fabrics.
Containers were always large, sometimes enormous. They were made of sturdy materials, such as metals, stone, pottery, and heavy glass. Some Oriental porcelain was also used low baskets were popular for fruit arrangements. Plant materials in great variety were used in the Baroque period. Large variegated flowers were favorites.

The Rococo style:
The Rococo Period of Louis XV (1715-1774) is a com­pletely French variation of the Baroque style.
In the Rococo (rock and shell) period all art forms became asym­metrical and entirely curvilinear; the lighter C curves took the place of the S curves. The Rococo style expressed femininity, gaiety, play­fulness, and Charm.
Flower arrangements of the Rococo period were portrayed in tapes­tries, fabrics, flower prints, and paintings. In the arrangements the plant materials were often about the height of the containers, but proportions, but proportions varied. A few large flowers were used, but many small flowers and sprays, vines, or ferns made the arrangements airy. Many small bouquets were used on small tables. The colors were lighter, rosier and more subtle than the Baroque, and the textures were fine.

The Neoclassical Period:
Flower arrangements, garlands, and swags of the period were pic­tured in wall panels, tapestries, brocades, and paintings. The ar­rangements were symmetrical but they were fairly small, tall, slender, and airy. They were elegant in texture. They were often very re­stricted in color: grayed hues and light values were preferred, cool colors were predominant.

Neoclassical arrangements had many characteristics of the best compositions of the present. They usually had a dominant center of interest, and they had transition from denseness at the center to sparseness at the edges, as well as transition from large forms at the center to small ones at the top and sides.

The empire style:
Large, pyramidal flower arrangements in broad Roman urns on tall pedestals were generally used; foliage such as laurel made backgrounds for masses of large red roses or peonies. Large garlands and wreaths were also used for decoration. The colors em­ployed were strong, dark, and contrasting. Textures too were varied and bold, but rich.

The Nineteenth Century (1820-1900)
In the nineteenth century France produced the best flower painters of the West. They brought originality and vitality to the arts of flower arrangement and flower painting. They had no general style; each artist expressed himself in his own way, and stands as a valuable example for arrangers of today who fear to ex­periment. Prints of these fine French paintings should adorn the homes of progressive flower arrangers.

Victorian floral compositions were different from those on the con­tinent at the same time. The English made arrangements of shell flowers, and wax flowers, and dried materials with skeletonized leaves, which they considered so precious that they were placed under glass domes for protection. Living flowers too were important in this period. The "language of flowers" was then in common social usage. Asymmetrical balance was preferred to symmetrical in Victorian arrangements. White arrangements were popular for a time.

Japanese arrangements have three dimensions. Depth is obtained by having the Heaven line upright and the Man and Earth lines leaning forward so that the tips make a triangle when seen from above. The Earth line, which protrudes the most, is considered to be the host part of a design, like a welcoming hand reaching forward to meet the guest.

All Japanese arrangements are either right- or left-handed. A right-handed arrangement is one in which the Heaven line and the Earth line point to the right, although most of the material may be in the left side of the container. A left-handed arrangement is, of course, exactly the opposite. The arranger should decide whether the composition should be right- or left-handed when he or she sees the plant materials, because the better side of the plant material must show and that may necessitate placement in a specific direction.

The color combinations in Japanese flower arrangements do not always please Occidentals. The Japanese combine strong warm colors, which are considered male, with pale, weak, and sometimes cool colors, which are considered female. Brilliant scarlet with pale orchid or light blue is often combined in Japanese kimonos and in flower arrangements. A pleasing custom, however, is to use light colors for H, M, and E and dark colors for any additional material used between them.