1. Acton Garden Club

When we learned the standing figure was our assigned object, we were surprised and delighted with the expressive countenance and the pose of the work. Its origin is from one of the lesser-known cultures of the Pacific region of Mexico, understood today solely by the art objects discovered buried in tombs.

We agreed that a shapely terracotta container was essential for honoring the same material from which this figure was cast. The small loop handles evoke his ear flares.

Our Mexican nobleman is deep in thought, centered, and well-grounded. He wears the accoutrements of his ruling class station within the community. The rich earth colors and thick waxy substance of tropical flowers, combined with woven greens, were chosen and arranged to reflect his status and the part of the world where he was found.

The Mesoamerican origin of our subject was fortuitous; one of us had just returned from a cruise to the Panama Canal and up the Atlantic coast of Central America to Mexico. Combining what she learned on the journey about the highly developed Aztec and Mayan cultures in Central America with the figure’s background enriched our Art in Bloom experience.

2. West Concord Green Thumbs

We were impressed with the beauty of the seated couple and love the bold orange color with white and dark yellow accents. The figures come to life with their almond-shaped eyes, pinched noses, and rich accoutrements. They have their arms around each other, displaying their deep connection, affection, and mutual support.

We wanted to match the color of our container to the wall behind our art object so it complements our floral arrangement and also fits within the gallery. The shape of the container loosely resembles some of the geometric designs of the seated couple.

We spent many hours at the flower market matching colors and textures, identifying varieties of flowers that can be used together, and seeing how we can make a beautiful flower arrangement that would best represent the artwork.

Our focus was to employ bold colors and to use a single container for an arrangement that represents two drinking figures seated arm in arm. The figures are differentiated by using different textured plant material of the same hues. White and yellow shades are incorporated to represent their ornamental face painting, elaborate jewelry, and decorated clothing. We accentuated two of the main components of this object: the male figure’s drinking gourd and the female’s cup.

This is our fourth year participating in Art in Bloom. It is always a privilege to be a part of it.

3. Easton Garden Club

The female effigy jar was a totally new object to us. A funerary vessel is very different from a painting, so creating a floral arrangement based on such an unusual object was both intimidating and exciting. Our container mirrors the style, color, and shape of the effigy jar.

Emotion is the main inspiration for our floral design. The vessel represents a human figure. It appears to have tears coming from its eyes, which is seen most visibly when the jar is viewed on its side. Because the funerary figure manifests strong emotion, our arrangement is bold, tall, and strong. We focused on the face—especially the mouth and eyes—using a mix of Peruvian blooms such as orchids, alstroemeria, and lilies. Her dark braids and the serpents are represented with textured greens.

We have created arrangements for Art in Bloom in the past, and our garden club has participated many times. We enjoy the opportunity to challenge ourselves creatively and come away with a deeper appreciation for art in all its many forms.

4. Framingham Garden Club

We were excited about working with the bent-corner chief’s chest but had slightly different reactions when we viewed it for the first time. One of us was struck by how much larger the chest was than expected and by the richness of its hues. The other was reminded of traditions from around the world for protecting cherished items and heirlooms, like traditional cases used by the Japanese for kimonos and similar traditions in India.

The container that we chose for the design reflects and complements the color and shape of the chest. With our floral material, we have incorporated rounded rectangular shapes and U-shaped forms with more structured foliage to echo the straight edges of the chest along with the more organic shapes painted on the surface. We used linear branches to emphasize and define the edges of the chest.

Our garden club has been participating in Art in Bloom for more than 30 years. As designers, we bring a range of experience to this long tradition. One of us has participated in Art in Bloom for the MFA and in Flora in Winter at the Worcester Art Museum for many years. The other is designing for her second Art in Bloom. One of us still remembers visiting her first Art in Bloom after arriving from Mumbai, India, in 1997, and thinking that this event was unlike anything she had ever experienced before. She knew from that moment on that she wanted to be part of Art in Bloom.

5. The Cohasset Garden Club

We were elated to be assigned the walls from the burial chamber of Sobekmose, which is such a storied piece of art! The magnificent size of the piece was initially daunting; however, our enthusiasm grew the more we learned about these “houses of eternity” and the common belief at the time that death was not the end but instead a glorious transition to life beyond the physical world. Deeper examination of the tomb walls revealed a series of vibrant stories, including the three stages of a funeral procession, which led us to choose “Offerings for the Journey Beyond” as the theme of our arrangement.

We selected a container that is substantial and reminds us of the burial chamber material. It is similar to the jars depicted on the tomb walls and supports the overall mood of the object through its shape, subtle colors, and antique quality. To honor Sobekmose’s spiritual journey, our design emphasizes a few key elements:

• Repetition of floral elements—which evokes the rows of offerings commonly depicted on tomb walls, intended to provide nourishment for eternity.
• Vertical and directional movement—representing the funerary procession, guiding the eye upward and forward, symbolizing the soul’s journey.
• Contrasts in texture—intentionally placing structured material alongside soft and abundant plants to mirror the tension between the desert tomb and the lush, eternal afterlife it was meant to secure.

Our floral choices honor the types of flowers that would have been present and that reference ancient Egyptian symbolism of gods, humans, and animals. The plants represent rebirth and the life-giving Nile, with green tones indicating the promise of renewal. The gold and warm ochres suggest the eternal and the divine, and the white accents stand for purity and the sacred ceremony of the burial.

This is the second Art in Bloom for one of us and the first for the other designer. We initially met and became fast friends during our provisional member year with Cohasset Garden Club and enjoyed working together on this project.

6. Garden Club Federation of MA Judges’ Council

When we first looked at the lid of the sarcophagus of General Kheperra, we were immediately impressed by its massiveness. It is imposing and bold, perhaps reflecting the power and importance of General Kheperra. The lid is also symmetrical and closed, thus it is very contained.

We chose a large, dark, rounded vessel with a heavy base, offering stability and reflecting the solidity of the object. The distressed surface of our container also implies antiquity.

Our aim was to create a strong, bold, and masculine design with a closed and smooth profile. Like the sarcophagus lid, our arrangement is symmetrical. Our plant material incorporates strong lustrous foliage with large, rhythmic floral blooms to provide low-intensity contrast.

We have participated in Art in Bloom as a Garden Club team for many years, and we always look forward to the opportunity and the challenge. We photograph one another next to the object and develop concepts independently before meeting to share ideas and visit the flower market.

7. Wollaston Garden Club

On orientation day, we opened our folders on the count of three. After an initial reaction of “Oh-h-h,” we were quickly inspired by all the possible ways that we could represent and honor this unique drinking vessel. We were captivated by its striking simplicity in combination with the force of the fist that gives the vessel its shape.

The distinctive shape of the object compelled us to find a container of a similar size and shape. What was most important was that the container, like the drinking vessel, conveys strength and power. We learned that the fist shape might represent a Hittite hieroglyph meaning strength.

Our goal was to approach our interpretation with an open mind and to incorporate colors that would enhance this monochromatic piece. We selected flowers that we believe indicate vigor and force. Although our container choice is quite literal, we have been more creative and imaginative in our selection of floral material.

Our garden club has a long history of participating in Art in Bloom, and we have been fortunate to be floral designers for Art in Bloom since 2023. Although the process can be challenging, it is always enjoyable. Our first object was from Ancient Egypt, so we are thrilled to once again respond to a piece from the same era.

8. Houghs Neck Garden Club

When we first saw Virgin and the Dead Christ with the Ascension and Saints, we were impressed with the beauty and the detail of the carving and painting. Although we were a bit overwhelmed by its enormous scale, we were excited to have an opportunity to respond to this altarpiece.

We selected an antique-looking container to pay homage to the history of the object. Roses and lilies dominate our arrangement. They represent the colors and flowers associated with the disciples and with Mary and Jesus. We also aimed to incorporate material that would reflect the altarpiece’s country of origin (Italy) and its history and culture.

Our garden club has a history of participating in Art in Bloom; however, this will be our first year without a master gardener’s support. We are committed to delivering a design that appropriately honors the beauty of this magnificent artwork.

9. Beth Shalom Garden Club

We were immediately struck by the beauty of the woman’s dress and by its gorgeous textures and materials. Our container was provided by a friend. It dramatically reflects the dress with its colors, the height, and (most of all) the holes.

The colors and the textures of this object inspired our selection of floral material. We have incorporated several different blush-colored flowers to create depth and echo the black tips seen on the dress with dark-colored plant material. We aimed to create a well-defined line in acknowledgment of the length of the garment, set off with a mass of plants to reflect the body, and we included more wispy flowers to reflect the feathers of the dress.

Beth Shalom Garden Club has always been focused on floral design, so Art in Bloom is a natural fit. The club has participated since the event began. We consider it an honor to be involved with this wonderful event. We would like to dedicate this arrangement to our mothers for inviting us to a garden club meeting more than 20 years ago. Since then, we have been hooked and have had the opportunity to participate in this wonderful event numerous times.

10. Thursday Garden Club of Sudbury

Initially, we weren’t sure which vulture we were assigned because there are several porcelain birds and vultures displayed in this gallery. The fact that the vulture is an all-white piece with lots of texture led to a good deal of creative thinking. We considered if we should create a monochromatic arrangement or incorporate color.

We looked at a number of containers and ended up selecting one that we feel reflects the strength of the object. The arrangement incorporates many of the underlying elements of floral design: light vs. dark, texture, patterns, scale, and proportion.

11. East Bridgewater Garden Club

When we first looked at this intriguing painting, we were surprised about the title Slaughterhouse.

Our options for a container included an earth-tone clay vessel to reflect the natural landscape of the painting or a modern, clear-glass vase to keep a low profile within the surrealistic gallery.

There are several moods within the artwork that can be interpreted: the serenity of undisturbed landscape with its blue, clear skies or the bloody pandemonium indicated by its title. Our arrangement will include 96 flowers to celebrate the 96th birthday of the East Bridgewater Garden Club, which was established in April 1930.

We want to be attuned to the intention of the artist Gertrude Abercrombie (1909–1977) who said, “I paint the way I do because I’m just scared. I mean, I think it’s a scream that we’re alive at all. Don’t you?”

12. Worcester Garden Club

Although Three Creole Women was smaller than we expected, we found it breathtaking! It is airy, soft, and delicate but also bold.

The piece was painted during the Art Deco era, so it made sense to us to use a vessel from that time period. We were able to purchase a beautiful, understated, green vase that is adjacent to the lighter shade of green in the painting. This was a familiar color of the era, and it formed a basis for our interpretation.

Our design is light and airy, with bold yet delicate flowers to reflect the artist’s depiction of the women’s hair, skirts, and lush background. A deep-hued focal flower on the right-hand side anchors our arrangement—just as the artist has done with the woman’s skirt and hat. We approached our design from the bottom up, using the dimensions of our base as our starting point. The arrangement needs to be in balance with the size of the object, as well as with the base it will be placed on. It was evident from the first time we laid eyes on the painting that our arrangement needed to be light, airy, delicate, and bold in color in some spots. We want it to flow just as the painting does.

We have enjoyed every moment of designing this arrangement. One of us has created arrangements for Art in Bloom three times, and the other is participating in her first event.

13. Milton Garden Club

Our initial impression was that Pomona is very large and occupies a vast space. We were not familiar with the sculpture so, as we studied and learned more, we realized that it could be interpreted from many different perspectives. This was thought-provoking!

Our design approach was not only to look at and consider the object but also to incorporate the story of what the object represents and the artist who created it. We looked for a container that would represent the texture, color, and movement of the sculpture. We did not want the container to overwhelm the floral design but rather complement our arrangement.

Pomona represents strength and abundance, so we aimed to have our floral design be abundant in texture, movement, and size. We strove for an extensive range of variation in hues within a mostly monochromatic design, echoing the monochromatic palette of the sculpture.

One of us has had quite a lot of experience in floral design and with Art in Bloom. The other member is a novice and has only done a floral arrangement for a local museum. Our garden club has participated regularly in this event.

14. Country Garden Club of Weston

When we first saw Linda Nochlin and Daisy, we were struck by a deep sense of melancholy. Linda Nochlin appears anxious and weary, sitting on the sofa with her young daughter, Daisy, pulled close beside her. Deep wrinkles, shadowed eyes, and pursed lips mark Linda’s face, while Daisy, in a light blue outfit and red shoes, gazes wide-eyed.

We chose a contemporary avocado-green glazed ceramic oval container with soft asymmetric curves. Its 1970s-inspired color complements the sofa in this early-1970s painting, while the shape echoes Linda’s protective curve around Daisy and the sofa’s flowing lines.

Our floral design draws inspiration from the painting’s rich colors, the tender mother-daughter bond, and the frenetic intensity of emotions it conveys. Knowing that Alice Neel was twice denied this bond (her first daughter died very young, and her second was taken by her husband) added deeper resonance.

Though not a literal interpretation, we selected flowers and greens in a range of green-blue, purple, yellow, and light blue colors with touches of red to complement the artwork and capture its anxious energy and complex mix of feelings.

Upright, rigid blooms represent Linda, whereas softer, looser blossoms convey Daisy’s innocent and youthful energy.

This is the eighth time one of has designed for Art in Bloom and the other designer’s fourth time. It is our third collaboration as co-designers. We love the entire process: researching the artwork’s history, choosing the perfect container, and collaborating on floral selections that best complement the painting.

15. The Centerpiece Flower Shop

Three things struck me about Doron Langberg’s Merge when I first saw it: the vibrant color palette that seems to glow from within the painting, while at the same time conveying that the setting is at night; the sheer scale and scope of the artwork; and, finally, the transgressive nature of the scene.

Like the painting itself, I wanted to use a container that would frame the nighttime as an enclosing frame for the scene itself. The intimacy of the darkened exterior both highlights the vibrancy of the colors but is also an important element of the way that the scene is constructed. Playing off the scope and shape of the artwork, I knew I wanted to use black and to have a rectangular shape. The right angles help to contain and define the movement and sensuality embedded in the scene.

Without question, the color is what struck me first and most intensely about the scene. It glows from the painting, turning a brightly lit museum gallery with white walls into a small club or queer bar, with a combination of neon and shadow. Just as the painting offers the viewer several focal points within the scene, it also defines its space. I aimed to replicate that kind of playing with space, making one larger impression built from specific, smaller vignettes. The energy of the piece should feel like it is emanating out and drawing you closer. Note the seven diagonal lines toward the top center of the painting; they serve to radiate the light, energy, and movement of the scene outward in an explosive burst.

This year is my fourth Art in Bloom, and every time has been so deeply special and personal. This scene continues that intensely personal and intimate connection with a work of art. As a gay man, I know this space and spaces like it. My design process included visiting the artwork at night. I observed that the painting glowed in a different way than on the bright morning when I first saw it. I also hoped to incorporate rhythm in my arrangement that would echo the music that we can imagine is an integral part of the scene depicted in the painting.

16. Boston Junior League Garden Club

Our first impression of Ubi Girl from Tai Region was we were enthralled by the powerful energy generated by the vibrant primary colors and strikingly bold contrasts of light (white against dark), as well as the juxtaposition of organic and geometric shapes.

We researched traditional pottery of the women in the Taï region of Côte d’Ivoire. The classically shaped pots that they produce by hand are dark with geometric etchings, which we have tried to reflect and honor with our choice of container.

The painting’s color palette is strong and dramatic, with extreme contrasts of light and bold primary colors dominated by the white mask and red cross. We sought to work with stark white and vibrant red, blue, and yellow colors. Flowers that are boldly geometric were incorporated to contrast with the rich organic shapes. Much of the plant material is native to Africa.

Boston Junior League Garden Club has a proud tradition of supporting the MFA through Art in Bloom. It is an honor to be assigned a painting by Lois Mailou Jones, a pioneering Black Bostonian. We did a good deal of research and were struck by the historical and sociopolitical importance of this beautiful 20th century painting, which was inspired by the artist’s fascination with African masks.

17. MFA Teen Programs: STEAM Team

When we first looked at the alabastron, we thought it would be a challenge to design a floral arrangement to complement it. It looks like a water bottle with a border that reminded us of Christmas tree lights.

Although it appears to be very simple, the vessel has intricate patterns in the metal and a spiral on the lower part of the container. We also noticed it has dangling jewels of carnelian and Egyptian blue, and the top edge is shaped like a crown.

As the object looked ancient with sand-like color, we chose a similar shaped but much larger container with a stone-like finish.

We started with the greens, creating a spiral, and then added more greenery with a selection of flowers that are colorful. Some of the flowers and greens are native to Sudan and Egypt. Proportion was important, as was a 360-degree design that would be seen from all angles.

We wanted a symmetrical design with height. We echoed the rows of beads with fuller flowers and chose greens that have texture and a draping effect. Understanding mechanics was important for the structure of our arrangement.

The process of designing an arrangement was a new experience for us as the Teen STEAM Team. In contrast to the garden clubs that have a pair of designers, our team was composed of six teenagers, who were mentored by two MFA volunteer floral designers. We are not expert designers; this was a learning experience and a cooperative effort. Our assigned object is in a gallery partially curated by another group of teens in the Curatorial Study Hall.

18. Winchester Garden Club

As soon as we opened our folder and saw the photo of the lintel, we were slightly terrified. We found this assignment daunting. Initially, it was the neutral color of the sandstone piece that gave us pause. Upon further thought, we realized that we were actually given a fun opportunity to be more creative with a color palette.

We began by envisioning a horizontal container and arrangement to mimic the shape of the lintel, but the size of our pedestal became the truly daunting aspect. How do we represent a horizontal piece on the pedestal we were given? We then found the location of our assignment in the Museum and saw that the lintel is hung above eye level, which added another challenge, as we thought that this placement in relation to the pedestal called for a tall arrangement. We needed to rethink our initial vision of a long and narrow arrangement, dictated by the shape of the lintel, into a tall and substantial arrangement, as dictated by our pedestal size and the location of the lintel itself.

We looked for a container that would mimic the sandstone texture of the object, and sourced a gold-toned container that symbolizes regality and wealth, as the god depicted in the center of the lintel is thought to be Kubera, a god of wealth.

Our floral design was guided primarily by color and symmetry. Rather than choosing a monochromatic palette to mirror the neutrality of the sandstone, we selected vibrant reds and gold tones to represent wealth and prosperity, referencing the deity, the Brahmanic god of wealth, in the center of the lintel. Shades of orange in our “flame-like floral garland” and gold in the container represent prosperity. We focused on creating a symmetrical design as Baphuon style lintels most often had a central figure with floral garland symmetrically extending to either side.

Although we felt a bit overwhelmed when we started the process, we soon transitioned to enjoying the freedom that this art object allowed us. One of us is the creative designer, and the other is the support staff and cheerleader. We wanted to create an arrangement that reflected the heft of the lintel itself while representing what the deity is associated with—wealth and prosperity—through our color choices.

19. Scituate Garden Club

When we first looked at the baby carrier, we loved the colors and movement, which to us instantly said “tropical flowers.” The object itself is a bit unusual with basically no backside but with beautiful and intricate designs.

Our chosen container follows the curves and base of the baby carrier and has been painted to match the colors of the object. The elaborate designs on the baby carrier convey movement and incorporate bright primary colors. Our floral arrangement employs tropical plants such as proteus, orchids, and other material native to Southeast Asia.

One of the designers is a veteran of Art in Bloom, and the other is participating in her fourth event. We both take a literal approach with our interpretations and enjoy creating large mass arrangements. We strive to create designs that reflect the sense and feel of the object, using the history and the origin of the piece to tell its story in flowers.

20. Vinfen’s Gateway Arts

Our first impression of Happy Budda was that the grid-like structure reminded us of tiles used in a kitchen or bathroom. A closer look led to thoughts of a teacher surrounded by students, all with blank faces. There is a lot of color—particularly orange—in this piece.

We chose a container that reflects the colors in the Buddha’s robes and is a similar shape to the bathtub-shaped base on which he sits.

Our design is focused on shapes, color, and texture. We selected floral material that is shiny and smooth, akin to the tiles. We have incorporated a multitude of colors, including orange, red, pink, yellow, green, and blue, echoing the colors of the artwork. The central flower has an open smooth center to represent the blank faces. Greens are used to reflect the greens on which each Buddha is sitting

We are both artists at Vinfen's Gateway Arts. This is our first Art in Bloom design, created in collaboration with two mentors from the floral design volunteers at the MFA. One of us has a strong affinity for needlecraft and traditional craft art and views her art as a highly meditative process, whereas the other has developed a unique style heavily reliant upon line work. Both styles and interests were excellent fits for this wonderful work of art.

21. The Hull Garden Club

We were incredibly excited by the sheer magnitude of the colossal seated statue. The beauty and the central placement in the Museum make this a special challenge, and we are beyond thrilled to create a design to complement the statue.

We approached the design from the bottom up with container selection and let the process develop organically as we worked with our plant material. We chose a stone-textured urn that mimics the statue’s Carrara marble and acknowledges its origins in ancient theaters and temples. The statue weighs thousands of pounds, so we chose a profile that provides the visual weight and stability needed to reflect its seated and regal presence. Our aim was to convey the grace and grandeur befitting this beautiful muse.

The statue has coloration that evokes hues of cream, pinks, and terracotta with ruddy undertones. We have selected floral material with similar colors and incorporated them into a large and imposing arrangement.

The Hull Garden Club has a long history of participating in Art in Bloom and is grateful to be back for the 50th anniversary. This year, our design team is composed of a first-time Art in Bloom participant and a long-time admiring attendee working with a fourth time exhibitor. We are excited to work together and join our skills and love of flowers and art in hopes to give honor to this impressive piece.

22. Lincoln Garden Club

We were initially apprehensive about creating a floral design to complement the Egyptian stelae because of its lack of color and the fact that it is a trio of pieces. We had a height restriction of 12 inches, which presented a challenge. Our approach was to research these pieces to help us determine how we would design the arrangement.

Although it was difficult to find a container that was low enough, we were pleased to find something that is similar to these pieces in color and texture.

Influenced mainly by texture and the somber nature of the stelae, we decided to use a monochromatic palette that would reflect the lack of color in the objects and allow us to emphasize the texture, detail, and mood of these pieces. We created a wide arrangement with a lower central component, reflecting the arched tops of the stalae. Our starting point was to locate a suitable a vessel for our arrangement.

We have participated in Art in Bloom in the past, but we have always had singular objects, which led to more literal interpretations—something that is not feasible with three separate grave markers.

23. Wellesley Gardeners’ Guild

When we first saw the libation bowl, we literally gasped. We were taken by the clean lines, beautiful form, and intricate details. We initially thought the bowl would be quite large but, when we went to the gallery to view it, we were surprised by how petite and delicate it is. In awe of the glow it radiates, we immediately knew gold spray paint would be in our future. In looking for a container, we aimed to capture the sheen, texture, and pure glow while finding a good balance between the literal and the overly specific. We believe our vessel does just that.

The object’s curved edges, interior stippled details, delicate dents, and scratches each tell a story of their own. Details such as the beautiful inscription and the golden glow drew us to floral material with strong curved lines, paired with more intricate features. We wanted to highlight not only the form of the bowl but also its purpose: The Libation, a sacred ritual involving the ceremonial pouring of liquid offerings from such bowls (phiale)—often wine, water, or honey—onto scared ground or an alter as a means to honor the gods, heroes, and the deceased.

We used a variety of grasses and curving florals to highlight not only the scallop edge of the bowl but also the movement and pouring of such sacred liquids. And, of course, who could forget about the color? Gold! Looking for a monochromatic, modern, and sculptural statement, we decided to use gold as our primary color and include touches of plums and purples to honor the ceremonial liquids used.

We love our early morning trips to the floral market, not only to be inspired by nature’s beauty but also to spend time with each other. We each are creative in our own right, so it is not uncommon for us to take “the road less traveled” to reach our final design. We always have the best time doing it. With many exclamations, gasps, and late-night design decisions, we laughed the whole way through designing the arrangement. We are so grateful to be able to participate in Art in Bloom again this year as a team representing our garden club.

24. Ohara School of Ikebana Boston Study Group

Our initial reaction to this untitled sculpture by Cy Twombly was one of perplexity. The stark, white diagonal form emerging from the base creates a quiet but powerful gesture that feels both minimal and architectural. As Ikebana artists, we found ourselves momentarily outside our usual comfort zones, wondering how to respond with plant material to something so restrained.

In the Ohara School, however, there are forms that embrace this kind of minimal expression. Certain landscape and contemporary styles focus on line, space, and gesture rather than abundance, which could naturally echo the diagonal movement and simplicity present in Twombly’s sculpture.

Our approach was not only to respond to the sculpture itself but also to the broader gallery environment. While this work is predominantly white and spare, other works by the same artist nearby introduce subtle tones of yellow, green, and brown. In this way, the ikebana arrangement could balance restraint with seasonal vitality, acknowledging the sculpture’s minimal line while bringing the freshness and color of spring into dialogue with the artwork.

In considering the container, we were drawn toward tones that recede rather than assert. A smaller black vessel offers a sense of grounding and clarity, whereas a larger, textured gray container introduces a softer, atmospheric presence. The intention is for the container to support rather than compete, allowing the plant material to emerge with greater clarity. In this setting, one can gather the tones of other pieces in the gallery gently, without excess. In this way, the arrangement becomes not only a response to a single object but also to the atmosphere of the gallery, echoing relationships between the works and allowing the materials to quietly bridge them.

Our design process begins with careful observation—first, of the artwork itself, and then of the space that surrounds it. By considering both, the scale of the arrangement and the choice of container begin to reveal themselves.

One of us has studied the Ohara School of Ikebana since 2008 and has been teaching in the Boston area since 2014. He holds the Associate Second Master degree, the eighth certificate level in the Ohara School curriculum, and a rank three levels above Instructor. The other designer is a student who has been studying the Ohara School of Ikebana since 2018.

25. Garden Club of Concord

Our first impression was that the mixing bowl with the killing of Agamemnon depicts a stark and simple room with lots of black and terracotta objects. The bowl itself is dark in color but also fluid and violent. We love that it tells a story.

We approached our design from the bottom up (vessel first) and then color. We hope that we have done justice to this amazing piece. The container we chose for our arrangement was inspired by the low-profile footed bottom of the object. The object itself looks like a large bowl resting inside the smaller vessel with handles. We selected a dark container that was “antiqued” to represent the ancient Greek pottery.

The orange-toned terracotta inspired us to seek out intense orange-toned flowers. Other plant material represents the movement of the scene as the story of the death of Agamemnon is depicted wrapping around the bowl. One of us is participating in Art in Bloom for the first time, bringing in decades of experience as an artist. The other floral designer has participated several times in the past and looked forward to this new challenge of interpreting an ancient Greek ceramic.

26. Waltham Garden Club

When we first viewed Tomb Effigy of Alonso de Mera, our immediate reaction was “Wow!” This is a massive piece of art showing so much devotion.

The container is a critical element of our design. It had to appear heavy to set a stable base for a strong upward design while echoing the posture of the Kneeling Knight.

In our design, the container and green foliage are used to highlight the heaviness of the base. The focus of the sculpture, which we aimed to reflect in our arrangement, is the visual contrast between the crusader’s rigid posture and his hands folded in solemn prayer. White calla provides the shape and meaning while also representing his hands against the foliage. The foliage echoes his strong inner core. White carnations complete our design, showing his closed eyes and reverently raised head. We like to start our design by researching the history of the artwork for a better understanding of the artist’s intention and meaning of the piece.

One of us has had the privilege of participating in numerous Art in Blooms, but this is our first year representing the Waltham Garden Club.

27. The Weston Garden Club Evening Group

We were thrilled to be assigned Woman in a Fur Hat. We think the painting is stunning. We debated whether to use an elevated and elegant vase that aligned with the time period or a hand-crafted and more striking vessel. In either case, we knew that we wanted to make sure the flowers remain the focus, with a container that aligned with the time period of the painting.

We were inspired by the variety of the textures and materials depicted in the art, and we aimed to echo this by incorporating an array of flowers and plant material. Our goal was to capture the essence of Woman in a Fur Hat but not mirror its composition. Fittingly, both floral designers love fashion and are no strangers to a hat or statement coat.

Designing for Art in Bloom is a very special and unique experience. It is also a fascinating and beautiful challenge with lots to consider when making decisions. The Weston Garden Club Evening Group has a long-standing history of participating in the event.

28. Weston Garden Club

We were thrilled to be assigned At Dusk (Boston Common at Twilight) because we have loved it for many years. We have called the Boston area home for more than three decades. We get to enjoy the Boston Common in all seasons. For us, this timeless work of art epitomizes the Common in wintertime.

The low fence in the painting separates the road from the park, creating a stark contrast between the chaos of the street and the serenity of the park. We decided it was important to incorporate the park’s ambience into our design. We accomplished this by using the container to visually represent the fence and the snow on the ground.

The dominant color in this painting is the color of the winter evening sky. Upon close inspection, we see a range of other colors and tones: a rosy sunset, the blue-gray sky, the dotted yellow lights from electric streetlight poles, the rusty color of the buildings, and the orange glow from the cigarettes in men’s hands. We have incorporated these subtle colors into our design, along with the predominant dark browns and whites. Our goal was to capture the essence of this wonderful painting through our choice of colors, textures, and shapes of the floral materials.

Art in Bloom presents a fantastic opportunity for us to express our creativity using floral materials and containers. Both of us have participated in Art in Bloom at the MFA before, and we are delighted to have the chance to represent our garden club once again. Weston Garden Club has a rich history of participating in Art in Bloom since 1980. We practice both traditional and contemporary floral designs, with a focus on expressing creativity.

Years ago, one of us purchased a box of “Boston Common at Twilight” holiday cards from the MFA gift shop to send to her kids’ teachers. She was so captivated by this painting that she kept one card till this day for herself and was overjoyed to be assigned the same painting this time.

29. Winchester Home and Garden Club

Our reaction when we learned Le Thé was our assignment was one of relief and gratitude. The painting is familiar to us and beloved. The range of color provides numerous options and inspiration. We were a bit intimidated, as we wanted to honor this piece with the amazing floral design that it deserves.

We looked for a container reminiscent of the late 1800s, calling to mind pieces from the Victorian era, similar to the tea set and chinoiserie vase in the painting. We chose a tureen, a household object that serves as a sturdy base for our arrangement and that would have been familiar to the ladies in the painting. We wanted to approximate both the white porcelain and chinoiserie objects in their sitting room.

Our goal was to replicate the lush, dense style of floral arranging in the Victorian era, imagining that our piece might be displayed in the ladies’ drawing room. We studied Victorian flower arranging and learned a little about floriography, the language of flowers, which was in vogue during the Victorian era. To emphasize the painting’s femininity, we chose rounded forms. We focused on the deep reddish hues of the painting and sought to emulate those tones with our floral material.

We feel a connection with the powerful femininity of Le Thé. The clothing and the objects in the room show that the ladies are stylishly conforming to the demands of their era. The physical action portrayed is minimal, but what are they discussing as they sip their tea? Their obscured mouths allude to a thoughtful conspiracy. We want to listen to what these ladies are quietly discussing. No doubt, it is important.

We are first-time designers for Art in Bloom at the MFA, but we are fortunate to have been able to rely on the advice of other members of the Winchester Home and Garden Club who have previously designed for Art in Bloom.

30. Hills Garden Club of Wellesley

Our first impression was that the Tiffany lamp is much like the first signs of spring: a vibrant display of chartreuse, emerald green, yellow, and ochre coming out of dark soil. Although the lamp is small in scale, we felt that it has the same visual impact of color as its downstairs neighbor, Dale Chihuly’s Lime Green Icicle Tower.

Our container is a dark trumpet shape, inspired by the dark bronze metal of the base and framework of the lamp. Its dark color contrasts with the vibrancy of the flowers, echoing the juxtaposition of opaque metal and translucent glass in the lamp.

The vibrancy of light coming through translucent colored glass, combined with the darker bronze metalwork, inspired the choice of bright color and dark sculptural floral components. We wanted to reflect the pattern in the shade with similar shapes and aimed to reference the six dragonflies.

In a low lit, serene gallery with darker walls, the lamp stands out as a beacon of green and yellow light. We learned that many women worked on lighting fixtures, and we hope that our interpretation celebrates the strength of the women who contributed to the construction of the lamp, honoring their professional and artistic achievements.

31. Belmont Garden Club

We were delighted to be assigned Helen Sears and were immediately intrigued and drawn in by its quiet intensity and sense of presence. Although we were honored to be able to work with a painting by John Singer Sargent, who is one of the most iconic artists in the MFA’s collection, we also were challenged by the piece. We wanted to respond to the flowers in the painting without simply trying to reproduce them.

Our goal was to source a container that echoes the form and presence of the vessel in the painting without replicating it. We looked for something that would be complementary, had some height and substance, and that was elegant but not overly attention-seeking. We ultimately chose a container that is subtle and quiet, allowing the arrangement to carry the expressive weight of our interpretation.

Our design was primarily guided by the palette and tactile richness of the painting, using the color of the girl’s dress and shoes as a key point of inspiration. The interplay of textures in this painting informed our choices, leading us toward a composition that balances delicacy with intention. We were particularly drawn to the contrasting softness and structure that we observed in the girl’s hair, clothing, and the flowers set against the solid base and dark red color of the carpet.

This collaboration was effective in bringing together two perspectives. One designer has been creating arrangements for Art in Bloom since 2002, and the other is participating for the first time. We spent quite a bit of time in the Museum studying the painting together, discussing what we felt and saw, and brainstorming literal versus more abstract approaches. This design was a result of teamwork, and it is intended to be a response rather than a literal interpretation.

32. North Shore Garden Club of MA

Our first reaction to View of Coffin’s Beach was pure delight. We rejoiced in seeing a colorful seascape painting and exclaimed that the location is within view of one of our homes. We looked at each other in glee, bobbed up and down, and voiced a simultaneous “Yay!”

The painting’s precise depiction of the shoreline and the meticulous brushwork reminded us of an old-fashioned, hand-tinted postcard. Unlike a photograph, however, the painting conveys the artist’s deep emotional connection to the landscape. Our lived experiences on this beach provide the same passion for location and connection to the artwork.

We selected a container with a dark coloration that would echo the anchoring of the outcropping in the painting’s foreground. By contrast, the basket’s delicate wicker reflects the detailed and precise brushwork of the painting. The rattan container also suggests the origin of the splendidly beautiful and astonishingly art displayed on the other side of the gallery, with rattan arriving in Massachusetts during the 19th century transatlantic trade with China.

The colors of the sunset reminded us of sherbet, in both hue and saturation. The overall impression is not as light as sorbet but also not as heavy as ice cream. Juicy shades of peach, raspberry, and plum possess the luminosity of gossamer. Wispy crescents of purple clouds call to mind fragments of a grandmother's embroidered collar. Our selection of flowers echoes the range of colors and tones found in the painting.

One of us has contributed to the success of Art in Bloom for more than two decades, and the other designer is experiencing her first Art in Bloom. We share a love of horticulture, a keenness for travel, and a passion for the arts. We are very pleased that the North Shore Garden Club was chosen for this glorious painting of our beloved North Shore.

33. Fox Hill Garden Club

Upon viewing our assigned object, Self-Portrait as Icarus with Daedalus, we were delighted to see a depiction of a favorite childhood Greek myth. We see Daedalus in the darkness, securing the wings and perhaps giving last-minute instructions to Icarus. Many questions and possible interpretations are raised by the painting. The artist paints himself as Icarus, so we wonder if Daedalus is Rubens, a mentor of Van Dyck. Visually, the artist draws our eyes around the painting and from dark to light. Does the dark represent doom? The wing, the light on Icarus’s chest and face, and his golden hair make him appear almost saint-like, very important, and untouchable. Although the myth ends in tragedy, it is not shown in that way by the artist.

We have chosen a container in the style of an antique urn. We wanted the container to be dark and heavy to complement the heaviness of Daedalus in the painting, which in turns contrasts the lightness of Icarus.

Our floral design was inspired by the colors and the darkness and lightness that flows through the painting. The wing being strapped to Icarus by the use of a ribbon is also acknowledged in our design. We focused on how the eye flows across the painting from bottom to top and from darkness to light, and we aimed to echo this movement in our arrangement.

We have both participated in Art in Bloom in the past.

34. Cambridge Plant & Garden Club

When we first viewed Devout Men Taking the Body of Saint Stephen, we were in awe of its size and scale. It is so gigantic that one first experiences it from two galleries away. The painting also dominates its own gallery.

The drama depicted in this painting is one of the aftermath of a brutal killing. Trauma, sadness, and curiosity are conveyed by facial expressions and body language. There is even a man under the arch who seems to be thumbing his nose.

We wanted the container to relate to the ground, stones, and the gravity of the murder. Initially, we considered containers based on our mistaken idea that the pedestal was vertical. We were then seriously challenged when we understood the pedestal is horizontal and the arrangement is limited to 24 inches high. Most viewers will look down at it, which is a different aspect than we typically have when looking at flower arrangements.

Our floral design focuses on the lines, colors, composition, the people, and the architecture in the painting. Most of the action in the painting takes place in the bottom half of the painting. The huge architecture in the top half seems to bring focus and weight to the drama unfolding below—something we hope is reflected in our arrangement.

Our design process is a collaboration based on continual brainstorming. One of us is an experienced floral designer and the other is a beginner, but we work well together and enjoy the cooperative process.

35. Weymouth Garden Club

As we rounded the corner to enter the gallery with our assigned object, Seventh Plague of Egypt, we both said, “Oh, wow!” We were impressed with the size and warmth of the predominant colors of the painting. The more we looked at this masterpiece, the more we were struck by the range of colors, as well as the details and sheer energy. The hailstorm that splits the image in two is dramatic and introduces cool colors, creating an intense contrast.

To initiate our design process, we chose the container first. We chose one inspired by the gold frame. The base of the vessel mirrors the architecture of the columns, and the bowl has an ancient Egyptian look to it. We love the old look of the container because it matches the colors and feel of ancient buildings.

A mix of soft and strong earth-toned blooms creates a contrast against the cool colors of the hail storm in the center of the painting. We did not want to be too literal, so we opted to focus on the colors of this majestic painting. It is our visual interpretation of the biblical story of the seventh plague.

Designing for Art in Bloom is always challenging but rewarding. One of us is now designing for her fifth Art in Bloom and the other for her third. This is the second time we have had an opportunity to work together. One of us has a background in art, floral design, and history; the other designer works professionally as a floral designer. Weymouth Garden Club participated for many years in the past. After a break in participating, the club was happy to be able to resume starting in 2018.

36. Spade and Trowel Garden Club, Andover

We could not believe that we were assigned Monet’s La Japonaise. It is a huge and playful painting. Camille looks like she is having fun in her beautiful kimono and wig.

Our container has flirty and feminine feeling, with a curvaceous base and ruffled top. We felt it has beautiful fluidity. The multiple red, orange, and gold tones in our flowers reflect the colors in the luxurious, embroidered, silk kimono. Subtle and minimal blues remind us of our peeping samurai with his knives. The palm depicts Camille’s intentional nod to her French heritage. We wanted to follow the beautiful, graceful, and fluid lines in this art, including the frivolity and love evoked by Camille.

We loved interpreting this piece of art! Our garden club has participated in Art in Bloom for more than 25 years.

37. Southborough Gardeners

Even though we had viewed Where Do We Come From? What Are We? Where Are We Going? many times, we were a bit overwhelmed by the dense content and intense saturation of color. We were also aware of how this painting dominates the wall of the gallery.

We felt that a low rectangular container of neutral color would be best for this design. A wooden finish was natural and organic, which seemed to be appropriate for the tropical location of the painting. Hoping to keep it simple and affordable, we customized a wooden window planter as our container.

In considering the lush setting of this painting, we chose to use complementary and exotic plant material to pay homage to the flora and fauna in Tahiti. Foliage with movement, texture, and structure was important, as was florals that would reflect the rich colors on the canvas.

This interpretation was challenging due to its size and intense saturation of color—particularly the blue, which is not readily available in plant material. We chose to focus on the three areas representing the cycle of life and the figures within those areas.

One of us has participated in Art in Bloom for many years, whereas the other is new to the process.

38. Chestnut Hill Garden Club

“Oh, my goodness! We got Edgar Degas’s Little Fourteen-Year-Old Dancer!” We both have studied art history and adore the MFA, so we had chills when we realized we had an opportunity to create a living work of art to sit next to this iconic sculpture by Degas.

We partnered with a ceramic artist to create a one-of-a-kind container. Our aim was to have a vessel with similar characteristics of the little dancer, and to create a vessel with a shape that would optimize our floral design.

We were taken by the youth of the dancer and the movement suggested by her stance; we wanted the floral materials to convey her adolescence and energy. Texture and color also inspired our floral design, leading us to choose plant material that echoes the strength of the bronze, the softness of the satin ribbon, and the rough but airy nature of the gauze tutu.

We have been friends for more than a decade and have worked on other creative projects, so we knew we would be aligned artistically. We share a love of art, design, gardens, and flowers, so this opportunity at the MFA proved especially exciting to us. We are so thrilled to represent Chestnut Hill Garden Club and honored to have a floral work sit next to Little Fourteen-Year-Old Dancer.

39. Community Garden Club of Cohasset

Our first impression was that Pillar is unexpected in both shape and color. We initially felt that it would be a challenge to interpret with a floral arrangement, so we decided that the shape of the sculpture would guide our design.

We chose a tall, modern container reflecting the height and color of the piece. Our selection of plant material was driven by the strong lines of the sculpture. Our flowers echo the shape and color of the top third of the artwork. When considering the linear shape of the object, we decided to embrace both strength and softness through the curves of our featured blooms. Our interpretation is not meant to be literal; it is a more abstract reflection focused on the fluidity and size of this beautiful piece.

We have both participated in Art in Bloom in the past, which helped us in understanding how we could interpret this object.

40. Noanett Garden Club

Our first impression was that Black River is grand in scale and contains many colors, with an overall glimmer of gold woven into the tapestry-like sculpture. The waves and valleys create a sense of motion. We were intrigued by how something so beautiful and luxurious in appearance relies on recycled common objects and considered how this work of art represents the ultimate “upcycle” with its bottle caps and liquor foils—artifacts of the Ghanaian people’s suffering from colonization, woven together to elicit hope and celebrate resilience.

Our approach to creating the floral arrangement was to start with the basket and work from the bottom up. We chose a basket from Ghana made of elephant grasses that pays homage to the origins of this piece. The dark line in the vessel echoes the waves and weave pattern of the object, as well as complements the dark lines of the river of the sculpture.

Our goal was to create a floral design that appears rustic and natural, reflecting a landscape that one would see in Africa. We incorporated branching for height, combined with the softness of a meadow. Our interpretation is fairly literal, with small circles in a variety of colors placement of blue and white flowers that evokes the details of the tapestry while also reflecting the asymmetry of the piece. A reddish focal flower stands out against the yellow/gold and provides contrast to the more intricate textures and details.

One of us has designed for previous Art in Blooms, and the other is new to the experience. The Noanett Garden Club has participated in the event for many years and rotates in new designers with more experienced mentors.

41. Sudbury Garden Club

Our first impression of Balance was one of surprise. It is a painting, but it is not presented in a conventional way. We loved the colors and the sculptural quality.

Our container is simple because we wanted to emphasize the flowers. The arrangement incorporates a selection of flowers that reflects the colors and motion of the object. We aimed to create a design that, like the painting, is colorful, airy, and buoyant.

We have been working together as Art in Bloom designers for three years. We begin the vessel search and then hit the flower market to see how our initial vision relates to the available plant material. We have learned that there are always challenges and unexpected events. Last year, our vessel proved inadequate for the weight of our flowers, and we had to replace it while creating our final design the day before Arranging Day. Even with the inevitable challenges, it is always very rewarding to be a part of Art in Bloom.

42. Ikenobo Ikebana Society of Boston

The initial impression we had of the ancient Buddhist votive stele was one of mystery. Looking at this artwork, one can feel the passionate prayers of the people. We were struck and a bit overwhelmed by the incredible detail of the writing, ornamentation, and sculpture carved in relief on this large work. There is so much content to take in when looking at the stone. Each section of the stele offers a huge amount of information.

Because our arrangement would be displayed in this large room with high ceilings, we chose a tall, stable vase. Our main concern was choosing a vase that would be harmonious with the flowers and design.

The stele displays more of a concrete expression than an abstract one. Looking at the different sections of the stele starting from the top, we responded to the movement of the dragon in this first section. We chose to represent the dragon with curly willow branches. Interestingly, curly willow is Unryuu Yanagi in Japanese, which means “Willow of Cloud and Dragon.” The next section is the harmonious world around the Buddha and the passionate, quiet prayers of the people offering their prayers to the Buddha. We tried to imagine beyond the objects’ current color to the vivid colors that were used in this period. We were aware that these colors were reminiscent of heaven. Therefore, the holy water that the dragon is said to have sprinkled at the time of the Buddha’s birth suggests blue or light blue flowers. In the middle, representing the Buddha and the surrounding Buddhas and celestial maidens, are large red flowers and other flowers. The orange/saffron color in the arrangement is an acknowledgement of India, where the Buddhist faith originated. In the lower part of the arrangement, large leaves and flowers represent the donors. We approached the process by working in a top-down fashion, starting with the dragons and proceeding from there. Ikenobo arrangements are usually seen as a 180-degree design with only the front facing the viewer. Here, we did a 360-degree arrangement in a free style design that can be seen from all sides. We hope the end result expresses a passionate and quiet prayer.

The Ikenobo Society of Boston has participated over the years in this wonderful event, and we are thrilled to be part of the 50th anniversary of Art in Bloom.

43. Floral Lab

Our first reaction to the horse was “perfect.” We were excited because this is the year of the horse in the Chinese calendar. One of the designers is Chinese and was born in the year of the horse, so it was extra meaningful for her. We chose a Chinese Bonsai low rectangle pot to honor this sculpture’s country of origin and to fit the size and shape of our arrangement.

We focused on texture in our floral arrangement and chose material that can bend and transmit the energy of the object through sweeping movement and the colors.

One of us has participated in Art in Bloom as a professional and as an interpreter. We do not overthink our design but instead respond to our initial emotion and vision. In this case, the fact that it a Chinese piece resonated strongly with us.

44. The Garden Club of Hingham

Our initial reaction to Aizen myôô, the Wisdom King of Passion was that we thought this statue was scary and unsettling. However, we were quickly intrigued by the strength and power conveyed by the sculpture and by the beautifully carved and painted details.

We selected a container that we felt had a Japanese quality and is an appropriate size and color for our arrangement. Our plant selections are predominantly dark in color and dramatic, just like the sculpture. Although we found this to be a challenging object to interpret, we focused on conveying the energy and vitality of the statue.

The Garden Club of Hingham has a long history of participating in Art in Bloom. One of us is now in her seventh year of designing for Art in Bloom, and the other is participating for the first time.

45. Beacon Hill Garden Club

We were instantly excited about our assigned object, Bears, being a gorgeous screen, and we were charmed by the adorable bears.

We noted the bears were on rocks, so we found a stone container to highlight this feature of the object. Our plant material incorporates flowers that originate in Asia so as to reflect the origins of this piece. We used fluffy white flowers to mimic the polar bears, and darker blooms to highlight the Asian native bears.

One of us is a first time Art in Bloom participant, and one of us, who is the current president of the Beacon Hill Garden Club, is participating for the fourth time.

46. The Garden Club of the Back Bay

We thought the painting was just so gorgeous and sophisticated. Archibald Motley’s Cocktails was donated by our Back Bay neighbor John Axelrod. He was fatally struck on the Commonwealth Avenue Promenade, along with his beloved dog, earlier this year. We learned that the Garden Club of the Back Bay was specifically assigned this artwork to honor Mr. Axelrod. We feel privileged to be able to design this in his memory and in acknowledgment of his generous contributions to the Museum and art community.

Choosing an appropriate container was a daunting task. We went in many different directions and found a shimmering Art Deco heirloom vase. Unfortunately, it arrived with a hairline crack and leaked, so we had to go to a plan B. We did an about-face and chose a dark-colored vase to complement the artwork’s deep tones. It is a simple cylinder vase, and we could envision it as part of the room décor. Once we found this antique vase, we knew it was “the one.” It complemented the artwork and was fitting for its era. We also felt that it was compatible with Motley’s depiction of the sophisticated elegance of the newly established Black middle class.

Fashionably dressed women gather in a glowing interior washed in sunset hues—purples, pinks, and blues—evoking the atmosphere of luxury and glamour of the Art Deco era. Our flower choices include multiple shades of purples and sunset colors to reflect the colors of the painting and echo the glamour, softness, and delicacy of the artwork. The vase height mimics the waiters’ tall frame.

At the same time, however, we were aware the time frame of the scene depicted in the painting is the Prohibition era. The women sip cocktails, introducing a subtle note of rebellion, while a painting of monks in the background hints at some tension between restraint and indulgence. The darker floral choices reflect these observations, and the wide range of skin tones reflect Motley’s engagement with colorism and social hierarchy within Black communities.

This is our first year designing for Art in Bloom, so we were both nervous and excited to take on the challenge. The Garden Club of the Back Bay has been participating in the program for many years. We both have extensive floral design experience.

47. The Driftwood Garden Club

Our first reaction when we learned that we had been assigned Still Life with Three Skulls was mild horror. The painting looked like death, doom, and gloom, which is not exactly what we associate with flower arrangements. However, the more we looked at it, the more we appreciated the bursts of color and its complexity. The painting is loaded with symbolism, evocative shapes, and even a grim playfulness. We quickly became captivated and began to look forward to this challenge.

We chose a rectangular, red lacquer box that provides a stable foundation for the arrangement and also echoes the red table at the base of the composition. In gazing at the painting, our eyes were immediately drawn to the white playing card in the center. We chose a dramatic light-colored flower to provide a stark visual contrast to the rest of the arrangement. Other plant material incorporates bold colors—chartreuse, orange, and red—to reflect the repeating shapes and the horizontal flow of the still life. Darker foliage was used to connect the more dramatic colors and to suggest the underlying morbid theme in the painting.

This is our second year participating in Art in Bloom. Although our assignment is a dramatic departure from the Winslow Homer interpretation we had in 2025, our process remained the same. We took detailed notes at the Museum and then visited a favorite wholesale florist for inspiration. After sourcing the appropriate red box and creating sketches on graph paper, we were ready to go.

48. Danvers Garden Club

We were awestruck by the scale, beauty, and the subject matter of Scale-model for Pennsylvania Railroad War Memorial. However, we were equally daunted by the prospect of creating a floral design that would appear alongside of it. The fact that this piece is a scale-model of a 40-foot bronze memorial added to the daunting aspect. It was definitely a “wow” moment.

The container selection was inspired by the object’s style, color, commemorative purpose, and solemn beauty. We chose a container with a formal presence, a recognizably classic shape, and in a modern refined finish.

One of our challenges was how to create a floral design that resonates with and honors the art object. We approached it as a conversation between the object and the arrangement, inspired by its color, texture, shape, style, and purpose. We aimed to reflect the sorrow, remembrance, transcendence, and peace that are expressed in this piece, capturing these emotions with symbolic florals. The floral design’s classic modern design style is consistent with the modern classical realism of the sculpture.

The Danvers Garden Club has been part of Art in Bloom for many years, and designing for this fun event is a welcome challenge. Although this is the first time we have participated in Art in Bloom at the MFA, we have created arrangements for other Boston area events. Ultimately, the goal is to create a conversation between two genres that can both be considered works of art.

49. Norwood Evening Garden Club

We were very excited when we saw our assigned object, Irene Estrella, 1946. Between the brightly colored toys, the rug, and the girl’s dress, we saw innumerable possibilities for our floral arrangement. We were able to picture ourselves on that sunny warm day in Mexico City and immediately envisioned using vibrant and tropical florals in our arrangement. We were thrilled at the prospect of getting to play with a wide range of flowers and put our own abstract spin on Diego Rivera’s work.

We wanted to use a container that contrasted with the bright florals to represent the muted and earthy tones of the background. We decided on a container made by one of our designers that brings out the lines and angles in the painting while visually and physically grounding the arrangement.

Our floral design was inspired by the painting’s bright, whimsical colors and strong angles. We were struck by its sense of warmth; even the simple walls are a toasty and welcoming brown. We chose flowers that emulate that welcoming, homey feel of the scene and emphasize the vibrant tropical colors. Although we are both fans of Rivera’s art, neither of us were familiar with this particular piece. We definitely wanted to make sure we honored the spirit of this artwork and evoke the feeling of this painting by creating a playful arrangement. Rivera’s art is full of contrast: the sharp lines of the floor with the girl’s flowing dress and the bright colors of the toys with the muted walls. We tried to strike a similar balance between colors and angularity in our design.

This is the Norwood Evening Garden Club’s fifth year at Art in Bloom. Our garden club also hosts an Art in Bloom exhibit every spring, featuring artwork from high school students at Norwood and Walpole high schools.

50. Wayland Garden Club

Our first impression of the screen was we thought it was impressive. Its immense size, its purposeful paneled and storied structure (to divide large living spaces comfortably), its history, and its bold red appearance and subtle earthy undertones all together factored as a total wow. We were intrigued by the fact that it was painted by multiple artists. Equally humbling and worthy of acknowledgment, we recognized that, of all the artifacts held in the Museum’s archives, it was this grand piece that was selected to represent the MFA’s new Conservation Center and studio, which is devoted to the preservation of art.

We used a 50-year-old antique container because it meets the design criteria in a number of distinct ways. The framed renderings of the landscape scenes on the vessel mimic the 15 panels of the biombo folding screen. The container’s size and shape is strong and sturdy, and it seamlessly integrates with the screen without distraction. The vessel’s Asian-influenced design would have appealed to artists and patrons alike across Europe and later the Western continents, and influenced the Mexican artists who painted this mid-18th-century screen.

Our floral design is based on this backside of the screen and, in particular, the windswept trees that are captured in most of the various landscapes. In fact, the Spanish transliteration of biombo and Japanese word byo-bu figuratively means “protection against the winds.” We have incorporated preserved grapevine branches to represent the importance of this sculptural movement, while the more upright stems and woven jute act to frame the various interpreted elements of nature and the overall geometry of the folding screen.

Our design process is based on how we see and experience nature as a whole and by sense. We aimed for a floral arrangement that is airy and asymmetrical, and is somewhat monochromic but with a pop of accent color to raise the eye upward (i.e., toward the sky) and to emphasize movement. Like nature, our final design will evolve over the months of preparation and adaptation, culminating as a moment of time preserved.

As committed garden club members, we feel privileged and proud to represent the Wayland Garden Club of Massachusetts, which has been part of Art in Bloom since its inception in 1976. One of us is participating in Art in Bloom for the first time and is thrilled to follow in the footsteps of her mother’s floral legacy and love of the arts.