Letter from National Bonsai Apprentice Angelica Ramirez

Approaching the end of my term as the National Bonsai Apprentice at the National Bonsai & Penjing Museum, I feel immense gratitude for the experience, education, and memories I’ve enjoyed at this renowned institution. The responsibility for nurturing more than two hundred historically significant bonsai involves comprehensive daily care to uphold the artistic vision and to cultivate the horticultural health of these living works of art. I have learned something new every day.

As an Apprentice, I had the honor of helping to maintain the museum's garden and grounds, was responsible for the museum's daily opening and closing procedures, and assisted with classes and events. Among the many fulfilling aspects of the experience, sharing my passion and knowledge for the art of bonsai with hundreds of visitors has been particularly rewarding.

My bonsai journey was directly inspired by a photo of “Goshin”, my favorite bonsai at the Museum. This enchanting forest has been an enduring source of inspiration, influencing both my bonsai endeavors and my artistic pursuits as a painter. I've dedicated a significant amount of time to crafting a painting of “Goshin” in my personal time.

As I was working on the real “Goshin” one day during my Apprenticeship, I applied lime sulfur, a substance employed for preserving deadwood, to the trunks. It struck me that this created a tangible connection between my artistic pursuits at home and my professional duties at the Museum. In that instant, I found myself 'painting' “Goshin” in both realms, which is an extraordinary opportunity and a great honor.

Embarking on this Apprenticeship, my dedication to this art was already ingrained. However, it's within the supportive environment of the National Bonsai & Penjing Museum that I've solidified a future aspiration: To curate a collection that will inspire others, just as this one has inspired me.

While my journey is far from complete, my experience as an Apprentice has offered a renewed sense of purpose. Caring for these historic bonsai instills a deep sense of responsibility and significance, and each daily task represents a contribution to something far beyond myself. Despite our transient existence compared to their long lifespans, our role as caretakers sustains these bonsai across generations. The opportunity to preserve history and contribute to this incredible legacy fills me with a sense of satisfaction and awe.

I extend my heartfelt gratitude to everyone who has supported me along the way.

To the curators of the National Bonsai & Penjing Museum: Your mentorship and passion have been a source of encouragement and motivation. Your knowledge, skill, commitment, and resilience in curating such a monumental collection is truly inspiring. Your guidance has been invaluable, and I aim to one day reflect your expertise.

To the staff and volunteers at the U.S. National Arboretum: Your shared stories and fellowship have brightened my days. I appreciate your support, which has shaped both my professional approach and personal perspective.

To the National Bonsai Foundation: Your support is what makes this Apprenticeship possible. The funding, guidance, and stewardship of this position is unique in the country and gives up-and-coming bonsai artists a remarkable opportunity to learn, grow, and develop the field of bonsai care and the art form itself. I am deeply grateful that this role exists and that you gave me the chance to serve in it.

To everyone who creates, appreciates, or supports the art of bonsai: You are why we do this work. Please continue to cherish and protect this amazing art form, and know that we will do the same.

It has been an honor to work and learn alongside the exceptional individuals at the National Bonsai & Penjing Museum, the National Bonsai Foundation, and the U.S. National Arboretum.

Thank you for giving me this incredible opportunity.

Sincerely,
Angelica Ramirez
2023 National Bonsai Apprentice

Welcome Angelica Ramirez, 2023 National Bonsai Apprentice!

Angelica Ramirez, 2023 National Bonsai Apprentice

The National Bonsai Foundation (NBF) is pleased to introduce this year’s National Bonsai Apprentice, Angelica Ramirez – a multi-talented artist. Ramirez steps in as we thank and wish Henry Basile, the 2022 Apprentice, much luck in his next step at the Denver Botanic Gardens as Assistant Curator of the Japanese Garden. Read his thank you note at this link.

The purpose of the National Bonsai Apprenticeship is to educate and train a new generation of American bonsai artists. You can learn more about the Apprenticeship at this link.

Originally from Florida, Angelica Ramirez came to bonsai after years of pursuing and excelling in many interests. She attended the University of Florida for Music Performance and has been a cellist for over fifteen years. She is an accomplished archer, having won multiple championships and breaking multiple state and international records. Angelica started painting as a form of expression, and has a Helicopter Private Pilot license.

These various pursuits in life have led her to the art of bonsai, as she began practicing the art form in 2019 as a way to relax from flight school. She has studied under several teachers including Feng Gu of Penjing Bonsai Garden, Peter Chan of Herons Bonsai, and David Cutchin of D&L Bonsai. She was the first bonsai intern at the Chicago Botanic Garden, where she worked under the Garden’s bonsai curator (and former National Bonsai & Penjing Museum national bonsai apprentice), Chris Baker.

Angelica is the creator of Discover Potters, the global online database of bonsai potters which includes direct links to over 400 active potters in over 45 countries; and includes resources for finding and learning about bonsai pottery. Several of her accomplishments include earning second place at the Bonsai Societies of Florida’s styling competition, which earned her a scholarship to continue her bonsai studies and awarded the opportunity to be a guest artist for the 2022 48th Annual Bonsai Societies of Florida Convention. During that year, Angelica showcased her bonsai at the 2022 Epcot International Flower & Garden Festival and later, at the Chicago Botanic Garden.

Welcome, Angelica! We are thrilled to have you on the team and look forward to all that you will do for the Museum, trees and community!

---

​​NBF is pleased to provide complete financial support for this apprenticeship, thanks to the Foundation’s generous donors. Without your help, this one-of-a-kind apprenticeship that helps to usher in the next generation of horticulturists wouldn’t be possible. Make a tax-deductible gift today to support the future of bonsai artistry. 

Bonsai Apprentice Henry Basile's Thank You Letter

As the morning weather in Washington, D.C. gains the slightest hint of a chill, I look out on the serene courtyard of the National Bonsai & Penjing Museum, where I’ve learned and experienced so much since my graduation from Kansas State University with a Horticulture degree just four months ago.

My understanding of plant physiology and general horticultural care – and of course bonsai maintenance, development, and refinement – has deeply expanded through the incredible opportunity to be this year’s Bonsai Apprentice (in honor of the Museum’s first curator, Robert Drechsler. The Apprenticeship provides me eight hours of daily practice at one of the highest levels of intensive horticulture. As anyone who practices bonsai, penjing, kusamono, shitakusa, or related arts will tell you: This hands-on experience is irreplaceable.

Along with the roles of artist and horticulturist, curatorial staff play the roles of educator and historian. While I’m out in the collection watering or weeding, visitors often ask questions from simple (“What are the tea bags on top of the soil?”) to complex (“What is the history of that tree?”), allowing me to deepen my insights each day. This accumulation of knowledge and proficiency, as well as daily interactions with patrons regarding the artistry and history of the trees, are among the most meaningful aspects of my Apprenticeship.

With your support, this program will continue to train people who increase the scope of bonsai within the United States. The National Bonsai Foundation’s ongoing investment in this Apprenticeship, promotion of various exhibits and artists, and dedication to introducing bonsai to a broader public are necessary steps to develop the next generation of bonsai artists and curators. 

Thank you to the National Bonsai Foundation for advancing bonsai artists, horticulturists, and curators through the Bonsai Apprenticeship. And special thanks to you and the many supporters who have made this incredibly formative experience possible for me, those before me, and those still to come.

Henry Basile

Bonsai Apprentice 2022

Welcome Henry Basile, 2022 First Curator's Apprentice!

Courtesy of Henry Basile

The National Bonsai & Penjing Museum would not be the treasured public accessory it is today without the dedicated team that cares for its collections. The National Bonsai Foundation (NBF) is pleased to introduce this year’s First Curator’s Apprentice, Henry Basile – a knowledgeable and dedicated individual excited to join an already deep bench of bonsai experts. 

The First Curator’s Apprenticeship honors Robert (Bob) Drechsler, the Museum’s inaugural curator who served in the position for more than 20 years. NBF established the apprenticeship in 2011 to pay homage to Robert’s decades of service to the national collection and to educate and train a new generation of American bonsai artists.

A recent Kansas State graduate, Henry said his introduction to bonsai was a pretty garden-variety experience: popular culture and mass-producing garden centers were his only exposure to the trees for most of his young life. 

“I vaguely knew about the historical significance and the horticultural prowess required to maintain the trees and held a significant amount of respect for the care and attention that curators and collectors paid them,” he said. “But I saw them as no more than ancient trees, valued only for their age.”

But then gardening gave Henry an escape route from an unfruitful year as a biomedical engineering major, sparking his near-instant switch into the horticulture tract. Having found his calling among the plants, a bonsai curation internship at the Denver Botanic Gardens piqued his interest. There he met his mentor, prominent bonsai artist and author Larry Jackel, who taught him about each facet of the Denver collection. 

“Larry spoke about the designs from an artist’s perspective – using the principles and elements of design to hammer in the concepts,” Henry said. “It was then I realized I had found something special.”

That internship blossomed from an intriguing career move to a flourishing understanding of horticulture and artistic expression. He delved into the works of notable artists like Bjorn Bjorholm, Michael Hagedorn and Bill Valavanis, and he studied the styles and techniques described in John Naka’s texts. Though Henry was first drawn to bonsai from a scientific standpoint, his internship in Denver helped him root his work in purpose and pride. 

“It is seldom that a career path can offer development of one’s understanding of nature and history, artistic capabilities, as well as one’s mindfulness,” he said. 

Henry first learned about the National Bonsai & Penjing Museum through acclaimed writer and former NBF Board Member Ann McClellan’s “Bonsai and Penjing: Ambassadors of Peace and Beauty,” available for order at the NBF bookstore. He picked Larry’s brain about the national collection and staff members involved in maintaining its prestige and vitality. When the apprenticeship opened, he knew he had to throw his hat in the ring.  

During Henry’s first trip to the Museum as an apprentice – during his spring break week earlier this year – he helped staff move trees from their winter accommodations to the pavilion display benches and in the courtyards, repot multiple trees and develop new bonsai using U.S. National Arboretum cultivars. He delved deeper into the design principles and horticultural needs – like sunlight levels and visual movement –  considered when presenting bonsai and penjing. 

One of the most impactful tasks, Henry said, was repotting and styling a cryptomeria forest planting by Eisaku Sato, one of the 53 bonsai in the bicentennial gift from Japan to the United States, which marked the start of the Museum.

“Though I spent much of the time analyzing the process, it quickly acclimated me to the gravity of the work I will be participating in during my apprenticeship,” he said.

Henry is eager to interact with Museum visitors and capitalize on any opportunity to share the nuggets of wisdom he receives as an apprentice with fellow bonsai lovers and artists. He hopes that offering insight even just for small tasks, like wiring or pruning, will increase the accessibility of bonsai and penjing – and horticulture in general. 

“Having a mentor that makes you feel welcome and connects with you as an individual is a deeply important part of the learning process,” Henry said. “I certainly hope to put myself in a position to be that mentor for others.”

Already, he has recognized the gravity that accompanies the role of a Museum staff member, serving as a steward of the historic trees. Henry aims to develop a more thorough understanding of the maintenance a bonsai or penjing requires throughout the year, not just during the growing season, and familiarize himself with the species diversity found in the national collection.

“The bonsai and penjing housed in this Museum are masterpieces that will cease to exist if under improper care,” he said. “It is now partially my responsibility to provide nothing but the proper care so these beautiful trees and landscapes will continue to exist for generations to come.” 

Henry said he is honored to have been accepted into the apprenticeship and is grateful for the experience he will gain as an artist and horticulturist. 

“I sought out the National Bonsai Foundation’s First Curator’s Apprenticeship to learn and grow from the knowledge and experience of the talented curatorial team and draw from the artistic vision of the numerous artists who have contributed their masterpieces to the Museum,” he said. “I have quite a long way to go in my bonsai journey, and the apprenticeship is a paramount step in realizing it.”

---

​​NBF is pleased to provide complete financial support for this apprenticeship, thanks to the Foundation’s generous donors. Without your help, this one-of-a-kind apprenticeship that helps to usher in the next generation of horticulturists wouldn’t be possible. Make a tax-deductible gift today to support the future of bonsai artistry. 

Sophia Osorio: An Apprenticeship Reflection

Sophia and Museum volunteer LeAnn Duling repotting a buttonwood from Mary Madison

Since the beginning of my First Curator’s Apprenticeship at the National Bonsai and Penjing Museum in the spring of 2020, I’ve had the opportunity to learn the skills and practices needed to maintain such a stately and magnificent collection of bonsai trees. 

While working on the trees, like daily pruning or watering, I have also been tackling an individual project. My focus was to study and select National Arboretum plant introductions, or species that were originally grown elsewhere, and evaluate their potential for widespread use in creating bonsai material. The goal of this project is to one day display these trees as bonsai at the National Bonsai and Penjing Museum in a collection formed entirely from U.S. National Arboretum plant introductions.

The two species that I had initially selected specifically are Prunus campanulata ‘Abigail Adams’ and Lagerstroemia ‘Tonto.’ While working on the trees, my mentors and I discovered that the graft of Prunus campanulata was not actually an Arboretum introduction. But we are in the process of obtaining a new graft of Abigail Adams that can hopefully be a success soon.

On the other hand, Lagerstroemia ‘Tonto’ looks like a promising specimen that will continue to form new roots and successfully live on for Museum staff to prune and wire branches for styling. Both trees provided a beneficial learning experience in handling grafted introduced species and what is necessary for any species to be potential bonsai material. Just as my project shows, plant introduction species can be explored and tested as bonsai material for many years to come.

As an apprentice gifted with the opportunity to learn about the art of bonsai and work alongside such an incredible team, my knowledge of woody and herbaceous plant species has grown tremendously throughout my time here. The Museum, the Arboretum and its plant introduction program have shown me just how much more there is to learn and discover.

Thanks to the Museum, I’ve experienced learning moments unique to this apprenticeship, such as what it means to have an eye for bonsai and penjing needs, how to wire a branch successfully for better structure and aesthetic or how to patiently prune and thin trees, making sure foliage is visually even throughout.

Some of my favorite memories have been with visitors who have seen me water the collections. Each day I received so many questions about the trees. As an apprentice, it was not only rewarding but also some of the best practice of my knowledge thus far. 

It has also been an absolute pleasure meeting and getting to know the volunteers who dedicate their time to the Museum each week, learning how they got started in bonsai and their personal experiences. They have been some of the kindest and most helpful people I have ever spoken to, and it is very comforting to learn from such a large community of people who also love to practice and work on bonsai as well.

I owe many of my thanks to the Museum staff, especially Michael and Andy. They have been some of the most insightful and talented people I’ve ever had the privilege to learn from. Not only are they both extremely knowledgeable in the art of bonsai, but they are both very patient and caring in their field and offer a range of information, practices and teachings for myself and volunteers alike. I intend to hold onto my experiences here and use them to start my own bonsai collection and as references for years to come.

I will be continuing to put my passion for trees to work, but on a much different scale. I have accepted a training arborist position with The Davey Tree Expert Company and hope to get my arborist certification. I am very excited and happy that my work with trees will continue, and I’ll be sure to visit and check on the trees at the museum as often as I can.

If it were not for the opportunity I was granted at the National Bonsai and Penjing Museum and U.S. National Arboretum, I’m not quite sure where I’d be. But I am eternally grateful for all they have given me and will continue to study bonsai.

“Sophia helped to maintain the National collection of bonsai and penjing through the pandemic, dependably carrying on an essential tradition of bonsai training that has allowed our specimens to thrive for centuries.  Sophia received a job at a multinational tree care company. An opportunity that will allow her to apply her bonsai skills to training trees of a much larger scale. That is something we can all benefit from!” — Michael James, Curator.

​​The National Bonsai Foundation established the First Curator’s Apprentice position in 2011 in recognition of the Museum’s first curator, Robert Drechsler (Bonsai Bob),  for his many years of service.  This apprenticeship supports bonsai scholarship and dedication to future generations. This year’s apprenticeship was funded by the National Bonsai Foundation, with the generous support of Mrs. Barbara Hall Marshall and the Joseph & Sophia Abeles Foundation.

After starting in February 2020 (and having some interruption relating to COVID-requirements), Sophia Osorio’s last day as Apprentice was Sept. 11, 2021. Wish her luck in her next endeavors through the comments section below.

First Curator’s Apprentice Blog – Scratching the Surface of Bonsai

Sophia Osorio cleaning leaves on a Chinese Elm Forest

“O solitary pine, how many generations of man have you known? Is it because of your great age that the passing winds sing in so clear a tone?”  – Prince Ichichara, “Man’yōshū”

If you had asked me six months ago what career path I would want to pursue in the world of horticulture/arboriculture, bonsai would not have come to mind. But after spending enough pleasant time interning at the most renowned bonsai and penjing museum in the country, bonsai is now the only thing that comes to mind.

I first stumbled across the opportunity to work at the National Bonsai & Penjing Museum on a job posting wall at the New York Botanical Garden, where I was attending classes to obtain an arboriculture certificate from their School of Horticulture and Landscape Design. I was doing all the career research I could for a person like myself, with a distinct passion for arboriculture and tree care. I decided to take a chance and apply for the First Curator’s Apprenticeship, which would eventually spark my appreciation for the world of bonsai. 

Like most people, I had a general familiarity with bonsai. But growing up in the hustle and bustle of New York City, I had realized that urban areas lack access to more natural landscapes. Of course, one can admire the Brooklyn Botanic Garden’s C.V. Starr Bonsai Museum or perhaps stroll through Central Park. But otherwise it can be difficult to unplug from the fast-paced, famous city that never sleeps to enjoy more reserved and peaceful environments. This is where my recognition and adoration for the Museum comes in. 

Three years in a row now, Washington City Paper’s Best of D.C. poll has designated the Museum as the “Best Place to Take an Out-of-Towner,” and for good reason. Nestled in the energetic and largely concrete city of Washington, D.C., the Museum seems to slow time. Within its pavilions and tree collections, the beauty of nature is captured, condensed, perfected and displayed within the result of a centuries-old artistic tradition. 

Sophia, left, and her fellow Central Park Conservancy interns gardening at Marine Park in Brooklyn, New York

Bonsai can be horticulturally defined as a tree or group of trees pruned and trained to live in a container, often for hundreds of years. The literal translation is “tray planting” or “planted in a container.” I’ve come to learn that it is truly a living art form and a small representation of the larger natural world. This realization puts into perspective the amount of hard work and effort that goes into keeping a tree just as strong and vibrant in a container as it would have been cared for in the landscape by nature. 

My admiration and eagerness to learn more about bonsai has only augmented since my apprenticeship began. In trying to put the feeling of looking at a bonsai into words, I would say it is close to what one might experience if watching a renaissance painting come to life: standing in the presence and witnessing the sights of something that has been around for hundreds of years – growing, changing and living right before your eyes.

In my short tenure so far, I’ve had the privilege of working on trees donated by prominent figures in bonsai history, like the Japanese white pine that survived the bombing of Hiroshima, donated by bonsai master Masaru Yamaki. The notion that a tree that has experienced so much history can still be alive and flourish with the help of many passionate staff members here at the Museum has made the art of bonsai one of the most inspiring practices I’ve ever been part of.

From daily tasks, like watering every tree in the collections to the technique of selecting and pruning of branches to reshape a tree’s structure or entirely repotting a tree, I feel as though I have merely scratched the surface of the hard work and dedication needed to keep a bonsai thriving. This is truly an experience I want to share, expand on and practice more of for many years to come. 

With enthusiasm, 

Sophia Osorio

First Curator’s Apprentice

National Bonsai & Penjing Museum

U.S. National Arboretum