Royal horticultural society

Saturday

Matthew Dennison

The cheapening of the Chelsea Flower Show

‘I have died and gone to heaven,’ the gentle-faced, fortysomething American beside me murmured into her phone. I turned and stared. Too late I remembered the instructions repeated in childhood not to stand with one’s mouth open. But I couldn’t help myself. In the glorious sun at Chelsea Flower Show, I – unlike my neighbour – felt like I had died and gone to hell. Tuesday morning at Chelsea Flower Show is among life’s rare treats. At least, it used to be. The whoosh of excitement crossing Royal Hospital Road, where policemen marshalled crowds; the magnetic pull towards the show gardens, where the eye was dazzled by loveliness; inside the

Thursday

Sebastian Shakespeare

Why is the RHS so obsessed with diversity?

Chekhov had no illusions about horticulture (‘It’s a nice, healthy business to be in, but there are passions and wars raging there too’) but even he might have been bemused by the zealotry of our Royal Horticultural Society (RHS) commissars. Last September I enrolled on an RHS Level 2 Certificate in Practical Horticulture. I was hoping to improve my gardening skills and learn more about the propagation of plants to save me forking out a small fortune at garden centres. Besides, I was tired of relying on my woefully inaccurate plant app to identify rogue forbs on my lawn. You only have to point your plant app at your family

Wednesday

Isabel Hardman

Immersive and spectacular: Piet Oudolf’s new borders at RHS Wisley reviewed

Piet Oudolf’s long borders at Wisley were worn out. The famous designer had in fact become a bit embarrassed by them: they’d done well for 20 years but in that time his own style had evolved – and so had people’s tastes. Oudolf is now such a household name that his pointillist landscaping is considered fine art on paper, let alone when actually planted up. (There are weighty coffee-table books exploring his art.) But the long borders had become, well, just borders, on either side of a long grassy walk up the hill from the Wisley glasshouses. Many of the people who visit Wisley for a walk – rather than

Thursday

Daisy Dunn

Fortifying snapshot of the gardener’s year: Saatchi Gallery’s RHS Botanical Art show reviewed

Elizabeth Blackadder, who died last month at the age of 89, was probably the most distinctive botanical artist of our time. Her paintings of lilies and irises, of cats poking their heads imperiously between poppies and freesias, are more alive than any such chocolate-box description could convey. The first woman to be elected to both the Royal and the Royal Scottish academies, Blackadder showed that botanical painting did not need to be twee and parochial. It could be as vibrant and interesting as narrative. The 15 artists and 19 photographers participating in this year’s Royal Horticultural Society exhibition at the Saatchi Gallery follow in Blackadder’s tradition. The Saatchi may not