Curator

Spring Arrives with Fresh Blooms and Budding Bonsai

Japanese apricot (Prunus mume 'Kobai')

Sunlight glinting off bright, young leaves. The aroma of sweet quince drifting across your path. The ambiance of refreshed, peaceful trees in the courtyard.

No, this is not a dream — it’s just a peek into the sensory experiences that await you at the National Bonsai & Penjing Museum this spring.

Kusamono display

The energy of the season always brings lots of activity to the Museum, from new growth and fresh buds to tree placement shuffles and pavilion adjustments. In an interview this week, Museum Curator Michael James shared an inside look at preparing for the surge of warm weather visitors, and he discussed what makes the beauty of bonsai so unique.

The Post-Winter Waltz

Sensitive trees are protected in the greenhouse with controlled temperatures during the frigid months. Meanwhile, the consistently cold weather this past winter has prepared the trees for strong growth this spring. Winters that are peppered with warm and sunny days encourage bonsai and penjing to open up earlier than preferred, Michael said.

“When those leaves emerge under glass or in a protected environment, they’re extra thin, and sensitive to sun and wind,” he said. “If we move the trees out at that point, any slightly harsh weather can easily damage that foliage. This year, the trees have stayed very dormant, so we can move the deciduous trees outside before they sprout.”

Trident maple (Acer buergerianum subsp. forosanum ‘Miyasama’)

Every spring, staff complete a major structural change at the Museum by removing the roof of the Chinese Pavilion, which no longer requires winter protection. But the trees aren’t yet completely in the clear. Museum staff remain on frost watch, in case a cold snap sweeps through and requires them to protect these specimens once again.

“There’s this spring dance in horticulture of watching the weather for that last cold night, that last freeze, and moving sensitive plants back inside for a night or two as needed,” Michael added.

A New Focus

The springtime shuffle also allows staff to intentionally ponder this year’s displays. Michael, alongside Assistant Curator Andy Bello and other Museum staff, build the bonsai, penjing, and stone placements from scratch each year, ensuring the dominant flow of directional branches leads visitors through the enchanting exhibits.

Sargent juniper (Juniperus chinensis var. sargentii)

The courtyard display for 2025 showcases native species from the Museum’s collections, aligning with the U.S. National Arboretum’s Lahr Native Plant Symposium, hosted annually in March.

“It’s amazing to see every pedestal in the central courtyards display a native tree this year,” James said. “These species are all relatively new to bonsai, because they weren’t used in the Chinese and Japanese tradition. It really shows how bonsai is global now.”

Though leaf removal, root care, and other maintenance might need different approaches from more traditional bonsai species, Michael and his team have developed their expertise by working with native trees and getting to know their unique characteristics.

Native species also naturally draw pollinators, which facilitates a healthy ecosystem. They are well-adapted to the local environment, making them excellent choices for bonsai cultivation that reflects the natural appeal and resilience of regional landscapes.

Spring Showstoppers

Japanese maple (Acer palmatum)

As with most gardens or naturally occurring vegetation, the beauty of bonsai flourishes in the spring. Small vegetative buds open up on deciduous trees, while the flowering species flaunt their scents and petals.

Drummonds red maple (Acer rubrum var. drummondii)

Chinese quince (Pseudocydonia sinensis)

In the international pavilions, inconspicuous red pearls on maple varieties will unfurl into delicate, star-shaped flowers, while the Japanese apricots boast bright pink blooms. The Chinese quince will display unique flowering, which occurs on bare branches before vegetation sprouts, as well as the cherries. Crab apples and tricolor Higo camellias already have leaves when flowering. Satsuki azaleas will be in full bloom for May visitors – with "satsuki" referring to the "fifth month" in Japanese.

Can’t-Miss Events

Please join us for the Potomac Bonsai Association Festival on the weekend of May 10-11, which coincides with World Bonsai Day on May 10. We will also be celebrating an incredible milestone: The 400th anniversary of the legendary Yamaki Pine. Stay tuned for more about these events in the next few weeks!

World Bonsai Day will include a Beginner Bonsai Workshop (Saturday and Sunday), as well as appearances and workshops from Andrew Robson of Rakuyo Bonsai (Saturday) and John Naka student and contemporary Guy Guidry of NOLA Bonsai (Sunday), who will demo work on his tree in the North American collection.

We hope to see you soon to absorb the beauty of the art of bonsai this spring! Stay tuned for more information on World Bonsai Day and plan your visit here.

 

Click images below to enlarge. Photos by Stephen Voss.

Curating Bonsai: What I Learned on a Work Study Journey

The National Bonsai Foundation is proud to partner with the U.S. National Arboretum in maintaining the National Bonsai & Penjing Museum. In addition to caring for these living masterpieces, we support the museum’s expert curators with ongoing education and professional development, ensuring they stay at the forefront of bonsai artistry. These opportunities allow them to refine their skills, explore the latest techniques, and continue growing as leaders in their field.

In this post, Andy Bello, Assistant Curator (and our 2019 National Bonsai Apprentice), shares insights from a recent experience that helped shape his approach to bonsai care and curation.

Last winter, I had the wonderful opportunity to spend two weeks in Portland, Oregon, traveling to work and learn with a focus on fall and winter seasonal bonsai techniques. Part of my time was spent at Crataegus Bonsai, owned by bonsai professional Michael Hagedorn. Michael is a well-respected bonsai artist and teacher who apprenticed with Shinji Suzuki in Obuse, Japan from 2003-2006. He serves as the Bonsai Consultant for the Portland Japanese Garden, teaches international students at his garden, and blogs weekly at crataegus.com.

I remember my first time seeing a specific bonsai in person at the Portland Japanese Garden in 2017, my first year practicing the art. Walking to the upper bonsai courtyard, I was greeted by a large mountain hemlock planting growing on a slab. It was so large, in fact, that it was displayed on a small wooden stand on the ground, and the tallest tree stood about six feet tall. This composition was the first of this size and refinement I had seen. Its long, elegant trunks reached up and out towards the sky, with lush green foliage artfully arranged to give windows into the interior of the composition, telling the tree's story. This piece changed everything for me—it solidified my love for bonsai and encouraged me to pursue the art form as more than just a hobby.

Six years later, as the assistant curator at The National Bonsai and Penjing Museum, I found myself standing in Michael’s garden on a work trip, pruning my favorite tree. It felt as if my life in bonsai had come full circle. For the time I worked on that tree, I was in pure bliss, and I will never forget that wonderful feeling. But as anyone who practices bonsai knows, there is always more to be done and more trees to work on and care for.

During my time at Crataegus Bonsai, I studied some of the fascinating compositions Michael has created over the years. Some of the ones that stood out to me were planted at inclined angles or mounted on the side of walls, combining traditional Japanese bonsai with modern, innovative ideas. His garden left a lasting impression on me—it showed that we need not be limited by the container or a particular style we are accustomed to following. There is endless opportunity, and ample room to be playful and enjoy the creative process.

The second half of my time in Portland was spent at Rakuyo Bonsai, owned and operated by Andrew Robson. Andrew is an award-winning deciduous artist in the American bonsai community. He completed a three-year apprenticeship with Michael Hagedorn after graduating from Yale University. Andrew also studied shohin bonsai display with Daisaku Nomoto, an award-winning Japanese shohin master and judge at Gafu-ten. He serves as the President of the Bonsai Society of Portland, the largest bonsai club in the United States, and regularly exhibits work at the Portland Japanese Garden, where he also lectures at the Japanese Arts Learning Center. Andrew hosts the Bonsai Wire Podcast and regularly creates new episodes with other prominent figures in the bonsai community. He resides at his deciduous garden, Rakuyo-en, with his golden retriever Bailey, where he teaches and shares the art of deciduous bonsai.

The main reason I wanted to work with Andrew was his focus on deciduous bonsai and the quality and size of the specimens in his garden. At The National Bonsai and Penjing Museum, I’ve become accustomed to working on larger trees, so I felt right at home at Rakuyo with its variety of well-cared-for material. From trees in the early stages of development to award-winning specimens in refinement, there was something interesting to view, study, and learn from throughout the garden. Inside, sheltered from the cool, constant rain of the Pacific Northwest, we focused on fall and winter cleanup, caring for deadwood, pruning, and styling. We also enjoyed engaging conversations about techniques, the art form, and its future—always with Bailey, the bonsai dog, close by.

Most of the work we completed was wiring and pruning for shape and structure on a variety of species such as Stewartia, hornbeam, beech, and maples. Late fall and winter are ideal times to do this type of work, as the leaves have fully changed color and fallen, making it much easier to see and apply wire to the branches. After wiring, we placed the trees in front of a clean backdrop to photograph, discuss, and adjust the branch positions.

Working at Rakuyo with Andrew was educational, inspirational, and pure fun. His focus and dedication to teaching, growing, and learning more about deciduous bonsai inspires me to continue cultivating more varieties of trees and expanding my techniques.

I am very grateful and honored to have spent time working with both Michael and Andrew, and I look forward to working on trees with them again in the future. Thank you to The National Bonsai Foundation for supporting my continued education in this timeless art.

In Memoriam: Warren Hill

Warren Hill at his one-man show at East Tennessee State University in the late 1990s. Trees (from left to right): American Hornbeam, Bald Cypress and Ginkgo Biloba, also known as Chi Chi Ginkgo

Warren Hill at his one-man show at East Tennessee State University in the late 1990s. Trees (from left to right): American Hornbeam, Bald Cypress and Ginkgo Biloba, also known as Chi Chi Ginkgo.

Warren Hill, a renowned figure in the art of bonsai, recently passed away at his home in Tennessee at the age of 85. His life story is one of passion for bonsai, dedication to his family, and a love for nature.

Born in Minneapolis, Minnesota in 1938, Warren was industrious from a young age. At six, he would shine shoes for soldiers and sailors at the U.S. Navy Yard, and at 16, he painted Walt Disney’s apartment at Disneyland prior to the park’s opening. While Warren was painting, Mr. Disney walked in and surprised him. They started a conversation, and Mr. Disney thanked him for doing a good job.

Following high school, Warren served as a radar technician in the U.S. Air Force. After military service, he pursued a career as an electrical engineer with Westinghouse and later Edison International. Meanwhile, he developed a passion for photography, and throughout his life he would often capture landscapes with family and friends.

Warren served as the curator of the National Bonsai & Penjing Museum from 1996 to 2001. He had a deep interest in Japanese culture that developed from an early fascination with the natural world, which he inherited from his parents. His Finnish father and Swedish mother, who had a talent for gardening, instilled in him a love for flora and fauna. This background, along with his college studies in engineering and horticulture, laid the foundation for lifelong bonsai endeavors.

Left: Hill critiquing a black pine of Jack Fried, a former president of the Midwest Bonsai Society. Right: Hill helping a student at a bonsai workshop work on their Shimpaku Juniper. Hill traveled around the world to style trees at student workshops…

Left: Warren works on a black pine of Jack Fried, a former president of the Midwest Bonsai Society. Right: Warren helps a student at a bonsai workshop work on their Shimpaku Juniper. He traveled around the world to style trees at student workshops. 

A transformative moment happened in his twenties, when Warren walked into an exhibition hosted by the California Bonsai Society in 1960. Although bonsai was not part of his upbringing or education, the exhibition immediately captivated him. “I didn’t know what I was looking at, but I knew it was magnificent,” he said. “I had to learn more about these little trees.” This chance encounter marked the beginning of a lifelong journey that would intertwine his personal and professional paths with the art of bonsai.

His passion quickly evolved from an interest to a vocation. By 1974, he was teaching bonsai, offering lectures, demonstrations, and workshops. He immersed himself in the art and philosophy, studying with masters like Saburo Kato, John Naka, and Frank Nagata. Warren later returned to Moorpark College to study agriculture, and by 1974, he was teaching bonsai through lectures, demonstrations, and workshops. He found striking similarities between his Scandinavian heritage and Japanese culture, especially in their reverence for art and nature.

Left: One of Warren Hill’s Satsuki Azalea in Informal upright-bunjin, propagated by cuttingRight: One of his trident maples in the yose-ue style, propagated by seed

Left: One of Warren Hill’s Satsuki Azalea in Informal upright-bunjin, propagated by cutting.

Right: One of his trident maples in the yose-ue style, propagated by seed.

In 1996, Warren was appointed Curator for the National Bonsai & Penjing Museum at the U.S. National Arboretum in Washington, D.C. “It was an honor to even be asked to be interviewed for the job,” Warren said. “It was a rich position, and I really enjoyed it.” His tenure was marked by fostering relationships with volunteers and nurturing the Museum’s bonsai collections.

Jack Sustic, another former Curator, served as Warren’s assistant. “He was always a teacher and a wealth of knowledge, and I still carry his teachings with me,” he said. “Those teachings helped improve my own bonsai artistry, for which I will always be grateful.”

Warren used his own drawings of different bonsai styles to show students an idea of what the style looks like. This is Chokkan, which has a formal upright trunk. The majestic appearance represents a large, tall tree standing in the mountains or on a vast low-land plain. Usually the tree's outline is in a pyramidal form.

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In his position as curator, Warren most appreciated the opportunity to meet and work with the Museum volunteers who help care for the masterpiece collections of bonsai.

“All those nice people loved the art as I did,” he said. “You meet so many talented people like them, and masters like Kato and Naka, who were all special and of exceptional quality. When you know the background of people like them and know how gifted they are, you’re kind of in awe when you’re around them.”

California State Convention – Hill is holding a workshop for students in Anaheim, California. They are working with olive trees. 

Warren at the California State Convention, holding a workshop for students in Anaheim, California. They are working with olive trees. 

Warren’s personal life also flourished during this time. In 1998, he met Sharon Jeffers Hackett at a Rotary Club meeting in Greeneville, Tennessee. They married in 2000, and after his retirement in 2001, they moved back to Tennessee and established Tree-Haven, a bonsai school that attracted students worldwide. Warren loved teaching, saying, “I like watching the students’ eyes light up when you tell them the answer to a question.”

In recognition of his contributions, the Golden State Bonsai Federation awarded Warren the Circle of Sensei Award in 2013. Throughout his life, he believed that a deep love and passion for nature were essential for success in bonsai. Beyond his teaching, Warren authored numerous articles on bonsai and horticulture, ensuring that his legacy would inspire future generations. He leaves behind a rich heritage of bonsai artistry and a community of students and admirers who continue to honor his work.

Warren is survived by his wife Sharon, daughters Dawn and Lisa, grandchildren, step-children, and other family members. His life and work remain a testament to the spirit and philosophy of bonsai, continuing to inspire students and practitioners of the art form.

More on Warren:

Obituary, June 10, 2024

NBF Museum Curators Blog, March 30, 2021

BOUGAINVILLEA BEAUTY

Bougainvillea-Beauty--768x1024.jpg

This Bougainvillea Glabra, while the same exact species as the tree in my previous post, has flowered consistently from April until now, and it does so every year.  Many flowering shrubs or trees tend to drop their flowers in intense heat. Considering the humidity, much of last week and earlier this week were said to feel around 110 degrees Fahrenheit.  Yet this amazing tree has been cranking out colorful purple bracts and white flowers like it was getting paid to do so.

In case you were wondering, the teabags on the soil surface on different trees are filled with fertilizer. It is a common method of feeding trees, because you can target specific areas that need heavier feeding than others. The teabags do not wash away during the wind, rain or while watering. Also, it makes it much easier to remove the old fertilizer when it has become depleted. The last thing we need is a bunch of granules of useless fertilizer clogging up the drainage and negatively affecting our soil integrity.