As you peruse the Spring-Summer online exhibition, I hope you enjoy the moments when the blooms beckon you. Nature’s pure glory is within these moments where we connect with its beauty, frailty, vulnerability and grace. Nature takes it’s time to present itself, the artists here have captured the moment where nature fully exposes itself for all to see. We turn inward at that moment with pure wonder about earth’s manifestations. We build botanical art collections around these moments which are personal and surround the collector with a lasting memory.
watercolor on vellum
23 x 19 inches
Ashfield Composition-Early Summer
(Rosa Eglanteria, Barred Rock Egg & Feather), 2002
7 x 7 inches
Presented are a few of Beverly Duncan’s jewel-like paintings especially for Mother’s Day. These pieces were selected for this event only. We hope you consider adding a work to her interior garden for this occasion.
Two Tulips, 2009
watercolor on vellum
7 x 14 inches
Please visit our website to view our new exhibition featuring watercolors on paper and vellum by many of the artists we represent. Now that spring has arrived in the Northeast we are excited to embrace these long-awaited seasons with a beautiful selection of botanicals evoking feelings of romance (Esther Klahne’s rose) and the farmer’s markets with Carol Woodin’s Chihulomato. Enjoy our interior garden of paintings.
watercolor on vellum
watercolor on vellum
Our upcoming show captures nature in its most exciting months of the year. Artists soak their paper and vellum with vibrant colors and spectacular compositions celebrating our favorite seasons. Please visit us from April 25-August 25 as we showcase these works; the artists mindful choices of subjects and quality of drawing satiate us with everlasting appreciation. We hope you consider building an interior garden of botanical art, walls full of treasured plants that evoke meaning and beauty year round.
Thanks to Denise Walser-Kolar’s image below, a magical voyage of fluttering into Spring. See you soon!
Hofnagel-Inspired #4, 2014
watercolor and gouache on vellum
6 x 4 inches
Carol Woodin’s Hazelnut watercolor, 7 x10 inches, is the newest acquisition to my inventory. Painted on McEwen’s vellum, a prized material reintroduced by Rory McEwen, a treasured Scottish botanical artist who revived painting on vellum (animal skin). A prepared gessoed surface applied on top of the skin acts as a diving board for the art to jump off the sheet. The gesso electrifies the paint, adding a depth to the dry-brush watercolor technique. Woodin has produced some of the most exquisite examples of 21st century botanical portraiture on this substrate, a shared experience with a master who would have celebrated this renaissance of painting on vellum and appreciated Woodin’s stylized compositions.
We welcome you to our first online exhibition showing master botanical artists who captured the Fall-Winter seasons, showing nature’s strengths and vulnerability. These works share the great beauty of nature through dormancy.
Lara Call Gastinger’s “End of Fall Sunflower”
The American Society of Botanical Artists honored Denise Walser-Kolar with the Diane Bouchier Artist Award for Excellence in Botanical Art at their October 2015 Meeting & Conference in Miami, FL. Lara Call Gastinger received an honorable mention for her “Unfurling Ferns” in the Small Works exhibition at the Conference. BRAVO! Please visit sfnbotanicalart.com to view botanical paintings by these two highly accomplished master botanical painters.
Please visit SFNBOTANICALART.COM for our first online gallery exhibition, in November, featuring many of the master botanical artists represented by Susan Frei Nathan. This curated show will discuss the seasonal changes captured through these dry brush watercolor botanical paintings on paper and vellum. All works are for sale.
We hope you visit us and sign our guest book. Your thoughts are always appreciated.
Currently on view at The Hort (The Horticultural Society of New York), as part of their Project Space program, is a mesmerizing exhibition of Anna Plesset’s twigs, entitled “Observe, Notice, Understand”. As the handout reads, “Plesset set a goal to collect a twig every day for six months. When she could not find a twig or forgot to collect one, she created her own tromp l’oeil facsimiles from clay and gouache.” The handmade twigs are identifiable upon close inspection if you have the time to compare and contrast art versus nature. Accompanying the visual display is a handout charting the date and location of each twig. The twigs are hand numbered in white gouache, those numbers circled are handmade (for those spare NY minutes).
Upon further thought I referred immediately to Beverly Duncan’s “Winter Branches, 2011″, a watercolor on vellum measuring 5 x 8 inches currently in my inventory. I reflected on the details in her branches, the knotty moments where your eye bounces up and down as if on a seesaw, moving over the inconsistent surface with amazement and wonder of nature’s ability to capture beauty in the most surprising places.
Here, Beverly’s collection of branches points to her surroundings in Western Massachusetts. As she walks toward the post office or hardware store in her mile-length town, she looks down at the incredible offerings from the trees in the coldest of seasons. Her compositions are composed through these magical steps, welcoming us to the season with an unexpected thoughtfulness towards something most would break under foot.
Rory McEwen (Scotland, March, 1932-October, 1982) one of the most important 20th century botanical artists is featured in a current exhibit at the Shirley Sherwood Gallery of Botanical Art at Kew Gardens, London, England entitled Rory McEwen, The Colours of Reality. Born in Scotland, he had no formal art training, however, through Wilfrid Blunt, a painter and historian at Eton and author of “The Art of Botanical Illustration”, the most comprehensive book on the subject to date, learned the skills of observation and applied his modernist approach to botanical illustration. McEwen’s modern eye within this field has influenced many contemporary artists such as Lizzie Sanders from Scotland and Brit Martin Allen. Allen is featured in a video documentary on Kew’s website discussing McEwen’s talent:
Looking at Allen’s work, one can appreciate McEwen’s influence, however, Allen’s “out of focus” technique is a unique contribution to 21st century botanical art. I strive to find artists to represent who find botanical information to record in new ways within their distinct stylistic interpretations. Martin Allen’s work is certainly one to compare as seen in his Azalea:
Lizzie Sander’s approach is also complimentary to McEwen from a modernist perspective. Technically and compositionally Sanders’s is a perfectionist as McEwen was, her art crosses from what we know and appreciate of classical botanical portraiture, representational, to abstract painting which poses never-ending questions while we succumb to its beauty. As seen in her latest masterpiece of the Myrtle Bark painting: