What is Botanical Art?
Botanical art has a long history which traces back to Late Antiquity. It came into its own during the Renaissance and matured during the scientific revolution when the discipline was valued by explorers and researchers.
The first recorded botanical illustration was that of a herb drawn to complement research into pharmacological botany - in approx 120 BC by a Greek artist, Crateuas. This slide is of a different herb drawn much later in history, approx 1080 from the Bodleian Library, Oxford.
During The Middle Ages botanical motifs were used to decorate manuscripts, paintings and illuminated borders. Paper was not widely available then - vellum was used. Vellum is specially treated calf or goatskin. It wasn’t until the 1400s that paper was being made in Europe and then it became more widely used.
During the Renaissance, botanical art flourished as the desire was born for documentation of the natural world. With the scientific revolution (end of 16th and first decades of 17th centuries) the interest in the natural world spread from an artist’s perspective to that of the scientist. Scientific illustration became a deliberate and systematic discipline attracting the interest of nature lovers, collectors, and wealthy patrons of the arts. Exotic specimens were studied and their portraits commissioned.
During the 18th century, the Age of Enlightenment, the relationship between artist and scientist strengthened. The collaboration of two important men – the Swedish naturalist, Carl Linnaeus and the artist, Georg Ehret- resulted in the publications of such important texts such as the Table of the Sexual System of Plant Classification in 1736 which illustrates Linneaus’ innovative system of botanical classification which is still followed today. It is also during this time that Redoute’s work became so successful.
In modern times, botanical painting has taken many diverse paths. It is used as a scientific tool for the recording and classifying of plants. There are prizes awarded for scientific illustration which are drawings in ink or pencil on paper or film. The Royal Botanic Gardens Sydney offers the Margaret Flockton award which coincides with Botanica each year. This year there are entries from 28 artists worldwide.
Besides the scientific approach, artists continue to be fascinated by nature and inspired to paint plants in many different styles and genres from Claude Monet’s waterlillies, to Tim Maguire’s large canvases painted with inspiration from digital images.
Botanical art will always have a place both as a decorative art form, and a adjunct to scientific illustration, often both. Photography doesn’t seem to be able to capture a plant portrait like an artist can - even using Photoshop. We tend to draw the plant as we feel it, turning a drawing into a work of art but still keeping it botanically correct.
There certainly has been a renaissance of botanical art in recent decades although there have always been botanical artists, most of them women, and most of them working in institutions such as botanical gardens. The fascination for accuracy and detail when drawing plants is time honoured. Included on the great exploratory expeditions hundreds of years ago were scientific illustrators such as Banks and Solander – remember there were no cameras then. Now we look towards the future, as extinction and threats to survival are a real concern. Many exhibitions centre around this theme.
The renewed interest in botanical art can be attributed, to a large degree, to an English collector and scientist, Mrs Shirley Sherwood. She describes contemporary botanical art as a new ‘Golden Age’. Her vast collection has traveled the world, attracting admirers and inspiring artists as it went.
Sydney Botanical Artist Dierdre Bean has an interesting tale of how she became one of Australia's most recognised Botanical Artists. When she lived in London in the early 1990s she had admired botanical art in the Marianne North gallery in the RBG Kew. After settling back in Sydney in Sydney's Sutherland Shire, Shirley Sherwood’s collection was exhibited at the SH Irwin Gallery. Once she saw that exhibition she was hooked. She enrolled in classes at the Botanic Gardens in Sydney and so began her ‘career’ as a botanical artist.
Dierdre took classes and was taught by the Botanic Gardens illustrators. Once you choose a subject, the task is to draw it as accurately as possible, at the exact size you see it. Then you transfer the drawing to watercolour paper ready for painting. Watercolour paints are used and sable brushes with fine tips. Traditionally botanical subjects are painted with no background colour - the paper is left untouched. All work must be botanically correct and colour matched to the specimen.
Deirdre's first goal was to have her work selected for Botanica, the annual exhibition of contemporary botanical art held at Lion Gate Lodge in the Botanic Gardens Sydney. In the year after her first course, she had work selected and have been exhibiting every year since – this year is her tenth.
Deirdre's first Gymea Lily was published on the front cover of the magazine of the Botanic gardens and was selected to be printed for the Gardens Christmas card the following year. She has since painted 2 other Gymea Lilies.
Deirdre's second goal was almost insurmountable. She knew of the Royal Horticultural society in London and its exhibitions. After passing a selection process, an artist is to exhibit a series of 8 related paintings – the same species for example. These paintings are exhibited over 2 days. Medals are awarded and the competition is fierce. Paintings come from all over the world with a special interest from the Japanese artists who are precise and very talented.
Deirdre decided to paint a series of Syzygiums, some commonly called Lillypillies, others called satinashes. It took 2 years to compile the collection. In January 2006 she took the collection all bundled up as oversized luggage and, once in London, arranged them on the boards provided at the RHS Exhibition Halls in Westminster.
Deirdre's collection won a gold medal which was one huge achievement. She had lots of interest in her work. One who was particularly interested was Marilyn Ward, curator of illustrations at the Library at Royal Botanic Gardens Kew. They have been collecting botanical art for hundreds of years and have approx. 200,000 illustrations. Deirdre was invited into the library and spread her paintings out while Marilyn and her staff made their choice. They selected 2 paintings.
Later in 2006, Deirdre visited London again. She met Marilyn in the library and showed her the second Gymea Lily she'd painted. She fell in love with it. So, on with her next goal… she had heard about the Hunt Institute for Botanical Documentation in Pittsburgh, USA. The Hunt (as it’s fondly referred to) was founded and endowed by Rachel Hunt and her husband in 1960. One important role the Institute has is to have exhibitions every three years selecting artists from all over the world. An artist can only ever exhibit once. Deirdre submitted high resolution images on a disc of 12 paintings as part of the selection process. Two paintings were selected, an Aechmea and an artichoke.
The Aechmea is now living permanently in the Hunt collection in Pittsburgh. Deirdre's Kew Gymea Lily has now been selected to be included in the opening exhibition in the brand new Shirley Sherwood gallery for contemporary botanical art – the first purpose built public exhibition space for botanical art in the world.
Besides painting and traveling overseas with her art, closer to home, there is the Florilegium at the Royal Botanic Gardens Sydney. Deirdre was invited to paint something from a long list to be included in this collection of botanical paintings, a florilegia, to be donated to and kept by the Gardens. The collection will be exhibited from time to time, but, her first goal is to publish a portfolio to accompany an exhibition coinciding with the 200 year anniversary of the Botanic Gardens in 2016.
In 2008 Deirdre submitted a painting to the New York Horticultural Society’s annual exhibition. Deirdre painted a magnolia from a friend’s garden. She was surprised to discover that she’d won a highly commended.
At the moment Deirdre is working on another Syzygium paniculatum for an exhibition in the United States. The exhibition is called Losing Paradise. She was invited to submit something which was endangered and suggested this. The exhibition will tour the United States, ending up at the Smithsonian Institute in Washington in August 2010. There will be an accompanying book.
Deirdre teaches masterclasses at Hazelhurst Regional Gallery 3 - 4 times a year. Two of her student’s work has been recently selected for this year’s Botanica! Deirdre also paints for Botanica! She’ll have three paintings in Botanica this year opening on 17th until 26th April. It’s free and a great showcase for contemporary botanical art! All the work is for sale.
So why not go and visit Botanica and admire a local Sydney girl's work!