Florescence

    At the National Gallery of Scotland on Friday I went to a talk by Dr. Andrew Paterson, "Two Flower Paintings of the 18th. Century", looking at Flower Still Life with Bird's Nest, c.1718 by Jan van Huysum, and A Vase of Flowers, early 1760s, by Jean-Baptiste Siméon Chardin. The juxtaposition was illuminating, showing two alternative conceptions of what the medium can achieve, the first picture being "a tour de force of theatrical illusion, almost microscopic in its detail", the second being much more "painterly" and natural. I've tried to capture the main points here.

    The van Huysum, above, includes 20 different species of flower and would have been impossible to create in real life - given the flowers' blooming seasons - so the artist would have either relied on his own image bank of studies, or assembled the picture in a piecemeal manner over the course of a year. In addition to the flowers there are flies, ants, butterflies (including a Grizzled Skipper), while the nest is that of a mistle thrush. Luminous colours rely on layers of translucent glazes, and the copper on which they are painted allows for great fluidity and precision. In terms of meaning, flowers are the prime signifiers of the transience of earthly beauty, while the insects and eggs suggest decay, death, and also renewal of life. The picture is marked by the skill of its composition, the control of chromatic relationships, and by its tonal balance.

    The Chardin, in contrast, is a very simple composition, "virtually artless". A Delft vase contains carnations, tuberoses, and sweet peas (it is thought), all realised in an almost impressionistic manner with the feel of an oil sketch. Known for the quality of his observation and the freshness of his vision, Chardin's brushmarks are here unblended creating a painterly texture, while empty space plays an important compositional role and creates a harmonious atmosphere. Only five pigments were used, the background likely being a mixture of all of them, and although limited, "the subtleties of the tonal range are the equal of van Huysum's". Chardin was "alchemical" in his handling of oil paint, apparently, and did not share his secrets with anyone.

    While the earlier picture is the apogee of a tradition*, the later one is very forward-looking and modern, showing an individual sensibility and that there is more to painting than a mastery of technique. As Chardin said, "One uses colours but one paints with feeling."

                                        ~~~~~

    *For more on Dutch flower painting, touching on the development of the art, below is a talk which accompanied last year's National Gallery Dutch Flowers exhibit:

Comments

[Val]

A lovely read ..really interesting . Thank you.

[Cornflower]

You're most welcome.

[Fran H-B]

If you search for The Documentary, Moving Pictures on the BBC radio player there is an episode there from the World Service broadcast last year looking at A Flower Painting by Rachel Ruysch. Part of a series it looks at the minute details and all they stood for. Sorry could find a link to post!

[Cornflower]

Many thanks, Fran, I hadn't heard it before. The episode is here: http://www.bbc.co.uk/programmes/b07wpgjm

[adele geras]

I have neglected this beautiful blog for far too late no! Going to do better from now on!

[adele geras]

I meant of course FAR TOO LONG!