The World of Geraniums and Pelargoniums in Art.

Adventurous and Poetic, Artful and Artists' Muse, Painterly Plants, the Seraphim of the glasshouse, Geraniums and Pelargoniums transcend barriers, geography, and situation, universally endear themselves to humankind and once gazed upon, draw you in.

Long flowering heroes and saviours to many insects eventually cast their petals before setting seeds, floating gently downward like environmentally friendly, bright red to yellow, pastel coloured, or white, non-toxic confetti as thrown by enthusiastic onlookers to a newly married summer bride and groom, go on to feed the earth in their scented decay.

The Seraphim perceive true beauty. The world of Geraniums and Pelargoniums in art is a heavenly one indeed.

Art history inspires us to explore the rich tapestry of artistic expression that spans cultures and time, revealing the profound creativity of humanity around the globe.

Across various cultures, distinct forms of artistic expression have evolved in isolation, with only minimal interactions. This metaphorical convergence is akin to unearthing a specific plant species and then transporting it home, potting up, and displaying it on a window sill or cultivating it outdoors. Notably, within the word 'unearthed', the letters 'a, 'r', and 't' are central, highlighting the intrinsic link between exploration and artistic discovery. Robin Oliver posits that extensive examination leads to deeper understanding when learning about the lives of others through art. Here a common denominator, Geraniums or Pelargoniums contained within the work. 

Privilege, prejudice, and fortunes depend upon one's socioeconomic status or perceived status within the society around you at the time, based on a combination of occupational, economic, and educational criteria, or the century you find yourself living may be a beneficial or detracting factor.

Lives, enabled or not by an individual's affluence and privilege, contrast with the experiences of those living in poverty. These themes may also reflect the artist's circumstances. 

The role of artists in society is multifaceted and far-reaching, extending beyond the mere creation of aesthetically pleasing works. Their contributions serve as catalysts for dialogue and agents of change as they challenge prevailing paradigms and encapsulate the emotional zeitgeist. Through various forms of artistic expression, they evoke memories and sentiments, fostering connections among individuals and communities.

Art elicits nuanced and varied emotional responses from its audience. Even controversial or unfavourable reactions can enhance the memorability of an artist's work, highlighting its significant impact on public discourse. Artists play a crucial role in facilitating the collective processing of the human experience, functioning as intermediaries that help society navigate complex emotions and societal issues.

Historically, art has been a fundamental aspect of human culture, with evidence of creative expression predating the advent of written language. Artists distil current events and societal conditions into compelling narratives and visuals, assisting the public in digesting and reflecting on these themes. The expression of creativity is essential for cultivating a healthy and progressive society.

Moreover, art may inspire hope, provoke thought, and resonate with individuals on a profound level, often communicating sentiments that words fail to capture. The artist's capacity to influence, inspire, and promote empathy underscores the vital importance of art in fostering a positive societal impact.

When we consider a 'Place' we know well, or our 'Home Place', as a construct shaped by geographical contexts and shared significances, we recognize that the interplay of place and time drives change. Prompting an essential question. What implications does change have on meaning? How is meaning constructed, and by whom? Artists fulfil a vital role as both custodians and transformers of meaning. This duality embodies their fundamental purpose. Their engagement with the place goes beyond mere physical presence. It encompasses careful observation and active interpretation. Each creative act—whether born from intentionality or spontaneous inspiration—plays a part in the evolving identity of that place. The dynamics of imagination and expression play a vital role in shaping individuals' cultural and social fabric of our environment, influencing how we connect and engage with one another.

Cultivation can occur through various means, whether using an expensive tool, a simple, well-worn trowel, or even bare hands. Regardless of the implements employed, if one selects a plant such as a Geranium or Pelargonium and commits to its care, the outcome will likely yield repeated blooming and potentially delightful scents.

Pelargoniums, often called Geraniums, share a family classification (Geraniaceae) yet display unique cultural needs that can inspire gardeners to cultivate with care.

Hardy Geraniums, the true Geraniums, bravely endure winter's chill, flourishing throughout the colder months in garden settings. In contrast, tender Pelargoniums, with their delicate nature, remind us of the importance of winter care. These vibrant plants are not frost-tolerant and will sadly fade if exposed to the harshness of winter, making their protection essential for survival. 

Pelargonium species are indigenous to South Africa and Australia, flourishing in conditions characterized by ample sunlight and moderate aridity. In regions experiencing increasingly elevated summer temperatures, Pelargoniums can be an excellent addition to the landscape. Notably, the scented-leaf varieties exhibit remarkable drought resistance, and their inflorescences are visually appealing but also edible, offering both aesthetic and culinary value.

If you're growing Pelargoniums, it is imperative to move them indoors to a suitable windowsill or transfer them to a greenhouse, potting shed, or cold frame before the first frosts. 

By recognizing and respecting their needs, we can actively nurture these beautiful plants and appreciate their incredible durability all year. 

Resilience is essential for everyone in our global society, regardless of gender or age. Pelargoniums and Geraniums have and continue to play a significant role for all of us in the artistic narrative and the lives of artists. They can dominate a composition or serve as a subtle contextual element, enhancing collective and individual experiences. Ultimately, true happiness often stems from the environments we create in our living spaces. Domestic and intimate environments enriched by Geraniaceae have been ingeniously and singularly recorded and presented throughout our shared lives thanks to our inspirational artists, past and present.

Robin's extensive research project, ongoing since 2023, centres on selected artists' works that depict the Geraniaceae family, showcasing a variety of artistic expressions.

Here, his dedicated Gallery Space (self-funded by the Cumberland-born artist-curator, researcher, chronicler, and documentary photographer) is a note on selected paintings as the work evolves, highlighting aspects of his intriguing endeavour, ongoing behind the scenes. 

Robin, a graduate of Lancaster University and the University of Cumbria, considers the psychosocial interplay where Pelargoniums and Geraniums contribute and art reflects life. 

All enquiries are welcome as Robin refers to Global Curators, Libraries, Archives, Museums, & Art Galleries, Auction Houses, Private Collectors and holders of selected artworks, including those individuals connected to past artists and those of you in practice today, as his significant research continues. 

Here, it is true that the artist-researcher passionately explores artworks that beautifully express our deep love for and connection to Geraniums and Pelargoniums and our human lives, past or present, intertwined with them.

Research invariably commences with a foundational inquiry.

In this case, the primary question is whether Geranium and Pelargonium species appear or are the focus of artistic works. If they are, we need to examine the contexts of their inclusion, the motivations for their depiction, and the potential symbolic meanings attributed to them within these artworks.

Additionally, it is pertinent to investigate the factors within the Geraniaceae family that have facilitated their remarkable prominence across diverse cultural landscapes. What human psychosocial dynamics influence their cultural dissemination and significance? 

A Journey begins.

The basis for the research is the Geraniaceae family of plants depicted in the beginning by travelling plant collectors and botanical artists travelling to Africa and Australia (such as Mrs Sarah Featon (1848 - 1927) from New Zealand, working with her husband Edward Featon, who went on to author 'The Art Album of New Zealand Flora 1889)' accompanying them, recording and documenting new plant finds, returning plants and seeds to European cultivators, distributors, and eventually into human habitations and gardens including artists' environs. 

The exploration is a slow process through the comprehensive examination of artists' bodies of work and collections, encompassing photographs, artefacts, artworks, literary pieces, any associated architectural designs, and archival materials. This process may involve collaboration with descendants of artists, custodians of selected artworks, collectors, curators, art galleries and museums. 

Works in private collections may not enable the desired collaborations. When approaches are made to 'custodians' and ignored, in cases where the selected artwork is in the public domain, it is permissible to incorporate copyright-free images. 

Through various documentation projects, new knowledge is revealed and recorded from cultural and psychosocial settings and situations, characterised by a rippling-out effect. 

A storytelling approach ensures that any findings are recorded clearly for those interested in learning more, reflecting the artists' observations through responsive human thoughts, feelings, and emotions.

In 2025, our existence increasingly revolves around interacting with machines and automated systems.

It is paradoxical that we, as humankind, must validate our humanity through captcha systems before accessing online services while simultaneously paying for something as fundamental as water, a resource free to all other species on earth. This reality underscores our need to conform to industrial, technological, and politically driven predetermined digital formats and dictates. 

For instance, when creating website URLs, titles often revert to lowercase, compressing complex names like Robin's 'The World of Geraniums and Pelargoniums in Art' to the less representative 'geraniumsinart' resulting in loss of both nuance and readability. As artificial intelligence technologies proliferate, they also pose significant challenges to the integrity of original artistic expression. The recent surge in AI-generated reinterpretations of Vincent van Gogh (1853 - 1890), emerging across social media platforms, exemplifies this concern—new works, often misattributed, circulate widely, distorting the legacy of classic art. In this context, Robin reflects on a more straightforward, perhaps nostalgic artistic landscape, evocatively captured through the lens of Geraniums in various artworks. This tension between innovation and authenticity invites a critical examination of our evolving relationship with art in an age dominated by technological advancement.

Geraniums in Art The Online Gallery becomes a central hub for a research initiative that began in 2023.

It serves as a secure platform for exchanging ideas among enthusiasts of Geraniums and Pelargoniums as a subject in the arts, those who are knowledgeable about these species, whether they have cultivated them in the past or are currently in the process of doing so. Many participants have compelling stories to share. 

This online studio space dedicated to Geraniums and Pelargoniums in art aims to promote and foster dialogue and an appreciation of art, generating increasing engagement with artistic practices and the biographical contexts of artists and their subjects. 

One of Robin's earliest memories is looking up at the painted wooden window sill display of cherished Geraniums and Pelargoniums, set within assorted terracotta pots in the tenanted end-terraced Farm cottage, nestled as it is at the foot of Cold and Brown Fells of the North Pennines, a living room backdrop. 

Having been born and raised in Cumberland (Cumbria) is a privilege, as here you may observe and visit a whole host of different kinds of Garden spaces, from a single specimen plant proudly displayed within a tiny backyard to a collection of terracotta pots containing bright red, pastel pink or white, highly scented Geraniums, arranged upon the painted wooden windowsill of a picture-perfect, Farmhouse. A Rambling Rector Rose, clambering up and around, a rickety old wooden arbour of a Hallbankgate Cottage, or neatly rowed up Runner beans, grown from a rectangular shaped allotment, sheltered behind Brunton Park football grounds, in Carlisle, determined to clamber up, skyward, in search of the sun, as, let us not forget, in Cumbria, we have an abundance of cosy Terraced homes, Country cottages, Farmsteads, Grand Arts & Craft styled Villas, and some, resplendent aged Castles and Hadrian's wall too.

Beyond the charming realms of Cumberland, a world of vibrant possibilities awaits! Just imagine the dazzling displays of Pelargoniums and Geraniums bringing colour and life to many enchanting interior and exterior living spaces and locations across the globe. 

Geraniums and Pelargoniums remind us of the beauty we've witnessed and the vivid scenes we've envisioned.

Art can take you anywhere without leaving the comfort of your armchair! And so can Geraniums and Pelargoniums, beautiful flowering plants and muses to many artists, especially within domestic settings, studios and garden spaces, where each artist decides how they wish to depict them, in what medium, on what surface, in wide-ranging techniques, traditional or modern.

'The remembrance of a thing we have seen or the impression of a scene we have imagined'. 

This research seeks to illuminate many nuanced interpretations and emotional responses elicited by viewers, emphasizing the importance of individual perception within a broader social framework.

In 1892, the French artist Monsieur Georges Fraipont (1873 - 1912) asserted the art of making a sketch is, in fact, the art of recording by a few strokes of the pencil or touches of the pen the remembrance of a thing we have seen or the impression of a scene we have imagined.

In discussing processes, he reinforced the fact that the actual process 'cannot be reduced to words, take ten draughtsmen, set them down before the same object, they will work by ten different methods, and if they are equally skilful, will all arrive at the same result. Each will have infused into the sketch, their individuality'.

In examining the oeuvre of Monsieur Fraipont, one may inquire whether he depicted Geraniums or Pelargoniums in his work, and if so, under what circumstances. Notably in his drawing titled 'A Flower Market on the Seine' (signed and dated G. Fraipont 1899). The Louvre building is observable in the background. However, the specific identification of individual flower species within his composition proves challenging, hindering a definitive classification of the presence of Geraniums or Pelargoniums. The artwork serves as a vibrant representation of contemporary life and as a historical documentation of the market scene it portrays, reinforcing our connectedness and love of plants.

The bright Red Geranium is nature's challenge to the adage that 'red and green should never be seen together'. This dictum typically applies to fashion choices rather than palettes used in oil painting. The juxtaposition of these two colours would undoubtedly captivate Oscar-Claude Monet (1840 - 1926), particularly in the early stages of his career when he explored colour contrasts. Monet was known for his dynamic combinations, including bright orange and blue.

In a different vein, Pieter (Piet) Cornelis Mondrian's, (1872 - 1944), 'Composition with Red, Yellow, and Blue' (Oil on canvas, 1928), showcases a structured interplay of colour delineated by stark black lines against expanses of white. One might interpret the red as symbolizing the Geranium's bloom, the blue as representing the infinite sky, and the yellow as embodying the golden light that filters through greenhouse window panes. Notions about Primary and Secondary colours highlighting red, blue, and yellow began in the 1820s (Michel Eugène Chevreul. 1786 - 1889). Mixing any two Primary colours results in three secondary colours. A mix of blue and yellow makes green, yellow and red create orange, with red and blue resulting in purple.

These elements collectively contribute to a rich dialogue on colour theory and its application in representing natural forms. Years later, from about 1910, Piet Mondrian and other artists' evolution led toward semi-abstract and abstraction. By the 1920s, Piet Mondrian's work underwent a reduction in form, characterized by bold black outlines and a limited palette of white and primary colours. This aesthetic shift exemplified his pursuit of simplicity and harmonious composition, reflecting a deliberate move away from previous complexities in favour of a more fundamental visual language. 

Did either artist render Geraniums in a representational style or adopt an Impressionist approach? The truth is both men loved flowers as a subject in their paintings.

It is a privilege to look beyond your horizons through the art of other countries and cultures.

Intriguing images, captivating, powerful, and at times melancholic. So much so you may wish to scream as in the modernist colourful symbolist paintings of Norway's Edvard Munch (1863 - 1944), might it be true, did he ever depict Geraniums in his imaginative, distinctive creations? The artist painted images of plants, as may be observed in his 'Girls Watering Flowers' (1904), and plants loom large in a verdant foreground in 'Fertility' (1899 - 1900).

Copied from his notebooks, Robin articulates,

'There is a Painting titled 'Grace Dixon's Window on Tory Island' (1978), Oil painted on wood, by the Southampton-born artist (Arthur) Derek Hill (1916 - 2000), who loved Ireland, and many of his paintings reflect his regard for its peoples and places. The star of the window sill and its centrepiece is a characteristic 'leggy' Geranium with a view to the cottage opposite. As I have visited Tory and painted there, I understand its unique characteristics and recognise that to have painted such a picture indicates an unconditional positive regard for the lady whose Geranium it is. And to the place that called him back year after year'.

'Here is something intimate and beautifully painted, a work of tenderness and art I would like to have in my collection and to be able to look upon every day. I aim to communicate with Mr Hill's estate, hoping to gain an image of the painting to include in this archive and research'.

 

 

As has been said above, you can go anywhere in art.

How delightful it would be to save time travelling on a magical flying carpet in the folklore and mythology of diverse cultures, especially within Middle Eastern and Central Asian traditions. These iconic artefacts have captured human imagination for centuries, symbolizing many meanings that vary across cultural contexts and specific narratives. 

The symbolism of the flying carpet evokes themes of wonder, exploration, and limitless potential, making it a significant motif in literature and art, as well as in our broader human consciousness. 

Recently, from 9th November 2024 - 9th March 2025, the inaugural exhibition displayed from The William Morris Gallery (once the artist's home) in Lloyd Park, Walthamstow, London, examined the impact of Islamic art on the works of William Morris (1834 - 1896) and highlighted Morris's role as a collector and the vital contributions of diverse cultural influences on his design philosophy and craftsmanship.

A focal point of Robin's observations at the exhibition was whether Mr Morris or his designers incorporated the Geranium into their collections. This inquiry links to Robin's interest in the piece titled 'Red Geranium for an Oriental Carpet' (1980), a silk screen print by the artist Miss Bel Gowie (1943 - 1983). Where a 'leggy' Red Geranium stands proud in front of the decorative carpet (Robin Oliver's private collection).

The Intrinsic Influence of Geraniums in Design Discourses.

In ceramic art, design, decorative arts, applied arts, design history, and textile design, the Geranium emerges as a powerful and inspiring motif that captivates creativity.

Geraniums have served as a significant source of inspiration across various disciplines. Their vibrant flowers and diverse shapes have influenced numerous mediums, shaping patterns, textiles, and the functional aspects of everyday objects. Geraniums have played a vital role in both applied and decorative arts, promoting nature-inspired design, evoking nostalgia, and contributing to intricate motifs that resonate with contemporary design trends.

In their simple beauty, these plants embody a design philosophy that celebrates endurance, versatility, and a timeless bond with the natural world. They transcend their role as mere plants, serving as muses that endlessly inspire a range of design disciplines.

Artists immerse themselves in many things, especially the conception, creation, and presentation of their work, but once the artwork is complete and sold, its connection to its creator may fade.

'Flowery Door' (1937) by Monsieur Pierre-Eugène Montézin (1874 -1946).  

This independence opens a profound dialogue about who ascribes meaning to art—the artists or the viewers. While some artists may share their intentions and insights with the public, this information can be intentionally and selectively revealed or left entirely open for the audience's interpretation. 

Consider iconographic pieces like those created by Vincent van Gogh (1853 - 1890), a treasure trove of literature fueled by his letters provides insight into his thoughts and emotions, inviting critics and viewers to reflect, decipher, and revisit his narratives. The need for contextualizing art often stems from commercial motivations, leading to intricate questions with no simple answers, especially regarding the themes of Geraniums and Pelargoniums in artistic expressions. 

Why do these unpretentious yet resilient flowers frequently captivate artists, and what do they signify within those works?

Additionally, what meanings do these plants hold for us, individually and collectively? Engaging with art and articulating those experiences in writing can be daunting. Robin attempts to rise above mere academic analysis, showcasing a narrative as an exploratory journey of thoughts, feelings, and interconnectedness. Interpreting art is a dynamic interaction, uniquely influenced by each viewer's perspective. So, in what ways might the subjects resonate with you?

Painting pictures in words of the Victorian era in Scarlet Geranium tones.

Charles John Huffam Dickens (1812 - 1870), an eminent British author, journalist, editor, illustrator, and social critic, is perhaps most famously linked with the Geranium. His extensive oeuvre includes celebrated works such as Great Expectations, Oliver Twist, and A Christmas Carol, alongside 12 additional novels, including A Tale of Two Cities, Nicholas Nickleby, and David Copperfield. 

Dickens' literary contributions provided a stark and poignant depiction of the socioeconomic struggles endured by the impoverished and working classes during the Victorian era, significantly influencing social reform movements. He passed away in June 1870 at the age of 58, leaving a legacy as one of the preeminent authors of the 19th century. 

Mamie Dickens noted that her father had a profound affection for all flowers, particularly the vibrant scarlet Geraniums he favoured above others. 

At Gad Hill Place, the residence he purchased in 1857, Dickens cultivated an array of Geraniums that Mamie described as a blaze of colour in the front garden. He also prominently displayed them in pots by the bay windows, as depicted in the iconic photograph with his daughters. This arrangement was named a Geranium theatre, referencing Dickens' affinity for performance and drama. Notably, volunteers at the Charles Dickens Museum, located at 48 Doughty Street, have been nurturing a Geranium cutting derived from a descendant related to the Gad's Hill variety. 

The Dickens Fellowship, established in London at the Charles Dickens Museum, serves as a global consortium of individuals united by their interest in Dickens' life and works. For over a century, the Geranium has served as the emblem of this fellowship, symbolizing the enduring legacy of Dickens' contributions to literature and social discourse.

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Reaching out across the miles to discover more about the ingenuity of humankind, making marks in response to an admired subject.

Here, at Geraniums in Art, WE AIM TO LEARN ALL WE CAN ABOUT ARTISTS' DEPICTING THE FAMILY GERANIACEAE, which guarantees to be a beautiful journey, one which includes all of you who appreciate the arts and our artists' past and present.

For example, have you considered the artwork of the Swiss-born artist Mr Martin Lauterburg (1891 - 1960)? Geraniums became a repeating subject for him in his creations. We are reaching out for examples of his work to further our research and hope to display at least one image from his incredible oeuvre in due course.

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Dedicated to advancing public engagement with the arts, The world of Geraniums and Pelargoniums in Art welcomes submissions from emerging and established artists globally.

In addition to ongoing research, © Geranium 365 aims to celebrate and showcase existing and new artworks created in the post-millennium era that explore Geraniums and Pelargoniums within social and cultural contexts.

We are especially keen to invite submissions that reflect the rich tapestry of Farming families, Agriculture, Horticultural and Gardening settings worldwide. © Robin Oliver 2023 - 2025.