What is romance if not repeat flowering?
Homely or homey, familiar, close, intimate, near, and dear, but how do you convey this in a painting?
And why is it that of all the flowering plants, a potted Geranium says so much? Perhaps it is because it has no thorns like the Rose and is not as prickly or unruly as a Thistle.
And why do artists, over generations, return to the subject in their compositions time and time again?
Perhaps it is because they are icons of the window sill, once taken from the wilderness, unselfish, with a genetic propensity for repeat flowering. Predisposed to visible brushstrokes, rich colours, and a focus on the materiality of paint. Other words that capture the essence of painterly plants include artful, gestural, and impressionistic.
Are depictions Whimsical or Antonyms and Near Antonyms where words flow, including constant, unyielding, immutable, practical, reasonable, pragmatic, matter-of-fact, earthy, sensible, equable, logical and down-to-earth?
Can one discover examples showing Geraniums from the front, from the side, from above or from below, as, no matter what, artists' studies are enjoyable, pleasing, pleasure-giving, agreeable, charming, engaging, entertaining, amusing, or enchanting?
Here, from tiny seeds, an inclination for romance begins with germination and develops into tenacious, painterly plants, responsive to the appeal of what is ideal, heroic, or adventurous, marked by expressions of love or affection, a desire for romantic things.
'Summer Evening' (1886) by Mr Frederick Childe Hassam (1859 - 1935).
Once, there were traditional concepts defining Great Art. However, over the centuries, ideas, ideals, and practices have evolved, as have theories, fashions, and the voices that can captivate or challenge audiences with their works!
At the start of the last century, visual artists turned away from attempts to achieve physical realism in their work and began searching for some psychological realism instead. This move took art away from the traditional standards of visual beauty that had held sway.
The essence of Great Art at that time is intertwined with the depiction of natural beauty. Giorgio Vasari (1511 - 1574), an Italian Renaissance mannerist painter, art historian, architect and biographer in 1568 ('Lives of the Most Excellent Painters, Sculptors, and Architects'), posited that the quintessential aim of art is to imitate the most beautiful things in nature. Over three centuries later, the Victorian-era artist, art historian and critic John Ruskin (1819 - 1900) reiterated this sentiment, asserting that the primary role of art lies in fostering a profound understanding of nature. This traditional paradigm positions art as a conduit for expressing the inherent beauty found in the natural world, leading to an inquiry into the nature of beauty itself.
Why is it that certain natural forms are considered as beautiful? Philosophical discourse on this subject has generated significant divergence. Objectivist philosophers, notably Plato (c. 428 - 423 BC - 348 - 347 BC) and Aristotle (384–322 BC) contended that beauty is an intrinsic attribute of objects akin to their size or weight. They identified specific objective characteristics such as balance and proportion as definitive of beauty. Aristotle articulated this in 350 B.C., describing the chief forms of beauty as order, symmetry, and definiteness. From ancient times, the quest for perfect proportions has captivated thinkers and artists alike.
Roman architect Marcus Vitruvius Pollio's (c. 80 - 70 BC. - after c. 15 BC.) treatise on Architecture laid out his theories of ideal proportions for both structures and human figures. Leonardo (di ser Piero) da Vinci (1452 - 1519) famously illustrated these ideals in his drawing Vitruvian Man, which exemplifies the harmony between human anatomy and geometric proportions. Conversely, the subjectivist perspective, championed by philosophers such as David Hume (David Home) (1711 - 1776), argues that beauty exists in the beholder's perception rather than as a quality inherent in objects. His assertion in 1757 encapsulated this view. Beauty is no quality in things themselves as it exists merely in the mind which contemplates them, and each mind perceives a different beauty.
Subjectivist theorists considered taste a cultivated ability to discern quality in art, shaped by sociocultural factors and individual experiences. An idea that resonates with the educational journeys exemplified by the Grand Tours of the past.
Art historian Sir Ernst Hans Josef Gombrich (1909 - 2001) introduced the concept of the beholder's share, the viewer's active role in interpreting art. While both objectivist and subjectivist frameworks elucidate crucial aspects of beauty, a holistic understanding must integrate both the properties of the object and the subjective interpretations of the observer. Notably, certain objective features of faces appear to underlie judgments of beauty, as cross-cultural assessments of female facial beauty demonstrate consistency.
Empirical studies in psychology have identified key features—sexual dimorphism (variations in jaw, eye, and lip size), symmetry, and a preference for averaged configurations—as universally appealing. The principles of Darwinian sexual selection offer a robust explanation for the appeal of these features, as they are indicative of genetic fitness and health in potential mates. Hence, the experience of beauty emerges from the interplay between an object's physical characteristics and the predispositions of the perceiving subject to prioritize particular attributes over others.
In any theoretical discourse or scholarly debate surrounding the artistic significance of Robin's study, "The World of Geraniums and Pelargoniums in Art," a multitude of perspectives exists regarding the motivations underlying artists' inclusion of these floral subjects in their works. Central to the inquiry is the question of why these plants have been not only incorporated but often positioned as focal points within compositions and what symbolic meanings they may convey within the broader context of art history and visual culture.
In All You Do, Keep Romance Alive.
The artist David Hockney's phrase 'End Bossiness Soon' encapsulates his inherent resistance to authoritarianism and intrusion into individual autonomy. This expression serves dual functions. It operates as a self-reflective moniker while simultaneously articulating a critique of what he perceives as an overabundance of regulations and restrictive oversight, particularly regarding his artistic process and personal life. Notably, David Hockney (1937 - ) has even contemplated a more tempered formulation, 'End Bossiness Sooner', to mitigate any perception of himself as domineering in the discourse around authority.
Has Mr Hockney drawn, painted, or depicted a Geranium or Pelargonium in any media remains unclear.
The message in this studio space is to 'keep romance alive'!
Flowers are associated with life and death events, daily living and special occasions, and many are associated with romance. Here, romance and romantic ideas or ideals are welcome in opposition to today's impersonal-driven world.
Geraniums and Pelargoniums may or may not feature in romantic depictions in art and require much research and consideration of the artworks themselves, the year of creation and in what context.
An extract from behind the scenes and one of Robin's notebooks are a starting point in a research endeavour that becomes ever larger and more complex. The notebooks are his means of formulating or problem-solving, attempting to articulate what is known and unknown. It is somewhat like constructing and learning lines for pre-verbal delivery in a play. All words are of the day they were penned and may change over time as research continues.
Here are notations on the subject of romanticism, open for debate,
'This curated exploration of romanticism investigates the complex nature of romance within contemporary social constructs. It examines how interpersonal relationships are navigable or not within our networks, emphasizing the ways we connect, perceive, and reflect upon one another against prevailing social norms and environments.
The featured artwork serves as a narrative vehicle for expressing generational and familial bonds.
Consider the idea of the romantic adventure, characterized by its impractical and fantastical elements that echo myths and legends, as a pre-Raphaelite ethos. This concept invites reflection on themes of perceived immorality and the romanticized ideals embedded within these narratives. The discourse spans from imaginative and extravagant to pragmatic, intertwining idealism with a yearning for adventure and chivalry. It focuses on the theme of love, often idealizing both the experience of love itself and the beloved. The expressions of affection depicted in these images may be ardent, passionate, and fervent.
In a broader context, these artworks align with the Romantic movement, which prioritizes content over form, endorses creative freedom, and emphasizes imagination and emotion. This movement often celebrates nature, individuality, and the liberation of the spirit. Similarly, classical music from the 19th century is marked by imaginative expression, virtuosity, and innovative orchestration, resonating with themes observed in visual art.
Exploration of romantic themes goes beyond the realistic or probable, extending into the realms of the imaginary and the fabulous. The romantic lead archetype reflects the complexities of life within a psychosocial framework, where cultural, social, and environmental dynamics intersect, influencing thoughts, emotions, and behaviours. Analysing these artworks prompts inquiries about the connections between past and present, evoking related thoughts and feelings. Our responses to these images depend on various, including innate predispositions, social circumstances, and personal experiences.
As we engage with these compositions, we might consider what they evoke in the viewer. Art history, from the 1700s to the present, reveals a progression through various movements, transitioning from the ornate Rococo and Neoclassicism of the 18th century to the emotive Romanticism and Realism of the 19th century. This evolution ultimately gives rise to the dynamic Modern and Contemporary art movements of the 20th and 21st centuries. These movements offer diverse approaches to depicting reality and the human experience, enriching the art historical canon and providing a wealth of research material.
Are you an art historian, poet or a writer? What are your views?
The poets out there, how would you muse romantically on the subject of Geraniums and or Pelargoniums in art?
No one is more connected to the earth than a Coal miner (Pitman) or Quarryman working underground.
Partially, this text is from Robin's notebook,
'When I think of the art of romance, there is nothing more romantic than the drawings of Mr Norman Stansfield Cornish (1919 - 2014), who practised drawing at home by the fireside after another long shift mining coal in County Durham'.
When considering which artists to focus on at the beginning of his research proposal in late 2022 to early 2023, Robin was adamant that all artists should be seen as significant, regardless of gender, background, education, or where they lived and journeyed. He believed in them as a group of equals rather than being drawn into a hierarchical view that has persisted for decades.
Robin made a list of artists or groups of artists he hoped to include from around the world, and at the top of that list was Mr. Norman Cornish.
This decision reflects the unique influence of Robin's upbringing in the Cumberland Fells, where the nearby coal extraction operations shaped his values and perspectives. The close connection to this industrious landscape inspired his choices and vision for the future.
His two cousins, who lived in houses 2 and 3 of the terraced cottages, worked in the nearby coal pit. As a result, Robin grew up in a miniature culture of Coal (Red and Black Grouse and Farming). It was not as expansive as the mining communities of neighbouring Northumberland or the life experienced by Mr Cornish, who worked underground at Spennymoor in County Durham.
Going In-Bye.
Robin had known about Mr Cornish's work for many years and, in 2011, managed to attend a complete exhibition of his paintings and drawings at a venue on Sandyford Road, Newcastle upon Tyne. The exhibition was titled The Narrow World of Norman Cornish Paintings and Drawings. Robin felt powerfully impacted by the experience of seeing the captivating images before him, as though a speck of coal dust had irritated his eyes (a rationale for a grown man moved to tears).
As he journeyed home to Cumberland, he pondered the words 'The Narrow World of' in light of the artist's talent and humanity, feeling it was at odds with the richness he observed in Norman's art. It is a fact that Mr Cornish spent years confined in the narrow spaces of a coal mine, yet Robin feels sure his spirit soared in the beauty of daylight. What a pitman contemplates and envisions in the darkness below ground is another matter, as the imagination can take one far beyond physical confines.
Robin attempted to illustrate this idea using one of Mr Cornish's paintings of Irises growing in the shelter against a wall. This image reflects the juxtaposition between the depths of darkness and the light found in a work of art (The choice of Irises instead of Geraniums is another narrative from Robin's research revealed later).
What is certain is that on the journey away from Newcastle, Robin's thoughts took flight, returning to his childhood memories and of times when the family coal house was empty before the coal man was due to deliver the next load. Robin would take a bucket and search the pit slag, or spoil heap, for nuggets of coal. In those days, finding coal was more highly prized than gold, as it fuelled the fire that warmed their home and heated the spring water. Carrying a bucket of coal back down the bumpy pit road to number 1 was a heavy task for a young boy.
Under these circumstances, it's evident that a viewer's lifetime experiences shape their art preferences, leading them toward specific themes influenced by the sights, sounds, and smells of their past. For instance, someone raised on a ranch in Montana might gravitate toward depictions of ranching life, wranglers, cowboys, Indians, and horses. But do ranching families or Americans know what a Geranium is?
Formulating this idea with academic rigour poses challenges, more likely leading to a storytelling approach rather than adhering strictly to academic citations and attributions, drawing from his own experiences and emotions when making decisions. By doing so, one may create a more authentic and relatable work rather than leaning exclusively on academic research and the opinions of others.
An emotional response to someone's art is deeply personal, and each one of us perceives artwork through our unique experiences. The saying goes, No two people are the same, and this diversity in perception leads to unique interpretations and reactions.
Being perceived as unique in the art world can be an advantage, helping one stand out. However, in a tight-knit mining community, displaying an interest in drawing, painting, and exploring the works of other artists might seem offbeat. This discussion brings us back to the debate of nature versus nurture. From birth until we leave the nest, we are socialised, educated, and sometimes chastised or ridiculed. Bullies at school, who may carry their behaviour into the workplace, often seek someone to target.
Finding your way can sometimes be challenging. If you're lucky and have people who care about you, you may navigate through it. Trying to blend in to sidestep emotional struggles can be a common approach. With the loving support of understanding friends and family, there is an opportunity to endure, thrive and find joy.
If we liken the arts to a tree, it has many branches and encompasses various ways of recording events and telling stories. The film and writing about young Billy Elliot illustrate the journey of an 11-year-old English boy who discovers a passion for ballet while living through the 1984-85 United Kingdom miners' strike. Billy represents the intersection of personal passion and community struggle.
The driving force behind the film is Mr Lee Hall (born 1966), an English writer and lyricist best known for writing the screenplay for Billy Elliot and creating the book and lyrics for its stage musical adaptation of the same name. Additionally, he wrote the play The Pitmen Painters and the screenplays for the film War Horse. Mr Hall has confirmed that the character of Billy and his journey had been motivated by the experiences of Sir Thomas Boaz Allen CBE FRCM (born 1944), an English operatic baritone who faced similar struggles while trying to pursue his artistic dreams in the North East of England.
One can ponder whether Sir Thomas's experience would have been straightforward if he had grown up in the mining communities of the Welsh Valleys, where there is a greater appreciation for singing as a form of expression.
If one were to reflect on the former 'class system', being perceived as working class can limit opportunities. When Robin was nearing sixteen, the leaving age for his generation at the time, a day in the final term, was allocated for what was called 'careers advice.' When young Robin Oliver expressed his desire to be an artist, the response hit him like a sledgehammer!
'You are a working-class lad. And you will never make a living as an artist.
Join the army or the navy.'
Since they knew Robin had grown up in a gamekeeping and farming family and was familiar with shooting, the suggestion of joining the forces felt correct to the advisor but was not appealing to him.
In those days, you listened to what adults told you, and in this instance, an adult in authority crushed his dream. Consequently, he left school feeling directionless and searching for the first opportunity that would accept him, which ultimately set him back for decades and caused him to turn away from the subject of art.
Getting back to 'The Narrow World' if you grow up in a mining community in County Durham, the furthest you travel may likely be living in the next row of houses over or to another pit in the area, following on from your Father, Grandfather, Uncles or Cousins. But some Sons of Pitmen did choose not to go down the pit, and if they did, some managed to fledge afterwards. Others felt happy for a lifetime with coal.
After two years of thinking about his Geraniums in Art and feeling sure Mr Cornish would be familiar with the plants, in April 2025, Robin set about asking the question and felt devasted when word came back.
(From his notebook), Going in the Back Door.
'In a row of terraced homes, where life unfolds in a tight-knit community, front and back doors are areas of everyday transitions. It's through the back door that the Coal Miners, or Pitmen, would return from their long, exhausting days or nights in the pit. I remember witnessing the poignant moment when a mother (My Aunt) prepared for her son's arrival, laying down a few newspapers on the flagged stone floor to catch the remnants of his hard work. As he came through the rear entrance, she stood ready to help him shed not just his clothes but the weight of the day, a ritual that broke the barrier between the harsh world outside and the warmth of home'.
Mr Cornish depicted his Children, John and Ann, at bath times (Flowmaster pen on paper), a beautiful record of everyday life which in those decades may have been in a tin bath in front of the fire. Here, the artist is making observational studies, which artists do. They record what and who is around them in their domestic contexts. Similarly, the artist (1844 - 1926) Mary Stevenson Cassatt's The Bath (1891), depicted in colour drypoint, soft ground etching, and aquatint, shows a woman and child at bath time in a colour palette of a blue bath contrasted with her yellow dress.
Having viewed the work of Mr Cornish in detail, it occurred to Robin that his portraiture is similar to that of Mr (Arthur) Derek Hill (1916 - 2000), which alludes to a further question. As an observer of art, do we favour a particular style of painting or drawing compared to other styles by other artists? Critically observed, the Mary Cassatt image appears flattened, whereas a similar depiction by Mr Cornish is beautifully layered and alive with feeling and movement.
Robin writes later,
'I then had to contemplate 'Breaking my own rules'! To talk about an artist in the research, I had to connect them to Geraniums and Pelargoniums. After a couple of sleepless nights, I rationalised that I could mention someone in a story without them having depicted the Geraniaceae family in a drawing or painting or maybe once in their lifetime looked upon a Geranium and found something to admire about it definitively, my head tells my heart I know Mr Cornish could have drawn me a very splendid Geranium from memory, without the need to have the plant in front of him as his muse. A flowering plant which has been part of our cultures for generations, especially in Victorian times in England, but what of other Pitmen who made art in areas of the United Kingdom or Globally?
There, off we go again with another question. It's that rippling effect throwing a stone in relatively calm waters, and immediately, the circle spreads from the centre of impact until the ripple is no more.
Perhaps I need a set of blinkers as worn by the Pit ponies who worked in the mines. During those childhood years, I regularly snook away from the terraced farm cottage with something in my pocket or grasped in my tiny hand to pass to the pit pony housed in a wooden coral through a gap, where his shed strategically sited near the entrance to the mine, with its railway-like tracking the pony walked between while pulling a tub.
In this complex situation regarding Mr Cornish as an artist related to the significance of geraniums—or rather, their 'as far as we know' absence of the plants in his work. With this in mind, it was not difficult to decide to persist in writing about him (currently still in draft form), and once it meets the required academic standards, this analysis ought to be in the research as a heartfelt tribute to a dedicated Artist, Pitman with thirty-three years of service at the pits who took a risk to leave his paid employment (1966) and began focusing on pursuing his vocation and art career full-time.
Back to the Back Door, leading to the Front Door and the Iris in the Sunlight.
It is a breach of copyright to take the penned words of another from a published autobiography and quote them directly. However, you may read another's words and then put them into your own words and reference the source in the text and appendices of the writing. Here, I refer to the written words of Mr Cornish, who began his autobiographical prose in 1987, titled 'A Slice of Life' (Page 44), highlighting many tender family moments, and I feel compelled to add the words of a compassionate artist here', HIS WORDS! And not my words!
'I also painted Sarah whilst she was drying our small son in front of the fire after he had his bath. I tried to depict young life growing out of the older life that gave birth to it.
The composition was like a young, healthy plant growing out of the nourishing soil' (Norman Stansfield Cornish MBE. (1919 - 2014).
In Robin's dreams, that plant was a Geranium! Growing by the front door of Mr Cornish, his family and other mining families to brighten their days.
*****
Could it be true that Geraniums & Pelargoniums have Male Appeal?
And is it possible to determine who first depicted the flowering plants in their mark-making?
Who was Mr Barnett Newman, and in 1947, did he truly assert 'The First Man Was an Artist'?
What are your views, opinions and hypotheses on the subject? Another Man has said,
The task of art is to convey the idea of absolute spiritual freedom. In my view, art has always been a powerful tool in humanity's struggle against the forces that threaten to consume our spirit. Art is prayer—it speaks for itself. (Edited from the original, 'The task of art is to convey the idea of absolute spiritual freedom. In my view, art has always been a weapon in humanity's struggle against the forces that threaten to devour our spirit. Art is prayer—it speaks for itself.') ~ Andrei Arsenyevich Tarkovsky (2020).
The question of whether male artists feel more liberated than their female counterparts in their artistic expression warrants examination. Conversely, one could argue that the reality may differ. It raises an inquiry pertinent to the discourse: is it feasible to uncover any definitive conclusions on this matter?
Dame Tracey Karima Emin (1963 - ) posits that artistic integrity demands that creators pursue their vision unimpeded by external disapproval. When faced with resistance, an artist should persist in their chosen direction without hesitation.
However, the challenge of sourcing relevant artworks associated with specific artists can be formidable, often resulting in frustration—especially when there is a disconnect between an artist's identity and their engagement with named botanical subjects attributed to titles in the artworks.
For instance, the Dutch-born artist 'Mommie Schwarz' Mr Samual Leser Schwarz (1900 - 1942) has been included in Robin's (2022 - 2023) study list but lacked precise identification linking him to either Geranium or Pelargonium, which highlights the intricate nature of academic research in this field, often requiring the meticulous skills of a detective to navigate the labyrinth of art, botany, and nomenclature.
'Still life with Flowers' (c1914 - 1916) by Mr Samual Leser Schwarz (1900 - 1942) (Mommie Schwarz).
*****
'Geranium Lake' is an artists paint and not a romantic destination (although it is another ripple of the stone cast upon the waters).
During a period of investigation in researching the representation of Geraniums in Art, Robin delved into the oeuvre of the artist Vincent van Gogh (1853 - 1890), previously referenced in the narrative. This investigation led to three specific paintings that Robin intends to examine in greater depth. Plans are in place to request high-resolution images (pending authorization) from the respective institutions housing these works within their collections. (It is important to note that reproductions of the original artworks are 'in the public domain', and various companies are commercially reproducing and marketing the artist's works for financial gain).
With Geraniums as his muse, Mr van Gogh painted 'Geranium in a Flowerpot (1886)' and his 'Vase with Zinnias and Geraniums' (1886).
Researching these artworks led to the discovery that Mr Van Gogh (via letters to his brother Theo) showed that the artist was ordering a lot of 'Geranium Lake', a bright red synthetic organic pigment. (Van Gogh, Vincent, Vincent van Gogh: The Letters, Van Gogh Museum.
Coincidentally or not, the artist also painted Iris. And one may ask, are there links to the Iris of Mr Norman Cornish (undated) and Mr van Goghs depiction of them? Might Mr Cornish have studied or even admired his work and known of Mr van Gogh's Irises (1886), or are the two works by two artists unconnected? And when it comes to classifications in art history, can Robin consider these paintings by Mr van Gogh as romantic works?
*****
The beauty of Canada is on Robin's mind and has been through his admiration of its artists and tremendously varied arts.
He believes that you can metaphorically see directly into the hearts and minds of artists by the subjects of their paintings, and never more so than in the collective works of artists painting together in Canada known as the Group of Seven (and occasionally the Algonquin School).
This inclusion for his Geraniums in the Art studio hub is a brief account and an example of the Researcher reaching out beyond his English home county and Canada reaching right back with kindness through their shared appreciation of the arts and so much more.
In this instance, the connecting denominator is Robin's beloved Geraniaceae, in the domain of Agricultural and Biological Sciences, which inspires the beauty and diversity of nature's creations in art. And a beautiful painting titled (Still life) Geranium (Oil paints on Panel, 1920, 30.5 cm x 25.4 cm), by Mr Franklin Carmichael (1890 - 1945), born in Orillia, Ontario, (CGP, CSPWC, Group of Seven, OSA, RCA).
Geranium flowers embody nature's artistry, showcasing a symphony of sepals, petals, stamens, carpels, style, stigmas, and nectaries. With their enchanting five petals, five sepals, and ten stamens, these blooms offer a glimpse into the beauty of creation. Their clusters, known as cymes or umbels, invite us to appreciate the magic of growth, culminating in the unique beak-shaped schizocarp fruit, a testament to the wonders of pollination and life.
Artists seek the right balance of light, but achieving the correct levels can be challenging. Insufficient light can be detrimental, while excessive light or overexposure can create problems. Many argue that natural light, especially when working outdoors, provides the best conditions for making art.
In our beautiful and intricate tapestry made by nature, plants relentlessly reach for the light, often battling the challenges of being overshadowed on the forest floor. Through the remarkable journey of evolution, they adapt and thrive, finding ways to flourish in their distinct environments.
As mentioned in previous paragraphs, Geraniums are remarkable; they have minimal needs yet generously display a stunning array of blooms. Each flower resembles a carefully crafted piece of art, with petals artfully arranged around a central stalk.
To sustain and advance as an artist, one learns to navigate challenges while actively seeking constructive feedback to facilitate artistic evolution. The historical trajectory of art underscores the significance of a supportive network, particularly those who will advocate for an artist's legacy long after their time. Artists have the potential to transcend their lifetimes, with their reputations often gaining momentum and recognition as time progresses. It is crucial to acknowledge the lived experiences of these creators and the sacrifices they endure in their relentless quest for innovation.
Similarly, within our complex ecosystem of nature, plants exhibit a relentless pursuit of light, often contending with the competition presented by the forest canopy. Through the lens of evolutionary biology, these organisms display remarkable adaptability, developing specialised mechanisms to thrive in their unique environments despite adversity. Their resilience is a testament to the intricate interdependencies present in ecological systems.
As stated previously, Geranium plants do not ask for much, with minimal requirements, they readily put on a beautiful and repeating show of blooms. Their flowers are like their version of creating a masterpiece, each one a grouping of petals arranged around a central flower stalk.
To survive and continue working as an artist, one must overcome many challenges and need encouragement to keep evolving, too. What is clear from our histories of art is who is around you, and, perhaps willing or determined to take up your cause after you have gone, artists may live beyond the grave, as their reputation as artists grows too. We must never lose sight of the 'lived experience' of the artist and the sacrifices they make in their pursuit of creating and working.
In many painters, an innate driver to create, make, depict, and represent the world around them in their unique ways. Lifetimes spent in solitary confinement, a need to be or an inevitable consequence in studio work, is time alone, bringing with it loneliness, perhaps even melancholia in the extreme.
From his notebook, Robin recognises that much of his documentary photography has been on the subject of work and people working in the contexts of his Art of Farming, Agriculture, and Lakeland Quarrying studies, Flowering plants, Landscapes and Gardening, which continue over the years. One such focus is on a World Champion Ploughman/Farmer born in the same market town of Cumberland, England, ploughing and working the land with Horses, which leads nicely into the work of The Group of Seven, because their work in Canada is inseparable from the land.
Setting the scene, Robin transported his World Champion to a new life in Canada in his writing, copied here.
In England, Abraham dreams of a horseshoe-shaped front door on a piece of land registered for $10.
Great is the man who drives the plough across his plot of land, where he raises animals and cultivates crops. Such a person would earn the job description of being a Ryot, who in past times would have left English shores to become a Homesteader, as many headed to the Prairies of the Western United States to work land given by the Government or in Canada.
Alternatively, with Abraham's abilities, he could have been a Woodsman, employed as his father had been in the transportation of felled trees. Here on, sledges known in those parts as 'sleds', driving them from the forest floor to the nearest watercourse or water chutes through ice and snow. His Equines, Tom and Pat, would wear special bevelled shoes with an attached toe calk to steady them down well-used ice sledge roads. Here's a determined young man and his pair of Horses, long reins and voice command to direct. For Abraham, small Shire Tom has second sight and is sensitive to what he wants when driving.
A Frontiersman, Lumberjack or Canadian Jamcracker are other options. And for those of you not in the know, a Jamcracker is a courageous young man who rides the river rapids unblocking log jams, leaping skilfully from one tree trunk to another, making it down the river, never stopping until reaching the sea, a necessity in those times, as the townsfolk required lumber to build their cities bigger.
There's no attraction sailing down rapids or such places for one who communes with Equines and Nature. Abraham was born to carve out a life in vast woodlands and unspoiled countryside. His could be the craft of a born Woodsman with an inbuilt Canadian character demonstrated by those brave young men who travelled up the Petawawa River to log in the Algonquin Park.
Self-sufficiency is the strength of purpose, intelligence, art and craft to create his own Dominion. A gently undulating one hundred and sixty acres picked out along the Magnetawan River, or not far off by Tea Lake Dam, leaving space around his cleared and marked-out cabin footings for one or two Maple saplings, White Birch trees that glint in the sun, and providing a safe place high up for the Chickens to roost in Summer.
Life on the fringe is the life many have dreamt of, looking back to frontier life from the late 1870s, a Northern man, in his bones and heart, seeking a Northern life, bracing himself annually for the first snow of Autumn, in time proving up his Homestead.
In truth, Abraham would have flourished at his craft in any place such as Quebec, Maine, Wisconsin or Minnesota. He and his team of Horses would soon clear gigantic felled trees, hauling them down to the river's edge. And no doubt he would be sung about, remembered in a verse of a lumbering song from the North woods. In his downtime, he would clear a patch of forest floor to feed and tether his Horses, building both a sturdy lean-to, sheltering them from snow and the occasional hunting Grizzly.
Across the time building, his and Rachel's very own stone fireplace and house-sized chimney stack in rocks dug up from his ploughing. His next step was the felling of enough trees to enclose the hearth of their soon-to-be log cabin, with planned neat small windows and Abraham's hand, carved, horseshoe-shaped front door over which to build a porch is the life he most desired, making a home for his beloved spouse, and Equines Tom and Pat, whose pulling power enhanced due to their species evolutionary loss of digits, resulted in a heavy, strong, build to move at speed or slower on any ground, steadfastly over compacted areas like the vast prairies.
With determined Abraham driving and beautiful young Rachel willing and loving him to keep proceeding, here is a dream steadfast in the wilderness set for succeeding. © Robin Oliver.
There is evidence, then, that the beauty of Canada is on Robin's mind and has been through his admiration of its artists and tremendously varied arts and his belief in the country's independence, especially from America (or any country it chooses). Just look at the National Flag of Canada (Drapeau national du Canada)—upon it, a leaf!
The Canadian flag features a stylised red maple leaf on a white field, serving as a potent emblem of the nation's identity and historical context. The maple leaf, an indigenous botanical symbol, encapsulates Canada's distinctive character and its multifaceted heritage. The choice of red and white colours is emblematic, denoting Canada's historical affiliations with the United Kingdom and France, and celebrating the nation's natural landscapes and ethos of independence. This flag design thus reflects both a historic narrative and a representation of Canada's geographical and cultural tapestry.
Whilst Canadian trees bask under the gentle glowing stars, an independent nation has no desire to be consumed by stars and stripes, which would never make a prettier picture than the existing iconic flag of Canada (Adopted. February 15, 1965), shown here with its 'Geranium or Pantone red' coloured Maple leaf, designed by Calgary's (Alberta, Canada) born, Colonel George Francis Gillman Stanley (CC CD FRSC FRHSC(hon), FRHistS 1907 – 2002), dean of arts at the Royal Military College of Canada, Canadian author, soldier, historian (Mount Allison University) and public servant.
Of 2,409 designs submitted by the public to the National Flag Committee, Maple Leaves featured in 1,611, Royal Union Flags in 383, Stars in 231, Fleurs-de-lys in 184, Beavers in 116, Crowns in 49, and Crosses in 22.
Eventually, a consensus was reached in the rigorous selection process of the new design by a committee that included the views expressed by a member of the Group of Seven, Mr Alexander Young Jackson (1882 - 1974), who had submitted designs for consideration.
'A.Y. Jackson', as he is known, is celebrated for his lifetime contribution to the development of art in Canada. He was an avid traveller in Europe (where he appreciated 'Impressionism' as an approach to painting) and Canada, where he painted full-time, primarily landscapes.
To focus on the Group of Seven, Robin needed to find an artwork by one of the artists depicting Geraniums or Pelargoniums, and after a prolonged period of searching, chanced upon a painting which had been for sale, painted by Mr Franklin Carmichael, as shown above, and included in 'the Selected Artworks Gallery'.
By 1911, Mr Carmichael began working as an apprentice at 'Grip Ltd', earning $2.50 weekly. Later that year, Mr Lawren Harris and Mr James Edward Hervey MacDonald started sketching together, joined by Mr Carmichael and his colleagues at Grip, including Mr Arthur Lismer, Mr Tom Thomson, and Mr Frank Johnston. By 1913, their excursions included Mr Frederick Varley and Mr Alexander Young Jackson.
(Source: Roza, Alexandra M. (1997). *Towards a Modern Canadian Art 1910–1936: The Group of Seven, A.J.M. Smith and F.R. Scott* (PDF) (Thesis). McGill University).
For those interested in looking further into the Group of Seven, there is the McMichael Canadian Art Collection (the only publicly funded art gallery in Canada that focuses exclusively on Canadian and Indigenous art, both historical and contemporary). The permanent collection is said to include more than 7,000 artworks by Mr Tom Thomson, the Group of Seven, their contemporaries, and First Nations, Métis, Inuit and contemporary artists who have contributed to the development of the art of Canada.
There you may gaze upon many great paintings, and a favourite of Robin's, is shown here in the context of Farming, Mr Franklin Carmichael's - 'Farm, Haliburton' (1940), oil paints on hardboard, 96.3 x 122 cm. (McMichael Canadian Art Collection, Kleinburg).
Who is better to represent a Country than a Group of artists out in its landscapes, painting and describing them.
One of the Group of Seven, in 1926, Mr Lawren Stewart Harris (1885 –1970), CC, LL. D., born in Brantford, Canada, published an article titled 'Revelation of Art in Canada,' which appeared in the Canadian Theosophist. In it, Mr Harris wrote,
'We (Canadians) are on the fringe of the great North and its living whiteness, its loneliness and replenishment, its resignations and release, its call and answer, its cleansing rhythms. It seems that the top of the continent is a source of spiritual flow that will ever shed clarity on the growing American race, and we Canadians being closest to this source seem destined to produce an art somewhat different from our Southern fellows, an art more spacious, of a greater living quiet, perhaps of a certain conviction of eternal values. We were not placed between the southern teeming of men and the ample, replenishing North for nothing.' (Harris, Lawren (July 15, 1926). 'Revelation of Art in Canada'. Canadian Theosophist. 7 (5).
The Group of Seven produced a unique and resplendent series of paintings defining Canada as a resilient and beautiful country through their study and depiction of its Landscapes.
Robin wishes to thank Mr Shaun Mayberry of Mayberry Fine Art, (Winnipeg Downtown, Winnipeg Tuxedo, Toronto), without whose due diligence and generosity of spirit in sharing with us a digital image of Mr Franklin Carmichael's beautiful painting of a Geranium on a window sill, has enabled this briefest of mentions, introducing the Group of Seven, Lawren Harris, Franklin Carmichael, A.Y. Jackson, Frank Johnston, Arthur Lismer, J.E.H. MacDonald, and Frederick Varley, now appropriately included in the Geraniums in Art research work would not have been possible.
Robin's research continues outside this gallery hub, into the Group of Seven and their works.
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Are Geranium's Poetry in motion? The Research Continues.
Are there any Poems about Geraniums or Pelargoniums? And did the English Poet, Mr John Keats (1795 - 1821), a central figure in the Romantic Movement who is cited in the art of literature as a highly Romantic Poet, particularly in the realm of love and the senses, ever muse about them?
Keats's style, rich with sensuality, particularly in the Series of Odes, captures the essence of extreme emotion through the beauty of natural imagery. Like many Romantics, he passionately wrestled with the conflicts between reality and the ideal of uniting with nature. Today, his poems and letters stand as some of the most cherished and analysed works in English literature, with 'Ode to a Nightingale' leading the way.
'My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
'Tis not through envy of thy happy lot,
But being too happy in thine happiness,—
That thou, light-winged Dryad of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.'
Mr W J Neatby's (1899) Illustration for "Ode to a Nightingale".
This artwork is part of the illustrated edition of John Keats' poetry, rendered by William James Neatby (1860-1910). Neatby, an English artist, architect, and designer, contributed to the publication titled *A Day with Keats*, which was released in 1913 by Hodder & Stoughton. This edition features a collection of coloured illustrations by May Clarissa Gillington Byron, alongside additional illustrations by Neatby himself.
Robin is interested in acquiring examples of Poetry published after 2000 that references Geraniums. Furthermore, he is conducting a thorough investigation into the life and work of the artist and horticulturist Sir Cedric Lockwood Morris (1889 - 1982), famous for his collection of Iris plants. The focus of his investigation is to determine if any artworks by Mr Morris depict Geraniums and whether Geraniaceae habituated the landscaping at Benton End, Hadleigh, Suffolk, where he lived. Additionally, he is examining whether Geraniums were grown there in pots, either indoors or outdoors.
The Heart of the Rose circa (1903) by Mr William James Neatby, (Paints on Plaster), Wolfsonian-FIU Museum. But did he ever depict a Geranium in his work? The Research Continues.
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Heartfelt Collaborations.
Geraniums in Art is about creating a new dialogue and engaging people from around the globe in a beautiful and heartfelt collaboration. (In the background or offstage, Robin's academic study continues).
Originating from Switzerland, this artwork is an oil painting on canvas by the artist Martin Lauterburg (1891-1960), created in 1928. The painting is titled 'Zwiegespräch', which translates to 'Dialogue'.
*Image, with thanks to Mr Thomas Jarek, M.A. (Alte Meister & Gemälde des 19 - 21. Jh. Old Masters & 19th - 21st Century paintings). Dobiaschofsky Auktionen, Monbijoustrasse 32 CH-3001 Bern, Switzerland.
Robin expresses that researching three passions—Artists, Geraniums, and Art History—makes every day a joy. An artist's image can captivate you, inviting deep contemplation and endless interpretation, revealing a rich tapestry of meaning.
This piece illustrates yet another unique incorporation of Geranium, showcasing how the artist breathes life into an unspoken narrative. As I focused on this image, my thoughts emerged clearly.
What are your reflections?
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Unpaid Work
Just a gentle reminder that many artists face the challenge of unpaid work. Unless they're actively selling their artwork, they often spend countless hours and incur expenses without compensation. It is significant to recognize the dedication and sacrifices they make.
There are many examples where artists have given up their pursuit of earning a living from painting. For example, the Norwegian artist Mr Pedar Balke (1804 -1887), whose lack of ability to make a living as a painter led him to give up the pursuit of painting as a career. Thankfully, he continued painting for pleasure, as artists are pre-programmed psychologically and driven to make art. There is so much romance in his paintings. Mr Balke was a true artist of Romanticism. The search continues to link the artist to Geraniums or Pelargoniums.
From his notebook,
'In my pursuits, particularly when seeking to document the efforts of individuals such as a Quarryman at their worksite, I've often encountered the question, "What's in it for me?" The straightforward response is the potential for enduring legacy; by serving as the muse for an artist's creation, one may achieve immortality through their representation in art'.
Have you ever contemplated the implications of being an observer in a given space?
In contemporary society, particularly with the proliferation of social media, the individual's identity often aligns with the role of the observer. Our mobile devices are perpetually active, subjecting individuals to continuous surveillance through self-tracking or external digital monitoring mechanisms like CCTV, dashcams or smart doorbell cameras, raising critical questions about our modern fixation on self-representation.
Why do we encounter a greater abundance of artworks often dismissed as fair game on digital platforms compared to their exhibition in public galleries? What cultural phenomena are driving this trend?
Additionally, would society benefit from reverting to a pre-digital era where mobile communications do not exist? And cash transactions are the norm?
'Good Neighbours' or 'Gossip' or 'Washing Day' (1885) by Mr John William Waterhouse (1864 - 1917). Oil on canvas, (72.1 cm x 92.7 cm). Private collection.
What life was like at the time, this could be a recurring theme when considering and researching Geraniums in Art.
Capturing a moment in time for people to contemplate in future. Was this the intention of the artist? What is the focal point, and what form is employed to create it? In representational art, it may be easier to discern than in abstract depictions.
Examples of Geraniums alongside People studies, formal Portraits, Still Life compositions, Botanical records, Landscapes, and artworks showing or recording Historical and Cultural events are all for perusal.
What is the narrative, implied or not, or what might the artwork suggest?
Are there fleeting glimpses to give an impression, or does the work have sentimental significance? What do you think?
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Artists across the globe drew profound inspiration from the Swiss Alps, channelling their creativity into works that emphasise the region's natural beauty and the principles of Romanticism.
The Romantic era (the late 18th century to the mid-19th century) influenced various artistic disciplines, including visual arts, literature, and music, while shaping European cultural paradigms. A hallmark of Romanticism is its deep-seated reverence for nature, a quest for authenticity and an idealisation of a life rooted in simplicity and rural existence.
The Bernese Oberland region, located in the heart of Switzerland, captivates with its breathtaking natural beauty and alpine charm. Visitors are immersed in stunning views of snow-capped peaks, making it a paradise for nature lovers. The iconic trio of Eiger, Mönch, and Jungfrau commands the skyline, while emerald-green mountain lakes, cascading waterfalls, and picturesque villages shape the enchanting landscape. Interlaken, nestled between Lakes Thun and Brienz, are the perfect starting point for thrilling outdoor adventures and peaceful mountain excursions.
In the 19th century, a tradition of decorating houses with vibrant flower boxes began in the Bernese Oberland. These boxes, often brimming with bright Red Geraniums that flourish in the Alpine climate, embody resilience and beauty. Over time, Geraniums have transformed into a symbol of the idyllic countryside and a deep connection to home in the Alps. Today, the Red Geraniums gracing the wooden balconies of chalets create a distinctive and recognisable image of the region, enchanting tourists and enriching regional identity.
Are there artworks depicting these scenes available for consideration in the research?
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(Robert Voelcker) Robert Völcker 's (1924) 'Schöne Aussicht' ('Beautiful View').
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Historically, the absence of capturing artists during specific events meant a loss of documentation.
The First World War highlights this, as the contributions of designated war artists resulted in a rich archive of visual and textual records amid turbulence. Engaging with subjects like a simple flowering plant can decelerate our perception of time, allowing us to reconnect with historical contexts. However, these contemplations are often obstructed by what can be termed vested interests. The descendants of artists may seek to perpetuate financial benefits from their legacy, particularly in an art market where initial neglect during the artist's lifetime often gives way to posthumous demand. This dynamic raises concerns about the commodification of art and the authenticity of appreciation in a marketplace that frequently overlooks the many struggles artists encounter during their careers.
Undoubtedly, there are no simple answers. A question leads on to a question, and then another!
Embarking on a scholarly exploration of Geraniums and Pelargoniums in artistic representations presents an unpredictable trajectory, often fraught with challenges that may impede rather than facilitate one's research efforts. Engaging with these subjects is akin to navigating a complex rollercoaster rather than enjoying a leisurely promenade through a park. And it is all unpaid!
Art History and Art is for everyone, and if it never sees the light of day, what is the point of the artist making the works?
Édouard Manet(1832–1883) 'Flower Piece with Iris, Laburnum, and Geranium',(1880).
Please note that 'The World of Geraniums and Pelargoniums in Art' is a work in progress, and the website gives a brief overview of ongoing endeavours behind the scenes and examples of themes.
As the project evolves, new images and text will emerge, inspiring our journey.
The message from Robin in this online studio space is 'to appreciate the beauty of art, the artist and their work, and their friends, families and peers supporting them, nurture art appreciation, and keep the romance alive'! Also, if you're tending to a Geranium, please remember to water it occasionally'.
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One of the aims of Geraniums in Art is to discover artworks and artists who felt it relevant to include the subjects in their oeuvres. Each artist sets the stage in their unique ways. Many artists are perhaps best known for depicting other subjects, such as portraits, landscapes, or abstracts, in a style of painting distinctive to them.
'Pink Geraniums' (1992) Oil paints on canvas (H 62.5 cm x W 75.2 cm), by (Lady) Lucinda Louise Mackay (1941 - 2024) © Image, Art in Healthcare, Edinburgh, Scotland.
Robin desires to be present in a Gallery space where all of the artworks have Geraniums or Pelargoniums somewhere in the composition, or solely the star of the show, in the broadest range of styles. The question is, why has this never been done before?
© The World of Geraniums & Pelargoniums in Art, The Exhibition.
A further initiative by Robin is his 2023 Manifesto, a written declaration of hope, titled © The World of Geraniums & Pelargoniums in Art, The Exhibition.
The moment has arrived to collate and exhibit the extensive array of artworks worldwide that focus on the representation of Geraniums and Pelargoniums in artistic practice.
Eventually, and with continued campaigning, there is a desire to make it happen! Work continues behind the scenes to highlight the initiative for Art Galleries & Museums around the World that may eventually see the light. For sure, activism may bring about change as the penny drops and those who need to recognise the love the world has for Geraniums in Art.
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In some circumstances, naivety is bliss!
Records in the annals of the history of art show that many artists struggle to achieve acceptance and a celebration of their work while the artist is still living, and others are picked out early on in their careers. One might ask why this is? Why do those around them who could offer a lifeline stand by and scoff? Snobbery and positional power? Ignorance, elitism, and does the opinion of self-styled (establishment) art critics matter?
If you are struggling to make a living, there may be a tendency to become overly self-critical and even desperate, filled with increasing self-doubt. At its worst, melancholy and despair may bring lives to a close abruptly, fast forward a few years down the road and nearly any painting an artist ever did appear in everything from mugs, tea towels, jigsaw puzzles, prints and greetings cards.
What was it early on in the career of the French artist Monsieur Henri Rousseau (1844 - 1910) that failed to attract any complimentary appraisal? And did he ever contemplate the beauty of the angelic Geranium, or depict them in his work? As a flowering plant indigenous to Africa, would it have been correct to include them in any of his jungle-inspired paintings?
Was he discriminated against because he was self-taught? And his artworks are attributed with a once negative connotation of 'Naive'! In some circumstances, naivety is bliss!
If you contemplate nothing else this week, why not take the time to look at some of his paintings, in particular, his 'Myself, Portrait - Landscape' (1890). Unfortunately, there isn't the hint of a Geranium in it, but Robin's search continues for the plant in his work.
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Geraniums and Pelargoniums add a vibrant charm to our surroundings, inspiring countless artists in their quest to capture the essence of light.
'Femme au Jardin' 'Woman in the Garden (1866)
(or Jeanne-Marguerite Lecadre in the Garden) by Monsieur Oscar-Claude Monet (1840 - 1926).
Among them, the Impressionists stand out for their remarkable techniques that illustrate how light interacts with colour and form, transforming ordinary scenes into extraordinary works of art.
Light serves as the enchanting force behind the captivating world of Impressionism! This vibrant style transformed art by capturing the fleeting impressions that light creates for our eyes. In contrast to the rigid techniques of academic art, confined by linear perspective and strict geometry, the Impressionists boldly broke free, celebrating the chaos and beauty of reality as they perceived it. Their canvases radiate with light and colour, shimmering with life as they painted en plein air, outdoors, fully immersed in the natural world.
These pioneering artists became fascinated with the mysteries of optics and the stunning physics of light and colour, using loose brushstrokes and dynamic colour combinations that danced across the canvas. With bold contrasts between primary colours—like the fiery reds, vibrant yellows, and deep blues—and their complementary pairs of orange, green, and violet, each piece radiated a unique luminosity. The Impressionists applied pure pigments directly onto their canvases, never mixing, to create a brilliance that pulsed with energy.
In the vibrant world of Impressionism, light takes centre stage as the star of every canvas! This revolutionary movement ignited a passion among artists to paint directly from life, capturing the ever-changing dance of light on people, landscapes and objects. These pioneers masterfully portrayed the fleeting impression of sunlight at various times of day, leading to a breathtaking series of paintings that showcased the same scene under different lighting conditions.
Gone were the days of rigid drawing, as these artists defined form and volume through the energetic application of colour. They embraced loose brushstrokes of pure, vibrant tones skillfully juxtaposed against one another. With a bold departure from traditional chiaroscuro, they left behind sombre colours like black, grey, and brown, believing that these shades lacked a place in nature. Instead, their chromatic exploration led to a luminous palette of 'light on light' (think white, blue, pink, red, and violet!), as they delicately crafted shades using cool tones.
At the heart of Impressionist art lies a profound revelation. Form and colour emerge only through the interplay of air and light. The true essence of these masterpieces is light itself, along with its captivating effects – transcending mere depiction of places and people. Some of the artists became influenced by the exciting advancements in photography.
Robin's Pelargonium in a terracotta pot at the Quarry Edge.
The Impressionist painters believed that our perception of an object relates to the qualities of the light it reflects. Among the remarkable painters, Pierre-Auguste Renoir, Claude Monet, Alfred Sisley, Camille Pissarro, and Edgar Degas emerged as trailblazers, with Édouard Manet paving the way. Monsieur Monet, in particular, was a wizard at capturing the atmosphere and the shimmering vibration of light on figures, water and objects. His series of scenes from various times of the day, like his studies of Haystacks and his iconic Garden and Water Lilies, reveal his unwavering dedication to exploring nuances in light.
By the mid-1880s, he was painting coastal scenes of the French Riviera, reaching unparalleled levels of luminosity that set a new standard in the art world.
In his later works created in Giverny, Monsieur Monet flirted with greater abstraction, achieving an extraordinary synergy of light and colour that was nothing short of breathtaking.
The Romantic excitement of Impressionism continues to resonate, inviting us to see the world through a dazzling lens of colour and light! Thankfully, in this genre of art, Geraniums were depicted in compositions regularly by Monsieur Monet.
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Geraniums and Goldfish,
but is this a tranquil scene?
And what is the significance of each in a painting?
Monsieur Henri Émile Benoît Matisse (1869–1954) 'Goldfish' (1912), Oil paints on canvas (140 cm x 98 cm). Collection of 'The Pushkin State Museum of Fine Arts'.
Is the painter exploring the themes of contemplation, tranquillity and pictorial space? Or what is going on? A brief time in the artist's life contemplating a new subject? From 1912, Monsieur Henri Matisse (1869 – 1954) began to add his impressions of Goldfish in his works. Might this be something about our need for space and light, but not too much, or not enough?
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The History of Art demonstrates that Men are Romantic, too.
When you consider Geraniums in art, are they a male subject? Or have female artists focused lovingly upon the flowering plants too?
And is it fair to say there are more men than women Gardeners or Garden designers, or is that changing in modern times?
Is it reasonable to conclude that it was more of a challenge to make your way as a female artist than a male? Is that what accounts for the lesser number of paintings by women?
Let's hope female artists feel determined to include Geraniums in their work in modern times.
And if you didn't know who made a particular painting, could you guess if the hand that made the work was male or female, and does it matter?
All are complex questions, and it is not an easy task to arrive at a definitive answer.
One of the many underlying aims of this Gallery hub is to encourage viewers to visit their local Museum & Art Gallery, or independent Galleries in our communities, and try to consider artists making art, the works on display there, and why they were selected.
Or find out about your local Art Groups or Open Studio events, where you can visit the personal working space of an artist and see them making their work in a studio setting. When they are not out in our Landscapes making work, or seeking inspiration from all around them. Our artists need encouragement to keep making art.
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Focusing on a Work of Art.
Does the painting evoke happiness or melancholy?
In a delightful twist, the 'Artist's Name' and the 'Title' attributed to the artwork will be kept a mystery for the time being. Inviting viewers to immerse themselves fully in the piece, allowing their interpretations to flourish without any preconceived notions. Enjoy the journey of contemplation!
Here is another example of Geraniums conceived and created by an artist.
However, should this painting be in the research? What do you think, and what do you note about the artist's work?
This painting's frame, as chosen by Robin, was selected to display as though hanging from the Gallery wall, and, to the best effect, it is another beautiful work of art.
A lovely lady is (nursing) holding onto one of her beloved flowering plants, but what is the painting really about? What was the artist's intention in creating this work? Is there a hidden or overt narrative? Does the painting evoke happiness or melancholy? What are the circumstances surrounding the subject, and what expression is observable on her face?
What is the setting? Does the background provide any clues? Does it depict an affluent home, and does she live here alone? What message is the painting conveying regarding the plant that is central to any narrative you wish to create?
What style is the painting, and does it matter in the overall interpretation?
Art transcends age. It seeks to capture the beauty and complexities of every stage of life, including the inevitability of death. But here's a thought. Does the title of a piece shape our perception of it? If an artist chooses to name their work, how does that title influence our understanding and emotional response? Would knowing the title change the way you connect with the artwork?
Melancholy is an aspect of life that none of us can escape, and bereavement can alter the course of an individual's life. Have you ever contemplated what happens when the gardener leaves the greenhouse or garden for the last time, never to return? There are many examples of gardens disappearing over time. Years later, efforts begin toward restoration, or someone may strive to maintain the status quo.
What about succession in gardens as older hands give way to new ones? If you are both a painter and a gardener, do the garden and your plants become your muse?
From photography to installations, paintings to sculptures, melancholic themes have been depicted using various art forms, capturing the essence of the human condition and conveying emotions that are universal and relatable to audiences.
The exploration of melancholy in visual arts is manifest through a nuanced interplay of colour, composition, and symbolism. These critical artistic elements facilitate a deeper understanding of the emotional complexities embedded within melancholic representations, enabling a profound connection to the viewer's emotional landscape.
'Melancholy'. Framed Photograph by Robin Oliver.
Symbolism emerges as a pivotal mechanism in the expression of melancholy within artistic contexts. Artists frequently employ motifs such as empty chairs, wilted flowers, and solitary figures, each serving as potent signifiers of loss and yearning.
The Romanticism movement significantly influenced the depiction of melancholy within the artistic milieu. Prominent figures like William Blake and John Constable harnessed inspiration from the natural environment, skilfully manipulating it to encapsulate both the sublime beauty and inherent melancholy of the human condition.
When we delve into the realm of Geraniums and Pelargoniums, we unlock a world of possibilities, exploring their vibrant representations in art that resonate across various contexts and situations.
What are your views on the painting?
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Discovering and Focusing on this Romantic Genre, Artwork: Mr Johann Julius Exner's (1886) 'The Letter'.
The Letter Julius Exner © 2025 Christie’s Images Limited.
This piece, created by Johann Julius Exner (1825 - 1910), is an oil painting on canvas measuring 67 cm x 53 cm.
A story may or may not begin, but it is all there in the artwork.
When examining paintings featuring Geraniums or Pelargoniums, it is beneficial to contextualise the work by considering its geographic and temporal origins, as this can unveil layers of significance that enhance the viewer's engagement and inquiry. The exploration begins with the artist's name and the year of creation, which serve as springboards toward a deeper investigation into specific movements, schools or groups in art history, the biographical elements of the artist's life, and the broader sociocultural milieu that influenced the work. Each piece can elicit a myriad of questions, leading to extensive research narratives that encompass not only aesthetic considerations but also psychosocial and interpersonal dynamics. Critical prompts arise from the composition of 'The Letter', inviting analyses of colour, form, and the emotional undertones present in the painting. Observations regarding the technique, use of light, and spatial composition can reveal the artist's technical prowess and the intended psychological impact on the viewer.
Questions arise as to what is the significance of the view through the window, past the potted Geranium, a Landscape within a Portrait.
As set out elsewhere, to further explore the artist's approach to depicting Geraniums, it is essential to locate a high-quality photograph of the artwork for in-depth study and potential illustration within the research narrative. Here is an example photograph of the artwork in its frame (the unframed image is undergoing further enquiry). Acknowledgement (image licensed to Robin for his research) Mr. Alastair Plumb, Senior Specialist for European Art at Christie's, for his kind assistance and collaboration with this image!
The Poets amongst you will surely draw a myriad of inspiration from the painting. We invite everyone to dive in and share your insights or reflections on the artworks displayed! Your thoughts can spark lively discussions and bring fresh perspectives—let's get the conversation going! Letters on the subject of Geraniums in Art are welcome.
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Artists - we carry stories in our heads of a painting yet to be.
'Summer's End' (c1980) by Mr Carroll Nathaniel Jones III (1944 – 2017).
Beautiful dirty pencil marks. It's no good saying it any other way. There is no beauty in ageing and decay. Weather-worn surfaces, a cracked pane, rotting wood held together by a past lick of chalky white exterior matt, flaking paint over shrunken putty, barely holding in the glass.
Like a person enduring hardships in life, structures exhibit signs of wear and damage. An old iron nail, once firmly driven in, now succumbs to the decay of time. Its rusty, red-brown surface, reminiscent of poorly mixed watercolour paint on pre-dampened paper, carries the weight of countless rains, trickling down in a slow, deliberate path—much like a snail's trail, leaving behind a quiet signature of its journey.
The wood seemed to part ever wider at the edges, where worn planks pressed against each other, revealing larger gaps as time passed. An old length of rope dangled from the thick, crooked branch of the ancient oak, once sharing its weight with a second. It was here that the young adventurers of the backyard would come, their laughter echoing as they swung back and forth, reaching for the sky, lost in the joy of their carefree moments. It's a bittersweet reminder of those innocent days and the dreams that soared with them. Long gone now, all grown up and moved away.
The broken-down tractor, stranded by the wood-cutting shed with its missing front left tyre, is now a nesting place, made in time-served fashion located beside the Crankcase breather of the old John Deere, a place of seclusion for a tiny Wren, who darts in and out to feed this year's brood, smaller than last year, late on, she is all tuckered out.
Shingle tiles long since blown off the roof of the porch overhang, where side-by-side rocking chairs and a neat hand-made wooden table for setting down a cooling glass of lemonade and cider were once well-illuminated. Set alight in Summer, warm and welcoming, by a tentatively but knowingly tended, beloved and brazen, bright grouping of Red when in flower Geraniums displayed in assorted re-purposed containers, now are long since empty.
Just beyond, you can catch a glimpse of the Rancher known as 'Farmer Duke', a familiar figure in the community, framed by the old swing door that struggles to close tight against the chill of autumn winds. He sits there quietly, seemingly lost in thought, reflecting on days gone by. The lively livestock that once brought occupation, pride and joy, much like family, are no longer around. It's poignant to think he hasn't even kept back, from the sale, a horse to ride, perhaps a symbol of the adventures and companionship that life once offered, now gone.
At this moment, it feels as though the world outside the unhinged garden gate has faded away, leaving it mostly closed and forgotten. Inside the house, warmth is absent—no fire flickering in the grate. Even after a week, the chimney remains silent, with no smoke to whisper of life within. It's a poignant reminder of the stillness that can envelop us and our longing for connection and warmth in times of solitude.
That is where his neighbour found him sitting slumped in his chair at the side of the hearth, the old family bible slipped from his hand. Once, the Duke was a towering, strong man, working from sunup to sundown and beyond, showing bulbous sun-tanned cheeks fed by homegrown and lovingly prepared farmhouse feasts. Now, he's the shadow of the man he once was, of hollowed features. Bony, gaunt, haggard, pinched, wasted, and drawn. And on discovery, he was found stone-cold, dead.
But today, there ain't no pencil going to capture that scene because Mrs Duke passed four years ago today, as she was the artist lovingly tending all, including the inspirational, bright Red flowering Geraniums. Here, once lived a woman who knew, nurtured, and lovingly drew or painted everything. What will happen to the old place now? © Robin Oliver June 2025.
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Geraniums in Art. It's not as easy as magic! Challenging it is trying to fit the pieces together for the Visual and Research Narrative.
'Twilight on the Terrace, Paris' (1887) by the American-born artist Mr Julius LeBlanc Stewart (1855 - 1919), Oil painted on panel. 73. 7 cm x 100 cm (Private Collection).
This portrayal serves as a continuation of the Introductory concepts presented at the beginning of the Online Gallery, reflecting extensive research aimed at creating a visual synthesis of a Carpet (whether magical or not) alongside Geraniums during an early evening in Paris.
The painting encapsulates themes of high society, privilege, and affluence, positioned against the figure of a woman tenderly caring for a geranium, as depicted above.
The comprehensive enquiry continues in the background research documentation that Robin is compiling.
How does this painting and any of the narrative you wish to attach to it compare and contrast with the untitled lady in the frame?
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Realism and the Presentation, Placement or Arrangement of Geraniaceae in the Arts with a Romantic Air.
When considering Geraniums as depicted by various artists, it is imperative to examine the styles they have adopted in their work. Some artists provide realistic representations based on their observations of life, past experiences, or after-site visits where they meticulously record details.
A key focus of this research concerns the arrangement and presentation of Geraniums or Pelargoniums by artists—examining whether they are depicted in an orchestrated manner, in their natural habitat, or introduced through human intervention. A significant exemplar of this discourse is a painting titled *Midsummer Sun* (1985) by the late Mr Carroll Nathaniel Jones III (1944 – 2017). Mr Jones III's contributions to American Realism render this artwork particularly pertinent to our investigation.
While one of the Geraniaceae family is prominently featured in the composition, a more nuanced narrative unfolds upon further analysis. To fully comprehend the implications of this work, it is imperative to conduct further research into its contextual background and to explore additional pieces within the artist's body of work.
In the ongoing analysis of artworks featuring Geraniaceae, attention is focused on the arrangement and presentation of flora within their depicted environments, which encompasses a variety of subjects, from individual potted specimens to curated collections of plants.
Additionally, the investigation seeks to identify any bespoke structures or design elements that facilitate their display.