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 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 prioritise 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 exist 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.

Another beautiful and heartfelt discovery! 'Nude with Geranium' (1931).

The sentence, 'What is romance if not repeat flowering?' As recorded in Robin's notebook, he highlighted the necessity to find an artist's interpretation of the human body, specifically emphasising the inclusion of Geranium or Pelargonium within the composition. This approach not only captures the aesthetic beauty of the naked form but also integrates botanical elements that enhance the overall artistic narrative.

The question posed is whether there exists an artist who, with a genuine passion for flowers and flowering plants, has crafted still-life artworks throughout their career, seamlessly blending them with figurative drawing and painting.

The search eventually led to an artist not previously known to Robin, thus learning continues at all stages of the research process, and a new artist's life and works are brought to attention, celebrated, and considered. 

First lead (clue), then first sight was of chancing upon the oil paints on canvas titled, 'Seated Nude' (1931) by Mr Abraham Soloman Baylinson (1882 - 1950), and there, a sense of hope, designer, floral patterns of rug and chair drapery, and a vase of flowers to the left shoulder of the seated woman without clothing. 

To gain further insight into the marks on canvas, one looks to the experience of the painter creating the picture. Mr Baylinson was born in *Moscow, Russia, in 1882, and as a boy, the Baylinson family relocated to the United States of America around 1892. Here, a young Abraham Baylinson studied at the Art Students League of New York, the National Academy of Design and the New York School of Art, set on a career as an artist.

*(The Russian Empire, referred to as Tsarist Russia or Imperial Russia, constituted the recognised political entity from 1721 until the abdication of Tsar Nicholas II in 1917. Within this vast empire, Moscow served as a prominent urban centre, recognised for its cultural and industrial significance. While Saint Petersburg functioned as the imperial capital during this period, Moscow's role in the economic and cultural landscape of the empire was paramount, influencing both the political and social spheres of Russian life and the backdrop to those early years in a child's development.)

Further on in the search, one's heart skips a beat, after the discovery of a painting linking a portrait of a woman (clothed) with a small potted Red flowering Geranium, situated in the lower right of the artwork by Mr Baylinson titled 'Deep in Thought' (1939), Oil on canvas (40.3 cm x 30.4 cm). 

This image confirmed the presence of Geranium or Pelargonium in the artist's oeuvre.

After a period of further searching, a feeling somewhat like one imagines 'Wining the Lottery' may be, Robin felt like the happiest person on earth, glancing upon the painting, 'Nude with Geranium' (1931), while observing the image there is a sense of the artist standing out of view in front of his easel paining his Still life arrangement, an interior, in the foreground a tremendously accurate study of a potted Red Geranium. Robin will assert that here is a painting from the life of the artist, making marks while looking upon the subjects in his arranged composition. This image clearly shows the growing habit of many potted Geraniums and is not imagined. 

To capture such intricate detail through skilled and sensitive brush strokes requires not just talent, but a profound connection to the living form of a Geranium. This careful observation becomes a heartfelt part of the artist's exploration, serving as a beautiful foreground to the study of a naked woman. It's a reflection of the artist's dedication and empathy, as he continued to look deeper and appreciate the essence of both subjects.

Image Credit: 'Nude with Geranium' (1931), (Oil paints on canvas), by Mr Abraham Soloman Baylinson (1882 - 1950), Rose Art Museum, Brandeis University, Gift of Dr Leonard Averett, Beverly Hills, California. 1964.40.

The lives of artists may be profoundly affected by significant traumatic events and tragedies.

Consider the devastating loss (uninsured) that occurs when a substantial body of an artist's work is dramatically taken from the artist and the world, reduced to mere ash in minutes. The tragic incident highlights profoundly significant questions about the artistic legacy that was so unexpectedly and heartbreakingly lost in the fire. 

Specifically, one might ponder the number of artworks that may have featured representations of Geranium, highlighting the intersection of personal history and artistic expression. It is not possible to contemplate the feelings associated with such a work-life catastrophe, occurring as it did to Mr Baylinson in 1931.

On the subject of the painting, encouraging our engagement with art, what are your feelings or views on the painting? Are any of you contemplating writing new paragraphs to describe the work, or what is a narrative you may wish to create? To the Poets among you, what inspiration do you hold within? Would any of you like to share your heartfelt words? 

(To be able to share the image of Mr Baylinson's 'Nude with Geranium' (1931) here is such a privilege, and thanks to Miss Rachel Farkas, Manager, Collections and Exhibitions, and all at Rose Art Museum, Brandeis University, 415 South Street, MS069, Waltham, MA 02453, for which Robin is sincerely grateful.)

*****

Selected text from Robin's notebook (2023), Painting Romantic visions in a modern context, and a suggested soundtrack. 

If you are considering the life cycles of plants, Springtime has been depicted by many artists as a theme in their paintings, a time of renewal and revival, winter-induced dormancy ends, and new growth begins. 

Why not take a look at his painting, 'Spring in Eden' (1925), by Mr Sydney Ivon Hitchens (1893 - 1979), Son of the English artist Mr Alfred Hitchens (1861 - 1942). There are the colours of spring and exceptionally dreamy, a Still life leading you into the garden beyond. Towering like silent guardians, the female form takes centre stage with two captivating headless sculptures. These pieces seem to celebrate the themes of fertility and creation, elegantly accentuated by the presence of plump fruit nestled in a deep green, ovate, leaf-shaped dish that adds to the allure.

In the early stages of Robin's first draft, crafted between 2022 and 2023, he introduced Mr Hitchens as a pivotal figure in his quest to uncover exceptional artists. Robin was particularly eager to find out if Hitchens had interacted with and captured the essence of at least one member of the mesmerising Geraniaceae plant family in his body of work.

'After countless hours immersed in research, diving into the vast array of his artworks is like stepping into a series of enchanting realms. Each piece draws you into breathtakingly beautiful landscapes that feel both ethereal and otherworldly. It's a captivating escape, inviting you to journey further—floating through imagination and exploring the depths of creativity that extend far beyond the canvas.'

The sculptural forms he employs are a compelling motif that recurs throughout his body of work. A striking example can be found in his piece 'Still Life' (1932), which resonates with the style of post-impressionist master Paul Cézanne (1839 - 1906). The echoes of Cézanne's influence invite viewers to explore the intriguing interplay of shapes and colours, making this work a captivating celebration of artistic heritage.

Particularly, Ivon Hitchens' works reflect those of Georges Braque, co-founder of Cubism alongside Pablo Picasso (1881 - 1973), who significantly influenced the trajectory of modern art. While his contributions to Cubism are paramount, Braque also explored various contemporary movements, including Impressionism and Fauvism. His experimentation extended into collage, where he adeptly combined imaginative elements, vibrant colour palettes, and geometric forms. This approach evolved in Mr Hitchens' 1932 'Still Life' and other remarkable paintings, including 'Autumn Composition and Flowers on a Table' of the same year, further developed in the later painting, 'Winter Stage, Moatlands Park' (1936). 

Braque's work exemplifies a profound engagement with the visual language of his time, revealing a complex interplay between abstraction and representation. The artist's painted visual narrative goes beyond and is developed further by Hitchens, notably in his (1966 -1972) 'Moonlight Visit', 'Hope' (1974), and 'Summer Duckweed' (1975).

The exploration of the female torso in the works persisted, particularly evident in pieces such as 'April Nude No 2' (1949) and 'Figure in the Open' (1950). This experimentation suggests a cyclical reinterpretation of familial themes through the medium of paint. Similarly, Alfred Hitchens' 'Galatea at the Fountain of Acis' (1896) illustrates nudes integrated within diverse landscapes, including their proximity to water (undated, 'Nude near water'), further reinforcing the dialogue between the human form and its natural surroundings.

'The more I seek out and observe the works of Ivon Hichens, glorifying and illuminating landscapes or looking to the worlds beyond his Still life compositions, the more I hear, Antonio Lucio Vivaldi's (1678 - 1741) *Four Seasons* (Italian: *Le quattro stagioni*) represents a remarkable set of four violin concertos, each intricately crafted to evoke the distinct characteristics of a specific season.

Composed between 1718 and 1723 during Vivaldi's tenure as court chapel master in Mantua, these concertos exemplify the Baroque era's concertato style, effectively blending virtuosic instrumental passages with programmatic elements. They were first published in 1725 in Amsterdam, in conjunction with eight additional concertos, under the title *Il cimento dell'armonia e dell'inventione* (The Contest Between Harmony and Invention). This collection not only highlights Vivaldi's innovative compositional techniques but also solidifies his contribution to the evolution of the concerto form within the broader context of 18th-century music.'

In exploring the psychosocial dimensions of artists and their creative outputs, it becomes pertinent to examine the concept of sublimation. This process, as articulated by psychoanalysts, refers to the redirection of repressed sexual or aggressive drives into socially acceptable forms of expression, often resulting in artistic endeavours that can serve as both personal catharsis and cultural contribution.

There have long been inferences about some of Paul Cézanne's paintings (anger toward his Father), but whether the artist channelled any of his feelings into depicting Geraniums is still under exploration. And what of the paintings of Ivon Hitchens? Is there any evidence of sublimation? 

*This narrative is permissible to Geraniums in Art and linked to the artwork by Mr Sydney Ivon Hitchens (English, 1893 - 1979) 'Geranium & Lilies', or 'Lilies and a Geranium on a Hampstead Window Sill' (c1936), Oil paints on canvas, (56 cm x 91 cm), shown in the 'Selected Art Works' Gallery.

*****

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, emphasising 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, characterised 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 romanticised 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 idealising 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 prioritises content over form, endorses creative freedom, and emphasises 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 factors, 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 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. 

'Artist/Coal Miner Shift Breaktime Day Dreaming'  *A 2025 fusion of two artists' images, 'Iris' (Undated) by Mr Norman Stansfield Cornish (Image by courtesy of Mr Mike Thornton & Mrs Ann Thornton (née Cornish), and 'Looking Out' by Robin Oliver, this collaboration is for illustrative purposes to highlight Mr Cornish's beautiful Irises painting, and his time spent mining coal. All rights are reserved. 

The term 'shift' refers to the scheduled work periods for miners operating underground, encompassing variations such as day shifts, night shifts, and other specified timeframes designated for mining activities. In mining terminology, expressions such as 'snap,' 'bait,' or 'piece' are occasionally employed to denote a miner's meal or break period. 

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.

'Geranium; Pulsar White' (Half Hardy) Plant collection and Image © Robin Oliver 2025.

(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 snuck 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 corral 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.

Norman Stansfield Cornish (English, 1919 - 2014), Self Portrait, Charcoal, chalk on paper (Undated, 43.4 x 44.8 cm). Private Collection.

Image courtesy and © reproduced by kind permission of the Estate of Norman Cornish.

*****

From his past notebook, Robin attempts to describe drawing from life.

'The practice of drawing is just that, an artist learns to draw by repetitive looking and repetitive movement, some might say it requires hand and eye coordination, others feeling, but of all the artists practising drawing, I wish I had been able to sit by the side of Mr Cornish, who signs himself Cornish, an old established past way of referring to an artist by their surname and not first, fore, or Christian name. There is something precious for those who are privileged enough to watch a master at work.

Emotion and one's feelings are inseparable from the subjects you choose to draw, especially the day-to-day, familiar things many of us take for granted and perhaps don't even notice. Background, foreground, and middle ground all provide a myriad of possibilities and all the better when created through familiarity and entwined with sentiment. There you see it in the artist's work, the old railway bridge at Sunnybrow, the stepping place, taking a Coal miner to or from his work. Connectedness, knowing, understanding, and familiarity are represented by his rapid mark-making that one could set to the music of a waltz.' (March 2023).

'Artefact', University Gallery, Newcastle upon Tyne Press Release (2011), 'The Narrow World of Norman Cornish.' 

Geraniums in Art/Robin Oliver Archive. Image Copyright © Robin Oliver. 

*****

From Robin's notebook, (A sigh of relief!) September 2025: Persistence pays off! Hardy Geranium.

After further enquiry, there now exists photographic and related evidence linking Mr Norman Cornish to Hardy Geranium as a backdrop to the artist's domestic life. And thus, there are no longer broken rules at Geraniums in Art, as let us not forget Pelargoniums and Geraniums do not only appear on the window sill, as living stars to our interiors, the glasshouse, or as summer bedding plants, the hardy variety of Geranium thrives in the garden, as it did under the care of Mrs Sarah Cornish. © Robin Oliver. 

For those of you who wish to learn more about Mr Cornish and his work, why not visit a book shop/or search online, where you can order/purchase 'The Test of Time', a further publication from Mrs Ann Thornton and Mr Mike Thornton, son-in-law and daughter to Mr Cornish, which they launched two years ago, so why not look it up?

As the couple have stated, 'The Test of Time' includes over 400 images spanning the depth and breadth of Norman Cornish's career. Many are previously unseen, evoking memories and nostalgia from a bygone era. © Mike & Ann Thornton (née Cornish) Publication Date: 2023-09-28. ISBN 9781399961981.

*****

Drawing as a way of seeing, feeling, responding, and documenting is a key narrative in Robin's research and searching. 
Foundational and fundamental, but what will the final account be?

Flowing, expressive, lively, fluid, sweeping, gestural, and knowing when to utilise the blank of the surface of the paper, precise, and detailed are words that are a way of describing movements as observed, in the art of Drawing, and selected Artists for their drawing practice who immediately spring to mind include Leonardo di ser Piero da Vinci (1452 - 1519), Francisco José de Goya y Lucientes (1746 - 1828), Norman Stansfield Cornish (1919 - 2014), George Grosz (1893 - 1959), Helen Beatrix Heelis née Potter (1866–1943), and Vincent Willem van Gogh (1853–1890), (Et al listed in Robin's 2022 - 2023 notebook). 

'Studies for' provide the most immediate, examining portrayals by experimenting with hand, suggestive, sensual, determined notebooks in pictures. For some artists, such as Leonardo, the technique of layering in his art becomes integral. This approach encompasses a variety of subjects—both related and disparate—ranging from crowd studies and figurative representation to depictions of animals and architectural contexts. His process involved intricate construction and deconstruction, utilising layering to build depth and complexity while meticulously plotting out perspective to create a coherent visual narrative. But can the magician and the magnificent, of scientific exploration, be included in the study? 

The individual in question lived from 1452 to 1519, a period that precedes the Golden Age of Geraniaceae. One might ponder whether the family of flowering plants ever made their way into his sphere of influence. As a distinguished fine artist, he adeptly rendered landscapes replete with various flowering species and trees, alongside depictions of human anatomy. However, in his era, the incorporation of floral elements in his work was likely predicated on their symbolic connotations, particularly the Lily, which held significant cultural and religious meanings. 

*****

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 artist's 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 authorisation) 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 Gogh's 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.  

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.

*****

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?

*****

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 recognise 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'.

'Waiting to go out' (Heaped Lakeland Stone on the Quarry floor and placed Geranium). © Robin Oliver 2023. 

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?

*****

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?

*****

(Robert Voelcker) Robert Völckers (1924) 'Schöne Aussicht' ('Beautiful View').

*****

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 are 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'.

*****

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, The World of Geraniums & Pelargoniums in Art, The Exhibition. This project aims to curate a collective exhibition focused on the artistic representation of Geraniums and Pelargoniums, exploring their significance and versatility in art. The ideal is a grand exhibition to be hosted in one or more venues, showcasing a diverse range of interpretations and perspectives on these botanicals.

Manifestoes have long held a significant place in the art world. At their core, an artist's manifesto is a powerful public declaration that articulates the beliefs, intentions, aesthetic values, and goals of an artist, or a group of artists or an artists' movement.  

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.

Robin's ongoing advocacy and strategic campaigning continue his concerted effort to present a cohesive collection of artworks within an appropriate venue. He is actively engaged in promoting this initiative to art galleries, museums, and various public spaces, aiming to elevate the visibility of the Geraniums and Pelargoniums project.

The research initiative aims to highlight, through activism as a vehicle to drive change, the cultural value of Geraniaceae in art as awareness increases among stakeholders.

'Manifesto' Poster, Copyright © Robin Oliver 2025.

In the world of Geraniums and Pelargoniums, anything is possible, and through his ongoing inquiries, Robin hopes to prove this. More narrative on the subject of 'Artists' Manifestoes' is being researched in the context of thinking, feeling, and making art, including the words of the modern Japanese Poet and Sculptor Mr Kōtarō Takamura 高村 光太郎 (1883 - 1956).

*****

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.

*****

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. 

Pelargonium in a terracotta pot at the Quarry Edge. © Robin Oliver 2023. 

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.

*****

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?

*****

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.

*****

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?

*****

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.

*****

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.

****

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?

*****

When you know! You Know! It is like falling in Love!

Antique Rugs and Textiles, English Needlepoint Carpet circa 1800 (England).

Finally, I may have found the Magic Carpet, and it is setting off on a new journey, where it will be treasured all over again by its new owner(s)! Some of the designs are the required five petals, and an overall design that has many of the shades of Geranium. 

What will the narrative be for this beautiful elder statesman in the world of Carpet? 

I am certain this feast for the eyes will inspire the artist designers of today, who make it a habit to look back at past designs and reinvent or rearrange them.

What are the motifs you can draw from the combination? Might there be a water lily or lotus flower there, too? And if you were to describe the artefact, what words would you conjure with?

Thanks to our friend Mr Benjamin Mini (Head of Bonhams Skinner's Rugs and Carpets department at Maine. 'Oriental Rugs & Carpets' for enabling Robin's Geraniums in Art to highlight and celebrate this radiant artwork from the past. 

Any of you who may have Carpets (Mats or Rugs) incorporating Geranium in their designs are welcome to bring them to Robin's attention for possible inclusion.

Image Credit:' English Needlepoint Carpet circa 1800 (England)'. Bonhams Skinner, Marlborough, Massachusetts.

*****

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.

*****

Gallery and Museum spaces are places of Romance, too!

Who might you meet (by chance) there, and what stories might you learn from Exhibitions and Displays? 

Will your eyes meet another pair gazing longingly back at you?

They do say Love may strike when you least expect it, and it can be at first sight!

'Still Life with Geraniums, Bottle, Plate with Knives and Bun' (1920) by Charley Toorop (1891-1955). Oil on canvas, (80 cm × 60 cm). © Collection Kröller-Müller Museum, Otterlo, the Netherlands, gift Merit Jelgersma. Photography by Rik Klein Gotink.

(Thanks to, Roel van As-Krijgsman. Senior Medewerker Beeldmateriaal en Commercie | Senior Employee Imagery and Commerce. Stichting Kröller-Müller Museum | Postbus 1 | 6730 AA Otterlo | The Netherlands).

Visitors have been able to see this distinct painting on display at the Kröller-Müller Museum in the Netherlands this year (25 05 - 14 09 2025). And Robin felt he would invite your perceptions on the artwork.

It's vital to create a welcoming space where you can pause, take a breath, and truly enjoy what you see.

We encourage you to take your time to explore the colour choices and the composition. 

What story does your observation inspire within you? We genuinely value your thoughts and insights. For those of you who express yourselves through poetry or creative writing, we'd love to hear your words.

Behind the scenes, Robin is diving deeper into the artist's journey as the Geraniums in Art research continues.

A few lines from Robin's notebook, 

A rhythm in line and of time, Charley Toorop's paintings are distinctive, characterful, atmospheric, at times brooding, and brimming with visual psychosocial recording, but are they romantic or romanticised? 

The subjects in her portraiture look you directly in the eye, where her colour choices exemplify a singular way of seeing and application of paint. Sensitive, gestural and sweeping, there you can see the moisture in a sitter's eyes. Take, for example, 'Patient of the Willem Arntsz House' (1924). In 1924, the artist set out to paint portraits of the patients of Utrecht's Willem Arntsz Medical Asylum for the Insane (as it was called, now known as the Willem Arntsz Foundation). 

The artist's body of work includes 'Self-portraits' and notable studies such as 'The Night Watchman' (1922) and 'Mule Driver' (1923), showcasing her adeptness in portraiture. 

Of particular interest is her detailed observation of Kees Minderhoud, a local farmer from Walcheren, captured between 1939 and 1940. Her portrayal emphasises a distinct hairstyle but also reflects a broader exploration of individual identity. 

Born in 1891, the artist was deeply influenced by her lineage, being the daughter of the avant-garde Dutch painter Jan Toorop (1858-1928) and British Annie Hall (1860-1929), whom he met when Miss Hall was studying French and music in Brussels. 

Charley's works reveal a determined sensitivity in rendering the human face, underpinned by a mastery of light and shadow that enhances the emotional depth of her subjects.

Current research efforts focus on analysing a broader spectrum of the artist's oeuvre, particularly examining the profound influence of Vincent van Gogh on her artistic journey, which is emphasised in the 'Charley Toorop: Love for Van Gogh' at the Kröller-Müller Museum. 

Her work reflects a deep engagement with the subjects and themes prevalent in Vincent's paintings, showcasing parallels in technique, colour palette, and emotive storytelling within her studies.

Fortunately, Charley was proficient in both floral and still life compositions. The painting above prominently features a Geranium, showcasing the artist's skill in rendering botanical subjects with character, precision and depth. © Robin Oliver 2025.

*****

Luscious is a Romantic Word! Still Life of Apples and Geraniums. 

The rich, luscious brush strokes of oil paints on canvas, combined with warm colours, create a mesmerising experience that captivates the senses and inspires the soul.

Observe how the artist has swirled and swished the paints like a sculptor. 

On the air is the heady scent of Geraniums and Apples, a late Summer or early Autumn table arrangement, like an enthusiastic display for a Village Harvest festival. The painting reminds one of past long days, making hay in the meadows and a refreshing, cooling, sustaining glass of cloudy, fruity goodness, freshly pressed over ice cubes. Apple juice embodies a delightful sweetness, offering a refreshing taste and aroma that invigorates your later working hours after a long day, collecting fodder for the Farm Livestock in preparation for Winter.

Inspiration for the Poets amongst you, how do the first lines go? Just look at the Iconic and heart-warming Red Geranium flowers and exquisite circular, typically patterned leaves, which are something to muse about in bucolic Country ways. 

 Circle of Jules Henri Fehr (1890 - 1971) 'Still Life of Apples and Geraniums'. Oil paints on canvas, 49.5 cm by 64 cm. Image Credit: Tennants Auctioneers, North Yorkshire. 

*****

Still Life as an Artistic Genre.

Still life is a specialised genre within the visual arts, prominently featured in painting and photography, but not limited to these media. It involves the systematic representation of inanimate subjects, which may include natural elements like fruits and flowers, as well as everyday domestic objects. This genre often emphasises composition, light, texture, and the interplay of form and colour to create a narrative or evoke specific emotions, allowing for exploration of themes such as transience, beauty, and the mundane aspects of life. Artists utilise this format to explore and manipulate elements of light, texture, colour, and spatial arrangement to convey deeper visual narratives or expressions.

The designation stems from the Dutch term 'Stilleven,' translated as 'Quiet life,' and reflects the genre's inherent focus on static subject matter and introspective observation. As a controlled environment, still life serves as an essential practice ground for honing one's technical skills in both observation and the conceptualisation of arrangements.

The still life categorisation has a rich historical lineage, evident from its emergence in ancient Egyptian tomb art. Here, objects of significance became depicted in contemporary forms that encourage experimentation with innovative techniques and styles. 

The genre gained considerable prominence in the 17th century in the Netherlands, propelled by urbanisation and a burgeoning interest in domestic life, personal artefacts, and economic exchange. This period marked a shift where still life not only depicted material culture but also engaged with complex ideas surrounding representation and value.

Engaging in dialogue on shared interests with our colleagues in the Netherlands is consistently beneficial due to the country's long-standing expertise in floriculture. Their remarkable cultivation practices for spring-flowering bulbs and cherished plants, including Geraniums and Pelargoniums, are a testament to the vital roles these species play in horticultural innovation and their inspiring representation across various artistic media. 

The Netherlands is renowned for its vibrant floral displays, appreciated both indoors and outdoors, where flowers hold deep cultural and social significance and are presented or received as valued gifts.

Robin has had the privilege of visiting the Keukenhof Tulip Gardens, located at Stationsweg 166a, 2161 AM Lisse. These gardens, which open annually, will host their next flower festival from March to May 2026. Surrounding the Keukenhof, one can witness the expansive and picturesque Tulip fields endemic to the Bollenstreek (flower region) in the Netherlands.

Additionally, it's worth noting the contributions of Wilhelmus Hendrikus Petrus Johannes de Zwart. Mr 'Willem de Zwart' (1862-1931), a prominent Dutch artist whose oeuvre encompasses watercolour, oil painting, etching, and draughtsmanship, often featuring floral motifs central to the culture. His work captures the intersection of botanical beauty and artistic expression, reflecting the country's rich horticultural heritage. It is appropriate then that we reach out to our friends in the Netherlands, and it is a delight to highlight an artwork currently in the collection of Simonis & Buunk. 

W.H.P.J. de Zwart (1862 - 1931) Still life with gladioli, geraniums and potted roses. Oil on canvas, 61,3 cm x 79.5 cm, signed.

Collection Simonis & Buunk, The Netherlands.

Some of you may wish to observe other examples of Still Life artworks from distinct regions around the globe, for example, you may choose to reflect on the remarkable oeuvre of Mr José Agustín Arrieta (1803-1874), a pivotal creator who masterfully captured the essence of Costumbrismo. 

Through his artistry, he immortalised the beauty of everyday life in nineteenth-century Puebla, his cherished backdrop for artistic expression. His work exemplifies the characteristics of Costumbrista painting, which encapsulates the intricate nuances of local customs, societal norms, and daily interactions, predominantly within the Hispanic context of the period.

Costumbrismo, derived from the broader genre of genre painting, serves as a localised interpretative lens, blending the tenets of artistic realism with elements of Romanticism. This movement is not merely an artistic style but a cultural critique that closely examines and reflects the dynamics of social life. Mr Arrieta's contributions in this realm offer a rich tapestry of insights into the lived experiences of his contemporaries, thus solidifying his legacy as a significant chronicler of his time.

Moreover, one might consider the work "Still Life with Fruit, Scorpion, and Frog" by the Mexican Artist Mr José Hermenegildo de la Luz Bustos Hernández, Hermenegildo Bustos (1832-1907), is renowned for his unique approach to still lifes, portraiture and religious iconography, particularly in the form of ex-votos. His oeuvre reflects a profound engagement with the rural milieu of his era, characterised by keen observational accuracy and an impressive self-taught technique that reveals a deep understanding of composition and form.

Discover the beauty of a wilder bunch!

Embrace the natural, tumbling arrangement of 'field flowers' as they come alive beside an artist's palette, complemented by a painting box filled with vibrant oil paints and brushes. The glass vase overflows with the essence of the countryside, capturing the spirit of Miss Bertha Wegmann's artistry (1847 - 1926). Miss Wegmann's 'Arrangement with Field Bouquet and Artist's Palette' (Danish) showcases a harmonious composition of dandelion seed heads, daisies, ferns, grasses, and leaves, and other hand-picked blooms, a celebration of nature's bounty, dated 1882.

There are many artists globally who have applied their talents to still-life artworks. Who and how many artists depict Geranium or Pelargonium in their oeuvre is a matter of continued inquiry.

What are your thoughts, and do you have a favourite Still life compilation, or what would you select for yours? 

If you ask Robin, it will always be the desire for a Glimpse of Geranium or Pelargonium to brighten your days!

*****

Farming is all about the details, and while not all Farmers see long hours and unpredictable economic times as Romantic, their dedication embodies a profound resilience and passion that inspires us all.

Envision a captivating homestead, embraced by thriving fields and blooming orchards, where the air dances with the fragrance of wildflowers and the melodies of chirping birds. These serene properties inspire a sense of rustic simplicity and tranquillity, embodying handcrafted artistry and resilience.

Mr Mønsted's work embodies hyper-realism and a profound observation of nature, capturing the romantic serenity of landscapes representative of the Danish 'Golden Age' of painting. 

Mr Peder Mørk Mønsted (Peder Monsted), (Danish, 1859 - 1941) 'Outside a Farmhouse' (1930). Image courtesy, Bruun Rasmussen.

This artwork, chosen to honour the artist, creates a visual connection between the farmhouse and the characteristic leafy Geraniums or Pelargoniums adorning the interior window sills, bringing the outside in. 

Here is a painting about gazing outward and quiet contemplation. Could this be the moment the Farmer savours the late evening summer sun, reflecting on the toil of a day well spent on the farm? It tells a rich narrative, even down to the artist's inclusion of the post and wire fence beyond the decorative garden hedges, safeguarding them from wandering livestock. 

The essence of a farmhouse embodies a sanctuary in harmony with nature, serving as a refuge that inspires tranquillity. This unique residence, nestled within the beauty of rural landscapes, stands as a testament to the simple joys of life amidst sprawling fields and flourishing gardens.

Many farmhouses embody a rich heritage and cultural significance, reflecting the enduring traditions and values of rural communities. Passed down through generations, these homes serve as treasured repositories of family history and memories, weaving the cultural fabric of their surroundings.

Rustic farmhouses embody a beautiful fusion of rural simplicity and vintage elegance in their interior design. Characterised by weathered textures, handmade details, and nostalgic touches, these dwellings offer a popular choice for those who cherish a cosy and grounded atmosphere. Emphasising simplicity, farmhouses focus on natural materials and textures, evoking a sense of warmth and authenticity, with their window sills, an ideal place to nurture a treasured specimen or collection of free-flowering Geraniums.

*****

How can you have faith if you have nothing to doubt? 

In late 2022, a few lines penned by Robin set on paper his view that 'all of life is manifest in art'; however, would you believe, the image of a visually impaired Angel led the way to a concluding painting? (Shown below, Collection of the Finnish National Gallery). 

'The human experience is beautifully captured by our storytellers, reflecting the rich tapestry of what it means to be human. It's a journey filled with deep emotions, thoughtful reflections, and the physical connections we share, all of which weave together to create the complexity of our lives.' 

When the journey of Geraniums in Art began back in 2022-2023, Robin envisioned these beautiful flowering plants as more than just a subject of admiration. They would be gentle reminders of the moments we experience, quietly witnessing our lives and emotions. This desire reflected a deeper understanding of how nature can resonate with our own stories, serving as silent companions in our day-to-day existence.

At Geraniums in Art, Robin advocates for a world without discrimination and bias, fostering a collaborative environment for creative dialogue. His ideal is to envision a world free from conflict—be it geopolitical strife, religious intolerance, or prejudice based on nationality or background. 

Nurturing a meaningful conversation about how art can reflect, document, and envision the diverse realities of society.

For all of us, the cycle of life, birth, development, flowering, setting seeds and death. 

Robin Oliver's World War I, Allegory (2018), Practice Drawing, Pencil, Pen, Archival ink and Sepia Watercolour on paper. © Robin Oliver. 

Throughout history, artists have shown a profound interest in the anatomy of humans and other organisms, including both fauna and flora, striving to represent these forms in their work. 

In this context, are there instances where artistic representations of Geraniaceae species are present, linked to the symbol of mortality, namely the skeleton?

Leonardo da Vinci (1452 - 1519) stands out as a pivotal figure in anatomical representation, with his meticulously detailed skull studies laying the groundwork for contemporary medical illustration. 

In the realm of Post-impressionism (c. 1886 to 1905), Paul Cézanne's (1839 - 1906) 'Pyramid of Skulls' (c. 1901) exemplifies a formal exploration of the skull as a subject, highlighting its structural significance. Conversely, on a lighter note, Vincent van Gogh's (1853 - 1890) 'Head of a Skeleton with a Burning Cigarette' (1886) showcases a more humorous approach, depicting a skeleton nonchalantly smoking, which contrasts sharply with traditional portrayals of mortality in art. Or Diego Rivera's (1886 - 1957) vast mural Sueño de una Tarde Dominical en la Alameda Central (Dream of a Sunday Afternoon in the Alameda Central, 1946 - 1947).

The celebration of Día de los Muertos, occurring annually on November 1st and 2nd, vividly exemplifies the fusion of indigenous Mexican traditions and Catholic influences resulting from colonial encounters. The artistic representations of skulls and skeletal figures, prevalent during this festival, draw heavily from pre-Hispanic beliefs, particularly those of the Aztecs, who conceptualised death as part of a cyclical continuum rather than a final cessation of existence. Following the Spanish conquest, these indigenous perspectives were syncretised with Catholic doctrines, leading to the contemporary manifestation of Día de los Muertos. This holiday functions as a ritual remembrance, enabling a dialogue between the living and the deceased, and reinforcing cultural identity through its blend of ancestral reverence and spiritual celebration.

For a modern addition, 'Spaghetti Lunch with Death Metal from Mom's Walkman' (2024) is a work by Joel Slotte (b. 1987) that critically engages with surrealist themes while intertwining elements of subculture, mythology, and art historical references. Slotte's oeuvre exhibits a distinctive fusion of visual language that reflects a layered understanding of these influences, effectively challenging and expanding upon traditional narratives within contemporary art.

There are examples of artists depicting skulls and whole skeletons from around the globe. The artists' aspiration for immortality and the concept of perpetuity encapsulated within their oeuvre emerge as a profound thematic exploration in the representation of skulls and skeletons within contemporary art. While introspection is essential for individuals to articulate their personal understandings of existence and mortality, an outward perspective is equally vital. In this context, the skull transcends individual significance, functioning as a universal symbol that resonates with the collective human experience.

The human skeleton, comprising 206 bones in adults, is crucial to the structural integrity and overall morphology of the organism. It fulfils several critical physiological roles, including providing support for soft tissues, wherein structures like the rib cage reinforce the thoracic wall. The majority of the body's musculature is anchored to the skeleton, which acts as a system of levers, facilitating the movement of various body parts. Additionally, bones serve as a critical reservoir for essential minerals, particularly calcium and phosphate. They are involved in hematopoiesis, with blood cell production occurring in the marrow of certain bones. The skull, or cranium, represents the superior component of the skeleton and is among the most complex and vital bony structures. It houses several primary sensory organs, including the eyes, ears, nose, and tongue. At birth, the human skull is not fully ossified; it consists of several cartilaginous regions known as fontanelles, which are pliable. These fontanelles, such as the soft spot on an infant's head, enable both cerebral and cranial growth during early development. 

What will the narrative be to accompany this painting? 

Thanks to The Finnish National Gallery Collection / Ateneum Art Museum. (Photo: Finnish National Gallery (Jenni Nurminen) for providing an image of the painting held in their permanent collection. 

To encourage you on a research journey, prepare to immerse yourself in the intricate realm of art! Although specifics regarding the artist and their work are not displayed here, you can explore various technical aspects, such as composition, colour theory, and medium application, that contribute to the overall impact of a painting.

Perhaps an opportunity to embark on an exciting journey of investigation and discovery. Uncover the stories behind the brushstrokes, the passion fuelling creativity, and the inspirations that breathe life into this artwork. Or how about some creative writing? The adventure awaits—let your research begin! 

All Hallows' Eve, October 31, 2025. Tonight, some in Scotland and beyond may recite, 'Tam O' Shanter' (First published in 1791) by the poet and lyricist, Robert Burns (1759 - 1796).

*****

Please note the following about Robin's Geraniums in Art;

This self-funded academic research embodies a formal, systematic investigation aimed at generating, interpreting, and sharing new knowledge within a specific academic discipline. It embraces rigorous methodologies to explore questions, test hypotheses, and solve problems, showcasing the power of meticulous data collection, analysis, and interpretation. This Online Gallery offers a glimpse into the inspiring themes as studied by Robin behind the scenes.

We do not attach the Online Gallery to any Social Media Platforms. Thus, we are humble in our self-funded work and rely upon a word-of-mouth approach. 

We stand proud and independent, relying solely on our passion and dedication, as we seek no grant aid, funding, or sponsorship from anyone. We stand united with those who share a deep admiration for Geraniums in Art, Artists, and our shared Art Histories in a vibrant global community.

We encourage inquiries, comments, and feedback, recognising that our opinions are ours unless stated otherwise. We celebrate the beauty of diverse perspectives and encourage vibrant debates on art-related subjects.

Our primary focus is to champion the Artist, emphasising the significance of artworks depicting Geraniums and Pelargoniums, alongside other subjects and enhancing their visibility through informed discourse and strategic promotion.

We thank all of you who have replied to us, and have shared and assisted with digital images of the original artworks. All copyrights as supplied are noted and attached to the photographs in the archive. Robin, 2025.