Observations in Nature
Denise Walser-Kolar
An Online Exhibition Series Exploring an Artist's Journey with Nature
Observations in Nature is a new online exhibition series based on my curiosity with how artists select subjects and the origins of thought and inspiration they bring to the drawing table. The goal is to uncover the layers of meaning behind the botanical portrait. Our journey through these questions enlightens us to the plethora of ideas behind the work and to derive a deeper appreciation for the artist and their art. You may click on each image below to view larger versions. Please visit the artist's page after the story for new, available work. Prices upon request.
What were the early influences and inspirations that drew you to botanical art? At what age did this discovery begin?
I remember being about six years old and seeing Albrecht Dürer's “Violet Bouquet” for the first time in Vienna. I thought it was beautiful and I loved that the “paper” was old and wavy (it is painted on vellum but I didn't know that at the time). After we went through the museum, I got to choose what I wanted from the museum gift shop. I chose a postcard of this painting. It has been on my bulletin board ever since — wherever I happen to live and wherever my bulletin board happens to be (I replace it with a new card occasionally when visiting the Albertina).
Until I spent time in Europe, I had never seen window boxes and large containers of flowers. I loved that plants and beauty were everywhere. We spent time in mountains full of wildflowers, in parks full of rosehips, and in my grandparent's garden filled with climbing rosebushes and fruit trees. I remember seeing ditches full of poppies — they have been one of my favorite flowers ever since — and window boxes overflowing with masses of flowers. That is what made me want to have a garden and to paint what is in my garden.
You are an American artist, but it seems your European roots have influenced your style, can you speak to this? Technique and composition influences of 15-17th century German, Italian, and Flemish masters.
Hoefnagel-Inspired #4, 2014
6 x 4 inches, watercolor and gouache on vellum
I loved looking at illuminated manuscripts as a child and I remember thinking what a wonderful job it would be to do calligraphy and to illuminate books. As I got older, I cared less about the calligraphy and more about the illumination. I always knew about Albrecht Dürer, but once I learned about Joris Hoefnagel, my whole world changed. That led to searching out work by Giovanna Garzoni and Jan van Kessel the Elder. I also love studying Books of Hours, in particular the Anne of Brittany Book of Hours. I have never been interested in painting portraits or landscapes. Small nature finds make me very happy and make me want to record their beauty forever.
Can you categorize your work? Scientific, illustrative, or fine art?
I am no longer interested in painting perfect scientific specimens of plants. I would rather paint the parts that I find most beautiful — sometimes it is the back of a flower, sometimes a dying chewed up leaf.
What subjects do you return to again and again and why? Do you take risks when choosing subjects?
Mary Jane's Pear
12 x 9 inches, Caran d'Ache ballpoint pen on
Arches hot press watercolor paper
When I haven't painted in a while (because life happens), it seems to be raspberries that bring me back to painting. I have a giant patch of raspberries in my garden, so I can paint them at any stage.
Raspberries, pears, hazelnuts, and rose hips will always be my favorite subjects. My son gave me a pear tree many years ago, I have about 20 wild and English rosebushes in my garden, and I have hazelnut bushes that were developed by Philip Rutter growing at the edge of the trees — so all of my favorite subjects are right outside my door.
There was a time when I wouldn't have even tried to paint a subject because it seemed to difficult (e.g., an old English rose) but now, I feel more confident in my abilities and will paint anything that speaks to me.
What do you want people to think, learn, or know from your work? Do you think it is important for the viewer to understand the context of the subject such as where, when, and how you found, observed, and sketched the work?
“My Dad's Garden” (Morden's Blush rose hips)
10 x 9.5 inches, watercolor on vellum
People seem to be very interested in the stories behind my choices. I have now limited myself to painting only subjects that grow in my garden or gardens of people I love, things I have found while traveling, or things that have been given to me by people who are important in my life.
Describe a challenging subject you have conquered, lessons learned, and how it affects future projects.
White Peony for Echo, 2022
12 x 9.5 inches, ballpoint pen on paper
About a year or two after I took my first botanical painting class, I was happy with progress that I had made, but I knew my leaves were terrible. I spent one whole year on leaves — if I took a graphite class, I drew leaves; if I took a silverpoint class, I drew leaves; in watercolor classes, I chose plants with lots of leaves. I hated painting leaves (they still aren't my favorite subject), but by spending that year learning more about leaves, I now feel comfortable including leaves in my paintings.
Anything else you would like to add?
Learning how to paint on vellum changed my work significantly. I was able to paint better than I ever had on paper — I could get color, luminosity, and detail that (for me) is impossible to achieve when painting on watercolor paper. I also love the idea that I am painting on such a traditional surface.