Story behind the art of Jennifer Gillen
27th Annual International
American Society of Botanical Artists and the Society of Illustrators
Lady of Shalott Rose
Rosa LADY OF SHALOTT (Ausnyson)
In Farmers Branch, Texas, a public rose garden serves in part as a trial garden for David Austin roses, captivating visitors with its diverse collection. I encountered these distinctive roses during my first visit to The Rose Gardens of Farmers Branch years ago and have since become familiar with each variety planted there. David Austin roses stand out for their vintage beauty, intense fragrance, repeat blooms, and hardiness.
As an artist fascinated by botanical art history, I find David Austin roses particularly striking. Their aesthetic harks back to roses found in European gardens during the seventeenth to nineteenth centuries, resembling old rose varieties like Rosa gallica, Rosa x centifolia, and Rosa x damascena, which form part of their genetic heritage. Viewing roses depicted in paintings by Renaissance Dutch masters often brings these old rose varieties to mind.
The illustrations of Pierre Joseph Redouté (1759-1840) represent an unparalleled example of old rose varieties. I especially admire his rendering of Rosa x centifolia and keep a print of this work displayed in my studio. Redouté's ability to capture the graceful essence of the rose while maintaining its natural form continues to inspire me. His illustrations showcase elegant compositions and delicate, precise renderings of color and form.
Because of my fondness for David Austin roses, I decided to use my painting skills to create modern rose illustrations in the style of Redoute's timeless works. I embarked on a journey of sketching the various roses at the Farmer's Branch Rose Garden and meticulously documenting their blooms, comparing leaves and stems, and revisiting the garden in different seasons to capture each rose at its peak.
Rosa ‘Lady of Shalott’ quickly became my favorite. Its clustered flowers bloom from bright yellow buds into the softest apricot shade. I studied its color by making color notes on an overcast day. I observed a delicate softness in the shadows. To paint the rose accurately, I worked from photographs and from my notes on the sizes and shapes of its various parts. When working with subjects that cannot be transported to the studio, it is crucial to measure and compare their features in person and record this information.
My objective for this artwork was to imitate the beauty present in Redouté's compositions. To achieve this, I utilized a vertical sheet of watercolor paper to accentuate the refined downward curvature and dispersion of the stems, buds and blooms. The drooping 'Lady of Shalott' blooms exemplify the delicate nature of the rose. Despite my desire to include numerous intricate details, I wanted to portray the rose’s substance.
At present, I'm immersed in creating a collection of rose paintings inspired by the trial garden. My goal is to leave an attractive record of the roses we cherish today for upcoming generations to admire. Rose varieties have transformed across time and continue to do so through innovative hybridization. Unfortunately, with the progression of climate change and the growing resilience of pests, some rose varieties are being discontinued. Perhaps one day, the roses I'm painting now will be perceived as old varieties such as those painted by Redouté.
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