STORY BEHIND THE ART OF PATRICIA GIEBUTOWSKI

16th Annual International

American Society of Botanical Artists and the Horticultural Society of New York

Gallica Rose

Rosa ‘Belle de Crecy’

Ever since childhood, I've been drawn to the plant world, and for some time have been enthralled with roses, in particular - maybe not the wisest choice for a gardener who lives in the middle of New Hampshire! Luckily for me, though, they lend themselves so well to painting. For example, in my painting of the Gallica rose Belle de Crecy, I'm presented with a fine plethora of petals that arrange themselves into the form of the flower, providing me with the challenge to study and marvel at their organization. I've tried to do justice to the gorgeous range of color it embodies, from pearly pinks and mauves, to deeper rose and lavender, and even maroon in some of the areas that are deep in shadow. And these are only the obvious colors; more tints and shades appear, the closer one looks. I liked the way that two blossoms nestled together, creating that contrast in value that appears at the end of the day. Really, I'm not sure that I chose to paint this rose, or whether it chose me. It had such a strong yet quiet presence in the garden.

So many times I chide myself for painting an obviously beautiful subject, rather than choosing the distinction of plant material with more hidden qualities. Right now, in fact, I'm engaged in painting a section of the decaying interior of a yellow birch. But at the same time, I am back again attempting to portray the loveliness of another rose.

My preferred medium, egg tempera, has a long history that stretches back to use in ancient Egypt. The height of its popularity, though, was in Europe, especially in Italy, from the Middle Ages through the Renaissance, after which it became superceded by the invention of oil paint. 

I love art history and admired the work of tempera painters such as Botticelli and Fra Angelico. As well, I was aware that the contemporary painter, Andrew Wyeth, used this medium for his work. So when I saw a workshop in my area to be taught by the wonderful artist Koo Schadler, offering instruction on using this paint, I leapt at the opportunity. That was almost ten years ago, and since then I have concentrated most of my artistic efforts as an egg tempera practitioner. Before then, I did a lot of etching, oil painting, and work in mixed media, which included the use of watercolor. 

I enjoy using the egg tempera medium in the traditional way, which means I make my paint myself with powdered pigment, egg yolk and distilled water. One also needs a particular support that the paint will adhere to, a rigid panel covered with multiple coats of traditional gesso, sanded down to a perfectly smooth surface. Many painters prepare their own panels, but I prefer to order them because of the space required for this extra step, the dust it raises, and also (mostly) because it saves so much time! I use small brushes and build up my image through multiple layers of thin paint, of course mixing it afresh at every session. Each layer dries within seconds, though the painting will need six to twelve months to cure completely, after which it is totally impervious to water and quite tough, with the added benefit that the colors stay true throughout their existence.

This sounds so technical, whereas I really love the luminous effects that can be achieved with this medium, the ability to portray detail, and the gradual process involved in building up an image. It definitely would not appeal to the artist who values spontaneity, but there are many possibilities of using this paint in creative ways. 

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