STORY BEHIND THE ART OF LYNNE RAILSBACK

21st Annual International

American Society of Botanical Artists at Wave Hill

Mexican Aster

Cosmos bipinnatus

Friends bring me plant specimens they think I would like to paint. Such was the case with this Cosmos. The flowers had been pressed and received an assortment from which to choose. I selected four branching stems and mounted them on a sheet of white foam core to establish the composition. I was satisfied when I felt there was a flowing movement to the arrangement.

Assembling plants on a board is a typical step I take because I don’t do preliminary sketching. Since most of my specimens are dried, this solution works quite well. As I studied the details of the petals I decided to give them a more three-dimensional appearance than they were exhibiting. I next began to mix the five pigments that are part of my limited palette. They are aurelian, French ultramarine blue, burnt umber, viridian and quinacridone pink. The blossoms ranged in color from white to gold tones to pinks and purples. The leaves and stems were in various shades of greens and browns. I had already mounted a sheet of hot press 140 lb. paper on a board, so I was ready to begin.

Upon completion I realized I had created three distinctive horizontal rows in the composition. The top row of more colorful flowers, the middle paler blossoms and the bottom were green toned leaves. I hadn’t realized this outcome when I began the piece. That is part of the enjoyment of just starting a painting without a detailed sketch. It never ends up exactly like it started. It’s also fun when people who know my work comment with smiles, “Oh, you've used color!”

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Read more about this artist’s work: America's Flora