During the Victorian era, roses stood for love and beauty. Through the poses and attitudes of each rose, John Ferguson Weir's painting tells of love denied, hopeful, triumphant, or confused. Assembled loosely in a clear glass vase, the roses twist in all directions, with several fallen onto the table. The impressionist palette came late to Weir, who acknowledged, "I take a long time to understand any new art," yet noted, "I am satisfied I must paint in a lighter key. My studio is too dark, brown and dull. I must paint my pictures against a white background; hang up a sheet behind my easel." "A Bowl of roses in Thayer's hands becomes more than a flower piece; it is a glimpse into the very center of beauty." The critic who wrote this understood Abbott Handerson Thayer's rare ability to apply paint in a fresh and fluid way, bringing these pink and white roses to life. Thayer carefully delineated the petals, stems and leaves, allowing the ledge and the pinkish beige background to remain sketchy. Deeply attached to the land and to the sanctity of all living creation, he scrutinized and defined each individual blossom, as if by studying its form he could reveal its inner essence. Ten full-color 5 x 7" blank note cards (5 each of 2 designs) and ten white envelopes. ISBN: 0-7649-3680-8. Published with the Smithsonian Institution. |
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Abbott Handerson Thayer, Roses, 1890. 5 x 7" blank note card with envelope. | | John Ferguson Weir, Roses, 1898. 5 x 7" blank note card with envelope. |
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