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The Geranium, Large Mid Century Botanical Oil on board

The Geranium, Large Mid Century Botanical Oil on board

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F Lysse.
The Geranium, Large Mid Century Botanical Oil on board
1939

About the Item

Large Mid century oil on panel depiction of a geranium in a garden setting signed by F Lysse and dated 1939. Presented in carved wood gilt frame. A very charming depiction of a specimen geranium in a pot sitting on a garden wall. Lysse has managed to capture the simple charm of the plant as well as all the beautiful texture on the leaves and the lichen and moss, the accretions of time, on the the pot and the wall beneath. From the inception of Western painting, artists have depicted plants, flowers, and trees in images ranging widely in subject and purpose—from devotional images of Saints and scenes from the scriptures, to portraits, still lifes, and subjects from secular history and mythology. The use of botanical imagery in painting proliferated especially in the fifteenth and sixteenth centuries, as artists became increasingly interested in the realistic depiction of objects from the natural world; the purpose of this imagery was often, however, twofold. Beyond their decorative properties, plants and flowers usually had a symbolic meaning or association that related to the subject of the painting. Botanical symbolism has its origin in the literature of antiquity, where plants are often used in metaphors for virtue and vice. In classical mythology, human beings are transformed into plants as a reward or punishment, as in the story of Narcissus, the vain youth who fell in love with his own reflection and was changed into a flower that bears his name. Certain plants are also mentioned as attributes of gods and goddesses: grapes for Bacchus, god of wine, and corn or wheat for Ceres, goddess of agriculture. Classical texts on farming and natural histories by Pliny, Cato, and Lucretius also recorded some of the traditional lore associated with plants. Many of these ideas and associations were passed on to scholars and artists during the Renaissance, a period of revived interest in classical texts. Though so often employed in religious painting as emblems of virtue and salvation, or as pictorial elements foreshadowing the Passion (as in the five-petalled sweetbriar depicted in a panel by Cosimo Rosselli which alludes to the five wounds of Christ) and the Resurrection of Christ, the intricate and layered symbolism of plants just as often served chiefly to appeal to the humanist sympathies, learning, and wit of a cultured elite. A most outstanding example of this is Lorenzo Lotto’s Venus and Cupid. Lotto, who was fascinated by emblematic devices, included several in this canvas, painted to commemorate a marriage. Far from the virtuous connotation of a rose in the hand of the Virgin Mary are the rose petals strewn in Venus’ lap and the wreath of myrtle—both attributes of the goddess and known from classical texts as emblems of venereal love. The latter is also a nuptial symbol. The ivy growing up a tree in the background, meanwhile, augurs marital fidelity. Lotto’s patron, probably familiar with these emblems, would have been able to “read” the image for its hidden meaning.

Creator:
F Lysse.
Creation Year:
1939
Dimensions:
Height: 29 in (73.66 cm)Width: 17 in (43.18 cm)Depth: 0.75 in (1.91 cm)
Medium:
Oil,Wood Panel
Movement & Style:
Romantic
Period:
1930-1939
Condition:
Good condition commensurate with age. Some perpendicular cracking to the paint surface.
Gallery Location:
Cotignac, FR
Reference Number:
Seller: LG/Lysse1stDibs: LU1430210657282

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