The Pharmaceutical Journal
Vol 275 No 7357 p53
9 July 2005

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Botanical paintings: beautiful objects

The “Apothecaries’ artists” exhibition opens at the Chelsea Physic Garden on 13 July. Lin-Nam Wang (on the staff of The Journal) reports

A botanical painting is more than just a picture of a flower. It is a visual explanation of what defines a species of plant and of all aspects of the life of a particular plant. Such illustrations were relied on by apothecaries and are still a recognised way to record plants, despite the photographic technology we have today — paintings can capture details that the lens cannot. This month, 48 botanical paintings are to be displayed in an exhibition at the Chelsea Physic Garden. All the artists are members of the Chelsea Physic Garden Florilegium Society, which is recording the plants grown in the garden. The exhibition marks the 10th anniversary of the society. Since it was founded, some 200 watercolour paintings have been added to the garden’s archives.

Some of the works to be displayed are of plants of pharmaceutical interest. For example, one painting shows the black berries of deadly nightshade (Atropa belladonna), well known to pharmacists as well as Agatha Christie fans. Less notorious plants featured include Capsicum annuum (its compound capsaicin is used in creams to treat post-herpetic neuralgia and to relieve osteoarthritis), Gaultheria procumbens (its leaves were once a source of oil of wintergreen, of which methyl salicylate is an important constituent) and Morus alba (white mulberry tree), which has been used for its antidiabetic properties. Other subjects are used in the formulation of medicinal products. For instance, the brown seeds of Cydonia oblonga (quince) are used as a demulcent and emulsifying agent and the bark of Liquidambar orientalis is a source of storax, used in balsams.

Artist’s view

Mally Francis, a fellow of the Florilegium Society, painted Camellia sinensis (green tea) for the show. She began botanical painting in 1988, motivated by a love of flowers and drawing, and lives in Cornwall where she is recording plants at the Eden Project and the Lost Gardens of Heligan.

Camellia sinensis has been used as a bronchodilator and the possible health benefits of black and green tea have frequently been reported in the media. Green tea is said to have antioxidant properties and high consumption has been linked to beneficial effects on lipid profiles. In addition, trials have indicated that green tea may have potential uses in stroke and skin cancer (PJ, 13 September 2003, p316). Although Ms Francis is interested to learn of plant uses, her main reason for choosing to paint the camellia for the Chelsea Physic Garden was that its cuttings keep well. One problem with botanical painting is that plants are ephemeral — some wild flowers (eg, bluebells and poppies) wilt almost as soon as they are cut. However, “you cannot rush a botanical picture. You have to take it slowly,” Ms Francis said.

Botanical illustrators have different tricks to prolong the life of a cutting, including keeping it in the refrigerator. A cool studio also helps. Some artists prefer to make a pressing known as a “herbarium specimen” (a pressed, dried plant) for later reference to structural details. Another trick is to choose a plant that has a lot of cuttings available.

Ms Francis explained the process of botanical painting. Painters usually begin with studying the plant in situ — observing its habit (ie, the way it grows) and features (eg, the sort of veining and colours), and making notes and sketches. A cutting is then taken (if the plant is not rare) and a drawing done. “The composition needs to include all the plant parts so that the plant can be identified and there is no room for doubt,” Ms Francis told The Journal. This might mean painting the flower and stem first and waiting until the plant fruits in order to complete the picture. Paintings will often include a flower cut in half to show the internal structure and individual petals, from lateral and anterior views. Once the drawing is complete, the artist can begin building up washes in watercolour, to produce a three-dimensional likeness.

It can take up to 100 hours (including the preliminary study) to complete a painting. Patience and precision are important, as are detail and concentration. Despite the restrained nature of this sort of painting, however, different painters do have different styles. “Some might have fine brushwork whereas others might have a more relaxed, much looser technique that can be equally effective,” Ms Francis explained.

Pharmacist’s view

A book (‘Flower paintings from the apothecaries’ garden’) showing the paintings will be available this month. This was written with advice from retired pharmacist David Nunn. “The exhibition is an opportunity to see modern paintings in the tradition of botanical illustration by leading artists,” he said. All the plants painted are from the Physic Garden so, to some extent, visitors will be looking at our history and inheritence, Mr Nunn added.

The Chelsea Physic Garden has been cultivating medicinal plants for over 300 years. Those who visit the exhibition can also visit the pharmaceutical garden, which is made up of 10 beds, each associated with a disease state. The exhibition will appeal to pharmacists interested in the connection between plants and medicines. The other pleasure will be the chance to enjoy each painting for the beautiful object that it is.