The first flower I would like to introduce in this series is Physalis alkekengi, a hardy perennial that adorns many summer flower borders around September. There are many forms of this stunning plant, which is from the nightshade family, but the most commonly known and romantic name for this plant is Chinese lantern. It is the beautifully formed orange pods that make this plant so popular and such a great subject for painting.
Chinese lanterns have a fascinating life cycle; the perfect pentagonalshaped white flowers first grow into green pods around August, and then gradually turn into the most vibrant orange papery pods that resemble lanterns by September, hence the name. As the orange pods dry they turn into golden skeletal pods with the orange fruit visible inside. The chaotic mass of beautifully shaped orange pods and the irregular formation of stems that grow in every direction offer the artist plenty of opportunity for interesting shapes within a composition.
Chinese lanterns can be cut and brought indoors for beautiful flower displays and, if correctly dealt with, can retain their colour for months, so they can be used effectively as part of an autumnal still life. However, this plant should be handled with care as the leaves, pods and unripe berries are poisonous.
The colour scheme
The colour scheme of a floral subject is partly dictated by the colour of the flower and its foliage. It is the background colours though that can make or break the impressionist-style floral painting. They should complement rather than fight the colour of the flowers. Botanical painters tend to concentrate on a correct representation of the plant, often against a white background. But the impressionist painter can be much more creative with the colour scheme to represent the flower in a more individual style while still retaining the character of the plant. The vivid orange pods of the Chinese lantern look great against the light green foliage and I aim to bring some shades of purple to create a secondary triad of green, orange and violet. A pleasing combination that many landscape gardeners take advantage of over and over when designing the colour scheme of their flower borders.
Shapes
Although this series is a million miles away from the botanical representation of flowers it is, nevertheless, still really important to get to know the shape of the flower you are aiming to simplify or depict in a semi-abstract manner. Set aside time to study the shape of the flower even if you are planning to paint it in an impressionist manner.
Once you have made a sound drawing and are confident with the shapes and how the flowers, buds, foliage and stems are formed and sit together as the plant grows, you can simplify and use part of it in an abstract form.