Notes

‘Tretchikoff described his style as ‘symbolic realism’. Nowhere was this more prominent than in his flower studies. He first painted them in Java, enchanted by the rainbow-like colours of cannas in the garden. But his fascination with these plants probably started much earlier, in the Far East.’¹

In this painting, Tretchikoff placed an arrangement of Chrysanthemums and White Magnolias in a voluptuous glass vase next to a painter’s palette. The depiction of the artist’s palette and paint on it, with the canvas in the background, served several purposes. Firstly, it highlighted the importance of the creative process and the role of the artist in bringing a work of art to life. Secondly, it emphasized his unique style and approach to painting, such as his bold use of colour and innovative techniques. Finally, it reminded viewers of the physicality of painting and invited them to appreciate the artistry and skill that went into the work.

The flowers, such as magnolias and chrysanthemums, were used to convey deeper meaning and elegance in his paintings. Eastern interpretations use the Chrysanthemum to signify life, rebirth, and the change of seasons. White Magnolia signifies endurance, longevity, perseverance, feminine beauty, and gentleness. Together, these flowers represent the cycle of life and the beauty of impermanence.

In conclusion, Tretchikoff’ s use of flowers and inclusion of the artist palette and paint in his paintings were intentional choices that served to emphasize his style, acknowledge the role of the artist in the creative process, and invite the viewer to engage with the physicality of painting.

^1. Boris Gorelik (2013) Incredible Tretchikoff: Life of an Artist and Adventurer United Kingdom: Art Books Publishing, page 169.

Provenance

Acquired from the artist in 1953, thence by descent.