The science of botanical art

Andrew Mathieson
MARGARET Muffet isn’t a scientist – far from it.
She’s a botanical artist – and a pretty good one.
The Belmont resident was awarded a prestigious Silver-Gilt Medal in 2002 and again in 2004 at The Royal Horticultural Society of London.
Her second protea flower series drew the attention of The Hunt Institute in Pittsburgh, USA, and subsequently went on tour under the guidance of esteemed art curator James J White.
But, truth be told, the secret behind Margaret’s success comes from a meeting of art and science.
To Margaret, the glare down a microscope is just as important as the stroke of a brush.
“I started out not wanting to know about the scientific side of it,” she confesses.
“But knowing I had to paint it, as an artist I felt I would be able to look closely enough to be able to get what I wanted for this scientific-type of art – and I did.
“The more you look, the more you see.”
Margaret’s works go far beyond the conventional view of art.
Instead of painting impressions, she portrays exactly how the subject appears.
In her own words, an onlooker “could pick it up off the paper”.
Margaret assiduously strives for accuracy, size and – particularly – colour among her works.
“No colour escapes me – I can match it.
“I’ve got a very good eye for getting the colour that I see right.
“I’m known for that – I am a colourist.”
Sometimes it takes up to three months – even for a bowl of apples – to finish a painting.
That in itself creates it’s own problems.
“Quite often, if you haven’t finished the subject you have to wait until next year until they’re out again,” Margaret smiles.
The complexities of botanic art are, ‘though, in stark contrast to her humble beginnings.
Margaret was raised in the Otway ranges and fondly remembers dawdling through the bush as a five-year-old.
“I love nature – I love plant life of any kind,” she says.
“It’s so beautiful and it’s far beyond what man can make.”
An aunt was also a pastellist, providing her first influences before the family moved to Geelong when she was 10.
However, she didn’t take up art until 35 after her children all left for school.
Margaret joined Geelong Art Society three years later in 1976.
But botanical art didn’t find her until a further two decades later during a society workshop with Melbourne artist Jenny Phillips.
“It was a right angle turn for me after painting for 30 years – it’s just in the last 10 that I’ve found my niche,” Margaret now admits.
“It seemed to be beyond what the normal type of painting was.
“It was more professional and more inspiring to me.
“To look at nature through the eyes of an artist so intently, in a scientific way, opened the door for me.”
Now she’s passing on her skills to others in Geelong.
The Friends of the Botanical Gardens approached Margaret six years ago during an exhibition to teach classes.
It started off with a dozen students – most of whom still remain today – and now there are 16 local botanical artists who have been accepted to Melbourne’s Eighth Biennial 2006 Art Botanical Illustration Exhibition.
They are now her pride and joy.
It’s been a perfect match because demonstrating an eye for detail means everything to Margaret since switching to botanical art.
“For the first 20 years, tutors have been trying to get rid of the detail in my paintings,” she chuckles.