American Art and Pennsylvania Impressionists

Demuth first experimented with watercolor while in France and further explored the medium upon his return to the United States in 1914, mainly through flower pieces and figural compositions. Executed in the early 1920s, at the height of Demuth’s mature style, the present work masterfully captures the grace and fragility of a delicate bouquet of irises and sweet peas. At the time, Demuth was heavily influenced by Paul Cézanne, whose work he discovered through his friend Dr. Albert C. Barnes. Like the French Master, Demuth developed a keen attention to line and color, and pushed the boundaries of the picture plane, inventing new perspectives and suggesting unseen forms and spaces. 

While Demuth’s earlier pieces denote a certain flat, almost primitive expression, the present work is striking in its crisp, minimalist execution that beautifully captures “the art of the unfinished,” which is so often associated with Demuth's aesthetic. The artist leaves much of the paper untouched; the background is half defined and each flower is only very lightly outlined, yet, the composition is enlivened by the subtle, almost transparent, washes that glow with jewel-like tones. While some fade into one another, others strike with unique intensity, staining the paper like a mosaic, thus creating a surface which is both rich and varied.

Through its translucent coloring, subtle linear effects, and soft modeling, Floral Still Life is presented in all its glory. Each flower is subject to its own sensual, organic rhythm as if Demuth’s mission was to capture nature's essence and reveal its underlying structure on the surface of his paper.