Flower Print No. 21- Damask Rose 1 - 1787

Editor: This is "Flower Print No. 21- Damask Rose" from 1787. It’s a watercolor print by John Edwards here at the Minneapolis Institute of Art. It strikes me as both delicate and vibrant; the oval frame creates a nice compositional element. What are your thoughts on the composition? Curator: The oval provides a contained space where we might analyze Edwards' sophisticated handling of volume and surface. The clustering of rose blossoms, their varied sizes, their diverse positioning; they all demonstrate a consciousness of shape, and of negative space, with a clear effort to balance light and dark sections within the pictorial space. Do you notice any repetition of forms that enhance the work's overall harmony? Editor: I see the rounded petals echoed in the leaves and even in the buds, which does lend a sense of balance. And the subtle gradations in color? Curator: Precisely. The color palette is carefully constructed. Look at the subtle tonal shifts, how Edwards uses variations of pink and green to suggest depth and texture. It is these variations that grant vitality and prevent the image from being flattened and stylized in form. Can you notice any relationship between the shades of roses? Editor: The gradient creates depth but it appears restricted to a singular perspective due to its uniformity of arrangement, the perspective in this manner is rigid. What do you mean by restricting it to singular perspectives? Curator: An excellent insight. A unified singular perspective, yes. What remains interesting is how the limitations do nothing to restrict one's visual appreciation of the forms within the image. The piece transcends its formal nature and is visually enlivening to the person viewing. Editor: I now appreciate how the tight arrangement of elements strengthens this work beyond just being a pretty picture. Thanks. Curator: Indeed. Through close observation of Edwards' technical artistry, the structural aspects of the work resonate strongly even today.