Study of an Orchid, "Vanda Roxburgia" 1770 - 1822

Curator: This watercolor and pencil drawing, dating from 1770 to 1822, is titled "Study of an Orchid, 'Vanda Roxburghia'," by James Sowerby. It’s a fantastic example of botanical illustration from the period, currently residing at The Met. Editor: Well, hello there, little drama queen of the plant world! Seriously, even in just pencil and watercolour, the composition practically vibrates with delicate intensity. I immediately get a sense of… quiet observation, mixed with this vibrant spark. Curator: Precisely. Note how Sowerby uses layering of colour to suggest depth in the leaves and petals. It's not merely representational; there’s a real attempt to capture the form, but the form adheres to the rules of Realism, of course. Consider how this method accentuates a kind of ideal, or an idealized instance of this orchid in particular. Editor: Ideal, eh? I'd say it feels more personal than idealized. Look at the roots, almost tangled, reaching out—they’re not “perfect,” but full of character. This drawing seems less like scientific documentation and more like a love letter to this specific orchid, "Vanda Roxburghia." I imagine him gently tilting it in the light, completely transfixed. Curator: Your reading does not seem misguided to a certain degree. It's relevant that Sowerby worked within a moment keenly concerned with scientific classification. The delicacy of line, and precision in rendering form does indicate, as I mentioned, a scientific endeavour, but the sensitive use of watercolor is quite evident to be artistic rather than strictly objective. Editor: Oh, absolutely! The botanical context is key, for sure. But it's like he's hinting at something beyond labels—a shared breath between artist and subject. I keep coming back to the light—it dances on the edges of the leaves. It's magical how such subtle shades create an illusion of vibrancy, a very simple sort of aliveness. Curator: It is clear we have similar positions about this image despite what seem to be contradictory opinions. To be sure, the composition, anchored by its detail of colour, successfully invites a closer inspection of its lines. The way Sowerby makes scientific and botanical detail seem secondary makes this illustration truly impressive in form. Editor: A little miracle of observation! So simple and complex. This experience helps you wonder, doesn’t it, if seeing is believing or if believing enables a form of seeing.