A selection of spring-inspired objects from our collection
With the longer days and blossom lighting up the trees, pathways and gardens everywhere, spring is really here.
We’re celebrating some of our favourite blossoms, blooms and spring scenes from the collection. This bountiful season has inspired artists from all corners of the world for many, many centuries.
Enjoy the stories behind these bright and beautiful works.
This painting by Camille Pissarro is on temporary display in our current Pissarro exhibition and is on loan from the Musée d’Orsay, Paris. It's an oil on canvas and features The Jardin de Maubuisson, a group of kitchen gardens at l’Hermitage on the quai du Pothuis at Pontoise.
It's one of two paintings showing similar views that Pissarro made in the spring of 1877. Both share a fascination with the superimposition of the exuberant blossoming plum trees onto the houses on the hillside. It was bought by Gustave Caillebotte at the fourth Impressionist exhibition in 1879 and was later included in his bequest of works by his friends and contemporaries to the French state in 1894.
Cézanne painted a similar view, dominated by the geometrical elements of the architecture, with the gardens reduced to almost abstract touches of paint.
The Japanese tradition of viewing the cherry blossoms in spring is so popular that it has its own name – hanami, or flower viewing.
From the end of March, cherry trees blossom all across Japan and many people plan to visit their favorite hanami sites at *just* the right moment. In fact, there is even a cherry blossom forecast announced by the Japanese Weather Bureau each year.
The practice is centuries old, and was once limited to the elite of Japanese society. Today people gather in great numbers, hosting picnics and parties under the cherry trees to celebrate the start of Spring.
This woodblock print by Japanese artist Utagawa Hiroshige shows just that – joyous celebrations beneath the blossoms.
This idyllic scene was painted by English-born painter Charles Conder (1868-1908). Conder emigrated to Australia when he was 16, where he would eventually become a pivotal part of the Heidelberg School - an Australian art movement with marked similarities to French Impressionism.
The group was named after a rural area outside of Melbourne, where the artists gathered to live and paint at an informal artist’s camp called the Mount Eagle Homestead. Members of the Heidelberg movement often painted ‘en plein air’, or out in nature, with an emphasis on light, colour and the use of experimental brush strokes.
Conder painted this picture after he had left Australia for Europe, spending the remainder of his life between France and England. When he arrived in Paris in 1890, he was particularly interested in Monet and Japanese art. He rented a small house in the countryside and often went on painting excursions to nearby towns, including Dennemont, where this was painted.
This striking floral plate was made in Iznik, Turkey around 1530–1550, which at the time was under Ottoman rule.
Floral motifs became a hallmark of classical Ottoman art and architectural decoration between the 1500s and 1600s, due to the extensive use and appreciation of flowers in Turkey and neighbouring countries. Blooms like carnations, tulips and hyacinths, to name some of the most popular, were planted in their thousands in both public and private gardens and often adorned people's headgears and attires.
This Spring scene was painted by Pre-Raphaelite artist John William Inchbold (1830–1888). It is thought to have been exhibited at the Royal Academy in 1855, and inspired by the words of William Wordsworth in ‘Excursion’...
‘The primrose and harebells in the foreground and the ewe and two lambs on the ridge,
herald the arrival of spring,
though the trees are still bare,
their branches picked out in sharp detail against the blue sky’
You will be able to see works by Inchbold, and many others by artists of this movement, in our upcoming exhibition ‘The Pre-Raphaelites: Drawings and Watercolours’.