Flowers Of Mountains
Flowers Of Mountains c1900 by French Painter Élisabeth Sonrel (1874 – 1953); and illustrator of the Art Nouveau style; who’s works included allegorical subjects, mysticism and symbolism, portraits and landscapes.
This exquisite artwork, Sonrel draws upon the allure of both mythology and nature, bringing together the two elements with a delicate balance of beauty, grace, and introspective solitude.
Table of Contents
Main Subject
The central figure in this painting is a female figure of ethereal beauty, who stands tall and poised against a backdrop of towering mountains and a soft, warm sky. The figure is a young woman, draped in a flowing white gown that billows gently in the breeze, the fabric rendered with soft folds that add texture and depth. The gown, cinched at the waist with a simple yet elegant belt, enhances the fluidity of her form, emphasizing the harmony between the figure and nature.
Her hair, a cascade of rich auburn locks, tumbles loosely over her shoulders, further evoking the timeless quality of her beauty. A wreath of flowers rests atop her head, creating a delicate coronet that brings an air of wildness to her femininity. The flowers in the wreath are small and vibrant, suggesting a connection to the natural world, as though the woman is an embodiment of the flora around her. This crown of blossoms enhances her ethereal, almost divine presence.
In her right hand, she holds a long, slender staff, which could be interpreted as a symbol of wisdom or guidance. The staff is simple yet dignified, acting as a subtle reminder of the woman’s authority and connection to the surrounding terrain. The gentle grip and relaxed posture suggest that the figure is at ease within her environment, exuding a calm confidence in her role.
Objects and Details
Flanking the woman on either side are two prominent floral elements, one of foxglove flowers (Digitalis) on the left and a rich array of blackberry vines and leaves on the right. These plants serve to frame the central figure, drawing the viewer’s eye toward her while enhancing the narrative of nature’s embrace. The foxgloves, with their tall spires of bell-shaped flowers, are vibrant and reach towards the sky, creating a visual contrast to the woman’s grounded, earthbound posture. The blackberry vines, full of lush green leaves and dark, ripening berries, offer a sense of wildness and fertility, reinforcing the theme of the woman’s natural connection to the land.
The mountains in the background, though not dominant in their portrayal, provide a sense of scale and depth. They rise majestically in the distance, their peaks partially obscured by mist, giving them a mysterious and timeless quality. The sky above is awash in warm, golden tones, with hints of soft pink and orange, suggesting either dawn or dusk, times of transition and introspection. This choice of color palette infuses the work with a sense of tranquility and quiet contemplation.
Terrain and Materials
The terrain is rugged and unyielding, yet it complements the softness of the woman’s figure. It is a place where life flourishes despite its harshness, as seen in the surrounding flora. The colors used for the terrain and flowers are earthy and natural, suggesting that Sonrel was inspired by the rugged landscapes of the French countryside or perhaps the mythical landscapes of ancient Greece. The artist’s careful attention to detail in the plants and the mountains shows her deep understanding of both nature and the human form, blending them seamlessly in this piece.
Style and Theme
The style of this artwork is deeply rooted in the Art Nouveau movement, which flourished in the late 19th and early 20th centuries. Characterized by its emphasis on organic forms, flowing lines, and harmonious integration of nature and human figures, the Art Nouveau style is exemplified here through the graceful curvature of the woman’s pose and the intricate floral details surrounding her. Sonrel’s use of soft, blended colors and flowing lines imbues the piece with a dreamlike quality, inviting the viewer into a world where nature and humanity coexist in perfect balance.
Thematically, Flowers of the Mountains explores the connection between the human figure and the natural world. The woman in the painting is not just a figure of beauty but also a symbol of nature itself. Her presence among the flowers, her wreath, and the connection to the mountains all suggest a deeper bond between humanity and the earth, perhaps drawing from ancient mythologies where women often represented the earth, fertility, or nature’s vitality. The use of flowers, especially those associated with healing and growth like foxglove, suggests that the figure is not just passive in her environment but an active participant in the life force of nature.
Mood and Atmosphere
The mood of the painting is one of serene contemplation. There is no rush in the figure’s posture, no urgency in her gaze, which is directed off to the side, as if she is lost in thought or in quiet communion with the natural world around her. The color palette, with its soft pinks, purples, and greens, further contributes to the tranquil atmosphere. The mountains, while present, are distant and unobtrusive, further adding to the sense of solitude and peace. The entire piece invites the viewer to pause and reflect, offering a moment of stillness in the midst of a busy world.
Conclusion
In Flowers of the Mountains, Elisabeth Sonrel has created not just a portrait of a woman but a celebration of nature’s beauty and its eternal connection to the human spirit. The blending of the figure with the flowers, the gentle, flowing lines of her form, and the serene landscape all convey a message of harmony, tranquility, and reverence for the natural world. Through her delicate use of color, light, and composition, Sonrel has produced a work that stands as a timeless reflection of the beauty of nature and the human soul’s connection to it.
Flowers Of Mountains is a retouched digital art old masters reproduction of a public domain image.
Info Below Courtesy Wikipedia.org
Elisabeth Sonrel (1874 Tours – 1953 Sceaux) was a French painter and illustrator in the Art Nouveau style. Her works included allegorical subjects, mysticism and symbolism, portraits and landscapes.
She was the daughter of Nicolas Stéphane Sonrel, a painter from Tours, and received her early training from him. For further study she went on to Paris as a student of Jules Lefebvre at the Ecole des Beaux-Arts.
In 1892 she painted her diploma work, ‘Pax et Labor’, a work to be seen at the Musée des Beaux-Arts de Tours. From then on she exhibited at the Salon des Artistes Français between 1893 and 1941, her signature pieces being large watercolors in a Pre-Raphaelite manner, which she adopted after a trip to Florence and Rome, discovering the Renaissance painters – some of her work having clear overtones of Botticelli. Her paintings were often inspired by Arthurian romance, Dante Alighieri’s ‘Divine Comedy’ and ‘La Vita Nuova’, biblical themes, and medieval legends. Her mystical works include ‘Ames errantes’ (Salon of 1894) and ‘Les Esprits de l’abime’ (Salon of 1899) and ‘Jeune femme a la tapisserie’.
At the Exposition Universelle of 1900, the primary theme of which was Art Nouveau, her 1895 painting ‘Le Sommeil de la Vierge’ (Sleep of the Virgin), was awarded a bronze medal, and the Henri Lehmann prize of 3000 francs by L’académie des Beaux-Arts.[3] From 1900 onwards she confined her painting to portraits, scenic Brittany landscapes, and the occasional flower study.
She made regular painting trips to Brittany, inspired by the forest of Brocéliande, and from 1910 to various places on the coast such as Concarneau, Plougastel, Pont-l’Abbé and Loctudy, often staying at inns and accompanied by one or two students. She painted several works in Le Faouët before constructing a villa in La Baule in the 1930s. Working mainly in watercolour and gouache, she discovered a ready supply of models among young girls in the area, and found Bretons generally to be friendly, honest and self-confident.
Her final exhibit at the Salon was in 1941 at the age of 67. There is also a record of her having exhibited at Liverpool. In her early years Sonrel produced posters, postcards and illustrations, in Art Nouveau style.
