Watercolour was Redouté’s principal medium. In the late eighteenth and early nineteenth centuries artists typically relied on natural pigments — ochres, umbers, carmine, indigo, lead whites and a variety of mineral and plant-based colourants. Many pigments were purchased from specialised colour-men in Paris, while others could be prepared by hand from ground minerals or botanical sources. Redouté’s technique involved careful layering and a restrained, transparent palette, allowing light to play through the washes rather than sit heavily upon the surface.

•  Les Liliacées (1802–1816) — a monumental multi-volume publication featuring hundreds of illustrations of lilies, irises and other ornamental plants. It stands as one of the most ambitious botanical art projects of its era 
• Les Roses (1817–1824) — Redouté’s most celebrated achievement, containing approximately 170 rose illustrations. This series is widely regarded as the pinnacle of his artistic career and remains iconic in both art and horticultural circles
• Choix des Plus Belles Fleurs — a refined collection presenting some of the most beautiful flowers known at the time, admired for both its aesthetic grace and botanical clarity 

•  Redouté preferred to work from living specimens rather than herbarium sheets, which enabled him to capture authentic colour and vitality
•  He lived through several dramatic political upheavals in France yet managed to retain his reputation and professional standing
•  Over the course of his life he produced more than two thousand botanical illustrations 

•  The National Gallery of Art, Washington
•  The Morgan Library & Museum, New York
•  Botanical and fine art museums throughout France and the United Kingdom 

Exploring the traditions of watercolour painting and illustration practiced by the old masters is far more than a tribute to art history — it is an essential stage in an artist’s professional development. Within their works lie time-tested techniques, subtle colour solutions and a deep understanding of light, form and natural structure. By studying historical illustrations, one can observe how compositions were constructed, how transparency was achieved, and how artists balanced scientific precision with visual elegance. Such research does not encourage imitation, but rather fosters a thoughtful evolution of one’s own artistic voice. 

Today we will engage with this very approach alongside watercolour artist Elena Bazanova. She will assemble a selection of “White Nights” watercolour shades that resonate with the palette associated with Pierre-Joseph Redouté and create a rose illustration inspired by the works of the old master. This is not a matter of copying, but of creative reinterpretation — a meeting of historical tradition with contemporary materials and personal vision. We wish you an enjoyable viewing and the inspiration that comes from encountering the living heritage of watercolour art. 

• 219. Naples Yellow Light (P.Y.216 *** ■△)
• 206. Light Ochre (P.Y.43 *** ◨△)
• 313. Madder Lake Red Light (P.R.187 *** □◮)
• 319. Carmine (P.V.19 *** □▲)
• 511. Ultramarine (P.B.29 ◨◮ G)
• 508. Cobalt blue (P.B.28 *** ◨△ G)
• 309. Red ochre (P.R.102 *** ◨△)
• 811. Ivory black (А) (P.R.102, P.Bk.7 *** ◨◮)