Rory McEwen, once known primarily as a Scottish balladeer, has recently gained recognition as a formidable botanical artist, with a remarkable exhibition running until August 17 at the Driehaus Museum in River North.
Presented in conjunction with the Oak Spring Garden Foundation in Virginia and the Royal Botanic Gardens in London, the exhibition titled “Rory McEwen: A New Perspective on Nature” showcases the dual talent of a man described as the “troubadour with a brush.”
Despite the absence of a green thumb among some visitors or a lack of familiarity with botanical art, the show promises to surprise and enchant attendees, broadening their understanding of both art and nature.
Born in 1932 at Marchmont House in the Scottish Borders, McEwen grew up surrounded by his family’s artistic legacy.
His early life was marked by a budding passion for music, particularly American jazz and blues, which he embraced through the influence of his older brother, Jamie.
Following his service in the Queen’s Own Cameron Highlanders, McEwen attended Cambridge University, where he mingled with notable figures such as Dudley Moore and Peter Cook.
Over the years, he cultivated relationships within artistic circles, befriending a variety of influential musicians, poets, and artists including Bob Dylan, George Harrison, and Jim Dine.
While he was an integral part of the 1950s folk revival, recording albums of Scottish songs and appearing on notable television programs, his passion for visual art gradually overshadowed his musical career as he sought a deeper experience with creativity.
By the mid-1960s, disillusioned with the music industry, McEwen returned to his childhood love of painting, specifically botanical art.
His approach to this genre was distinct and modern, as he reinvented the conventions of botanical painting, transforming everyday plants and vegetables into reflections of both beauty and complexity.
McEwen’s botanical illustrations often utilized large empty spaces to create a sense of tranquility and introspection.
His striking watercolor works, whether executed on vellum or paper, focused on familiar subjects such as artichokes, peppers, and onions, rendered with meticulous detail and precision.
The exhibition includes a range of McEwen’s works, from impressive classics to more modern interpretations, illustrating his journey in both artistic style and philosophy.
McEwen’s later works in the 1970s, particularly within his series titled “True Facts from Nature,” showcased objects seemingly floating against expansive white backgrounds, inviting viewers into a meditative experience.
Influenced by German artist Karl Blossfeldt, he incorporated elements of romantic landscapes into his pieces, even as he set them against personal backdrops inspired by views from his studio windows, making his work deeply personal and conceptual.
A fine example of this is “Aconitum. Monk’s Hood with Ailsa Craig II,” which blends meticulous attention to detail with thematic resonance, evoking a connection between nature and the artist’s surroundings.
Other works also include vibrant interpretations of tulips, where each piece transcends the ordinary.
In particular, “Tulip Petal” and “Dying Tulip” both redefine the flower’s essence in captivating and surprising ways.
Additionally, McEwen found inspiration in the changing seasons, especially within the subtle beauty of leaves.
Starting in the late 1970s, he captured solitary leaves, often reflecting autumn’s rich color palette, gathering specimens during walks in areas such as Kew Gardens and Fulham Road.
He acknowledged these leaves not as mere remnants of death, but as distinct entities with their own characters, as exemplified in works like “Kensington Gardens I” and the vibrant “Fogo (Leaf on Snow).”
Despite McEwen’s successes and artistic exploration, his life came to a tragic end in 1982 when he took his own life after being diagnosed with terminal brain cancer, leaving behind a complex legacy that continues to inspire.
A portion of the exhibition pays homage to his musical history, featuring recordings of his ballads, including notable songs such as “The Bonny Earl of Moray” and his spoken-word piece “Names.”
The latter, a collaboration with Jim Dine, is often recognized as a precursor to rap music, combining eclectic cultural references with a unique rhythm.
Curated by Ruth L. A. Stiff from the Royal Botanic Gardens, Kew, the exhibition is beautifully complemented by a full-color catalog produced by the Oak Spring Garden Foundation.
Rory McEwen’s ability to find poetry in both living and dying elements of nature invites us all to see the world anew.
The exhibition remains on display until August 17 at the Driehaus Museum, located at 50 E. Erie St. Open Wednesday through Sunday, admission is priced at $20, with discounts available.
For more details, visitors are encouraged to explore the museum’s website or contact them by phone at 312-482-8933.
image source from：thirdcoastreview
