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Floral subjects comprise a large portion of Margot Peet's artistic production from the mid-1950s through the 1970s. Beginning around 1956, when she and her husband moved to a grand new property on Wenonga Road in Mission Hills (a suburb of Kansas City, Missouri), Margot Peet was inspired to paint colorful garden views and lush bouquets of cut flowers. The Peet's Tudor Revival-style house, with its picturesque archways and towers, was framed by a formal garden that had been designed by Kansas City landscape architects, Hare and Hare, in the late 1920s. Into this grand plan of hedges, walkways, and trellises, Margot Peet planted a vibrant array of flowers, which she then used as the subject for many oil paintings. The strong diagonals in these works create a sense of deep space -- a feature that shows the lingering influence of Thomas Hart Benton's teaching. Her impressionistic brushwork, however, attests to her interest in atmosphere and texture. Margot Peet's floral bouquets are among her most successful oil paintings, for they combine her skills as a colorist, designer, and painter of texture. The more elaborate arrangements were painted at the Wenonga Road house, while the smaller works featuring hibiscus blossoms in a simple black vase were painted at her winter cottage at Round Hill in Montego Bay, Jamaica |
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Garden
Views and Floral Still Lifes |
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