A modernist study of a Waratah flower, featuring faceted planes and a palette of deep reds and greens by Australian artist Grace Cossington Smith.

Grace Cossington Smith, a pioneer of Australian Modernism, frequently turned her attention to the native flora of her home. In this study of the Waratah, she employs a distinct approach to colour and form that characterises her work from the late 1920s. The composition focuses on the structural geometry of the flower, breaking the petals and leaves into rhythmic, faceted planes. Rather than seeking a photographic representation, Cossington Smith uses short, directional brushstrokes to build the volume of the bloom. The palette relies on earthy reds, deep greens, and cool violet shadows, which create a sense of weight and presence. Her application of paint is deliberate, with visible marks that suggest the tactile quality of the petals. The background is treated with the same attention as the subject, integrating the flower into the surrounding space through a series of interlocking shapes. This work reflects the artist's interest in the way light interacts with form. By simplifying the natural subject into a series of colour-based planes, she captures the essence of the Waratah while maintaining a clear sense of structure. The work demonstrates her ability to balance observation with a modernist sensibility, moving away from traditional academic techniques toward a more personal, expressive style. Her practice often involved painting subjects within her own domestic environment, finding beauty in the everyday objects and plants that surrounded her. This piece remains a clear example of her contribution to the development of early twentieth-century Australian art, where she helped introduce a new way of seeing the natural world through a modernist lens.