Story behind the art of Albina Herron

28th Annual International

American Society of Botanical Artists and Marin Art & Garden Center

Bleeding heart

Lamprocapnos spectabilis

I had been wanting to paint bleeding heart, Lamprocapnos spectabilis, for quite a few years. A spring perennial native to Asia, it likes moist shady spots. The plant was brought to Europe in the early 1800s and has been a beloved staple in gardens ever since. 

I think the graceful flowers that dance on those arched stems are magical. I like the pink variety the best. The plant also comes in white and red varieties.

The plant I had refused to put out enough flowers for me to be able to depict what I wanted. No one I knew had a big enough plant for my purposes either. A friend gave me a small number of fresh seeds from his plant, but those failed to grow for me. 

Then last spring we went to a greenhouse in the Lehigh Valley. To my delight, I discovered a huge plant, starting to flower. I wasted no time buying it! I also bought another with variegated leaves, the Lamprocapnos cultivar ‘Gold Heart’. 

I set up my plant in the studio along with my light box light. I must have taken over 200 photos. I kept moving the plant and moving the light, changing the camera settings until I got what I thought would work. I also took many close-up photos of the details. I had an idea of what I wanted my painting to look like, and with my photos, I did approach the image in my head.

We planted both plants in our front yard under a rhododendron where they are doing well. I am hoping that these plants will form a huge clump in the coming years.

When I first decided I wanted to paint this plant, there was no question that I was going to paint it in traditional gouache on black cotton paper. I also knew it was going to be a challenge. It was a challenge! Drawing out my composition on the black paper took days, as I used a full sheet (20 x 30 in), and the painting is about life sized.

After I completed my drawing, I had to take half of the chalk off. I used a kneaded eraser and rolled it carefully. Then I started the first washes, blocking in colors and values roughly, so I didn’t lose my place in the plant. I followed with slowly built up pigment, then worked on details.

I painted the flowers several times over. I kept removing the pigment (removing traditional gouache is tedious but doable), letting the surface dry, burnishing it, and then repainting. It took almost three months to finish. I worked about 10 hours on most days.

Although it is hardly noticeable, I added a dark wash to the background, going over it several times, to even out the texture of the paper and take away the slight grey cast.

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Read more about this artist's work: 27th Annual