Biography

Lynne Railsback is a painter whose watercolors have been included in exhibitions throughout the United States and Europe. Her works have been exhibited in museums, botanical gardens, galleries, corporations and libraries. She is quickly becoming a notable botanical artist as her award-winning paintings are purchased both by museums and private corporate collectors.

Lynne is a member of the American Society of Botanical Artists, Geneva Lake Art Association, the Nature Artists Guild of The Morton Arboretum and the Brooklyn Botanic Garden's Florilegium Society. She currently serves on the board of the American Society of Botanical Artists.

Artists’ Statement

I don't paint roses, orchids or iris. The plants that grow in the woods and prairies in the Midwest are my favorite subjects. I particularly enjoy the plants in fall and winter with their interesting shapes, colors and textures. I begin a painting without doing preliminary studies, drawing pencil lines on the paper or relying on photographs. Instead my inspiration is the physical plant "close up and personal".

With a degree in graphic design and a career in commercial interiors, I have been able to utilize my skills through a variety of art forms. It was through painting, however, that I was able to privately enjoy my talent.

Because watercolor can be either transparent or opaque, it became my favored medium. Using a “lift-out” technique, I have been able to illustrate fine details and wispy, thin lines. It is this controlled and time consuming style that I find stimulating.

My pigments are viridian, permanent rose, burnt umber, aureolin and French ultramarine which I mix to create the appropriate palette. With that completed I pick up my brush and begin. After applying areas of color to suggest the initial composition I develop one area of the painting at a time.

I finish the piece by using a wet brush to draw out the pigment into fine lines. Strathmore 500 series 3 ply Bristol board and Jack Richeson 9000 series #3/0 synthetic brushes work for this technique. I don't worry about" mistakes" as I can always add leaves, seeds, whatever until the composition feels right.

I should also mention it is in the mornings you would find me in my studio. The light is best at this time and if I waited until afternoon I would never get around to putting a brush in my hand on that day.

I have been privileged to have solo exhibitions in botanical gardens and arboretums as well as to be included in group exhibitions throughout the United States and U.K.