Feasting on Art

On August 5th, the exhibition Slow Burn – A century of Australian women artists from a private collection, will open at the S.H. Ervin Gallery. I have spent the past four months working very hard on the exhibition catalogue and am very proud to be a co-author on such an exciting and important project. Of the 102 artists from the collection, I researched and wrote 47 of the bios – the reason the Feasting on Art posts have been quite infrequent. The collection ranges “from the delicate pastels of Janet Cumbrae Stewart to the modernist prints of Margaret Preston through to the bio-techno sculptures of Patricia Piccinini. The works in the exhibition demonstrate the skill and versatility of women artists over the past hundred years” (S.H. Ervin Gallery). In honour of the exhibition I plan to do a mini-series featuring a few of the artists represented in the collection as well as one or two of the artworks that I did not write about for the book. The exhibition will be on view at the S.H. Ervin Gallery until the 19th of September.

Margaret Olley, Still life with mandarins, c.1975
oil on board, 76 x 122 cm, Private collection

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The reduction of the genre of still life to its title produces a problem between languages.  In English, the name ‘still life’ carries certain connotations.  The word ‘life’ produces the idea of movement; the subject is living and has been captured or stilled within the painting.  The title creates the idea that ‘still life’ is a captured moment, perhaps a ‘snapshot’ of one’s Sunday dinner.  This name is entirely misleading, the still life genre often depicts fish, animals, plants, and commodities – all of which are dead.  The name still life is ironic, because life that has been stilled is death.  As French artist, Manet would have used the French title nature morte, which literally translates to dead nature.  The genre was previously known as vie coye, which roughly translates to ‘silent life.’ (1) The distinction between still life and dead nature is important.  Manet was certainly aware of the English title ‘still life,’ and this becomes apparent in the strange dichotomy in the painting between life and death.  The central image of the fish with its tail suspended in time embodies the living/dead aspect.  The fish looks like it is dead with its mouth gaping and eye bulging, yet the broad sweeping brushstrokes and tail flipped into the air, mentioned earlier, suggests movement and thus life.  This embodiment of the tension within the title of the genre is an aspect of painting unique to Manet.

Édouard Manet, Fish (Still Life), 1864
oil on canvas, 32.1 x 73.4 cm, The Art Institute of Chicago

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My big writing project is almost over and I am very happy to be able to spend a bit more time on this space. I have an exciting series of posts lined up in conjunction with the writing project because there are so many fantastic artists here in Australia. I want to devote a bit of time and space on this blog highlighting a few of my favourites besides Heysen, Hawkins, Olsen and Drew who have already made an appearance on this blog. I am also working on a series with my very talented friend Cassie so keep your eye on this space for lots of new things. In anticipation for an upcoming degustation trip to the Blue Mountains with some friends I have been testing out a few soup recipes. This is one of my favorites and is perfect for the cold weather we have been having.

Paul Cézanne, Still Life with Onions and a Bottle, 1895-1900
oil on canvas, 66 x 81 cm, The Louvre, Paris

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In honour of the 4th of July, I put together a small selection of nostalgia inducing recipes. I am travelling back to the States in three short weeks and after two years away, I am feeling pretty sentimental! Sunday is the 4th of July and perhaps one (or all) of these recipes will inspire a few Independence Day menus. I will be celebrating with my closest ex-pat friend here in Sydney and if my oven was not still broken the chocolate chip cookies would be at the top of my ‘to make’ list. Happy 4th everyone!

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Trompe l’oeil paintings have a long history within the realm of the visual arts. The French phrase translates to ‘trick the eye’ and it dates back to the Roman era, where it was used to create doors and windows within highly detailed murals. An ancient Greek story recounts a competition between the rivals Zeuxis and Parrhasius, the former painting grapes that appeared so tangible that birds flew down from the sky to peck at them. Parrhasius’ painting won the competition – Zeuxis asked to have the tattered curtains drawn aside to view the painting only to realise that the painting was of the curtains themselves.

De Scott Evans, A new variety try one, c.1890
oil on canvas, 30.4 x 25.4 cm, Columbus Museum of Art

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