Feasting on Art

I rarely return home from the grocery store without some sort of brassica in my basket. This is the second week in a row we have enjoyed brussels sprouts roasted simply with a bit of parmesan finished with a squeeze of lemon. The cheese gives the dish a salty-meatiness and the lemon provides a balancing freshness. Excellent paired with an icy dry white wine, the dish could accompany a standard main course or stand on its own topped with a fried egg.

Edward Weston, Cabbage Leaf, 1931
gelatin silver print, 19.1 x 24.1 cm

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 Andy Warhol, Poinsettias, circa 1983
synthetic polymer and silkscreen inks on canvas,  35.5 x 28cm, Private collection

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Pablo Picasso and Henri Matisse were two of the most influential Modernist artists working in the first half of the twentieth century. The two artists met in 1905 at one of the gatherings of Gertrude Stein who was a patron of Picasso‘s. Their work was – and still is – often compared and upon meeting, the two become both lifelong friends and rivals. Whereas Picasso often conjured his compositions from his imagination, Matisse preferred to work from nature and would complete much more expansive interiors around his subjects.

Left: Pablo Picasso, Vase, Bowl and Lemon, 1907,
oil on panel, 62 x 48 cm, Galerie Beyeler, Basel
Right: Henri Matisse, Still Life with Blue Tablecloth (detail), 1909,
88 x 118 cm, oil on canvas, The Hermitage Museum, St. Petersburg

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The colour blue – reserved for the robes of the holiest of mothers – was one of the rarest and most expensive pigments in use during the Renaissance. For the depiction of Virgin Mary, only ultramarine was used due to its price and elusiveness as it is was found only in Asia and is presently mined in only a handful of places around the world. The name ultramarine was derived from the Italian oltramarion meaning ‘from beyond the sea’ because it was imported from Asia. Made from ground lapis lazuli, the pigment yielded a brilliant hue verging on the violet side rather than the greenish tint commonly found in the substitute colour, azurite.

Pablo Picasso, Still-Life with Cheese, 1944
oil on canvas, Private collection

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I am honored and excited to be included on the Design*Sponge website as part of the ‘In the kitchen with…’ series. I had several recipe ideas, bookmarked and filed away for a very special post, and was delighted when my recipe for a pear tart with whiskey cream was selected as it was inspired by one of my favorite still life artists. Hopefully the short description I sent with the recipe will tempt you to visit the Design*Sponge page to take a look at the pear tart with whiskey cream.

Combining the ingredients in Tom Wesselmann’s ‘Still Life #2′ was a natural
marriage, the dark molasses flavours of the whiskey compliment the subtle
sweetness of the pear with the toasty hints in the liquor mirrored in the toasted
hazelnuts of the crust. Cinnamon and ginger continue the warming flavour
palette and provides a sharp-spiciness to the tart – the perfect foil to the cooling
whiskey cream, speckled with vanilla seeds.

I would like to welcome all of the new readers arriving from Design*Sponge. I hope you take a bit of time and explore the site. You can find the entire listing of recipes here and if you are curious about the type of art you can find among the pages of this blog, then head on over to the art index and click on the images that catch your eye.

Tom Wesselmann, Still Life #2, 1962
oil and collage on board, 121.9 x 122.2 cm, Norton Simon Museum

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