Feasting on Art

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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Chili, garlic, lime and coriander; these four flavours crop up in my recipes more often than not. When combined, they yield a dish that is flavoursome and bright, and can be applied to almost anything. This recipe for roasted pumpkin first appeared on my Christmas table a couple of years ago, and it produced so much enthusiasm that it has become a standard side-dish for many dinner parties. The recipe is obscenely easy and as a side dish, the flavours work year round and can accompany a range of mains from beef to pork and shellfish.

Only 9 more days to submit an entry to the Feasting on Art Recipe Contest. Show some love for Feasting on Art and enter if you haven’t done so already! Also, the concept for Feasting on Art is in the running for a recipe redesign contest at GOOD so please hop on over and click ‘Megan Fizell’ to vote.

François Bonvin, Still life with a Pumpkin, Peaches and a Silver Goblet on a Table Top, 1858
oil on canvas, 38 x 46cm, Private collection

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When considering the colour green, there are a number of connotations that are promptly conjured; green is the colour of money and wealth, through which one can become ‘green with jealously.’ Likewise, it is the colour of nature, growth, and life and one can have a ‘green thumb.’ It is within the secret green porcelain of China, called mi se meaning ‘mysterious colour’, that the two connotations of the colour intersect. Mi se was produced in the 9th and 10th centuries in China and was reserved for only the Emperor to see – let alone use – and the porcelain was so secretive that first verified example was not discovered until 1987. The porcelain was more valuable than gold and silver although its popularity ‘stemmed partly from the Chinese tendency to mythologise art, in order to appreciate it better (1).’ The green colour of mi se was derived from a small amount of iron in the glaze and the porcelain itself was obtained from nature. Mi se ‘comes from the mountains – from their earth and their forests. The wood was used for firing…and the clay was used for the body of the porcelain. But the two together – as wood ash and kaolin – were also used for the glaze that makes up its delicate skin and jade-like colour (2).’ This green porcelain of the earth represented the pureness of nature yet was an elusive commodity that embodied the wealth and power of the Chinese elite.

Lin Fengmian, Still Life, 1988
ink and colour on paper, 68.3 x 68.3 cm, Private collection

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The decadence of the holidays coupled with two weeks of vacation has taken a toll on my palette and appetite. Although there is a definite lack of cream and butter-heavy dishes here in the Southern Hemisphere, the oil and fat of barbecued meats and deep-fried delights had me gravitating towards recipes that were light, clean and nourishing. I have been a long-time glutton for the bright green seaweed salads sold at most take-away sushi shops. This version uses reconstituted wakame seaweed, deep green, salty and earthy. The smallest slick of sesame oil cuts through the rice wine vinegar and fresh lemon juice. The brightness of the acid is balanced with the rich umami flavour of the soy sauce and the subtle heat of the dried chili. To welcome the New Year and revitalise an overwhelmed palette wakame seaweed salad just might become an annual tradition.

Utagawa Kuniyoshi (歌川国芳), Toto meisho 東都名所 (Famous Places in Edo) / Omori 大森1830-35, woodblock printed by Kagaya Kichibel (加賀屋), 25.4 x 36.7 cm, The British Museum

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The colour orange has always been one of warning used for it’s eye-catching qualities to delineate danger. The pigment was produced through a difficult process of grinding down madder, the pink root of a small bush. Madder is often used to make ‘rose madder genuine’ watercolor paint but when used as a dye, a rich shade of orange-red will emerge when a bit of alum is added to the bath (1). The dependence on the natural madder pigment did not end until 1869 when the specific chemical that causes the red-orange coloration was replicated in a formula. Over the past 30 years there has been a small revival within the industry to relearn the techniques associated with natural dye production.

Margaret Preston, Still life: fruit (Amhem Land motif), 1941
oil on canvas, 43 x 53.3 cm, National Gallery of Australia

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