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

Read the rest of this entry »

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

Read the rest of this entry »

Hung Liu’s artistic production is a process of recollection – a symbolic excavation.  Having weathered the re-education of artists vis-a-vis Mao’s Cultural Revolution and immigration to the U.S. in 1984, Hung Liu’s influences are richly transcultural.  She is known as one of the very first Chinese artists to study within the U.S. and has since received numerous accolades for her dynamic work.  Starting from anonymous photographs (often of unnamed Chinese prostitutes), Liu’s portrayals pair elements of tradition with contemporary critique.  Vividly, her use of colour challenges her audiences’ emotive links to colour.  In an interview she gave in 1995, Hung Liu refers to her vibrant use of colour, particularly red: “Red is an alarming color. We use red lights to warn people; to tell about danger and to use caution.  In China, red is the color of the national flag. It is also the color of revolution; it suggests blood. Red also is used for celebration; it is festive and is used for such things as weddings, the Chinese New Year, and red banners. I like to work with layers of meaning.” (1)

Hung Liu, Yang, 2008

Read the rest of this entry »

This is a post of firsts. It is my first non-western recipe and painting, it is the first painting by an anonymous artist, the first work to not feature a still life and because of this, the first one to not have a recreation. Beyond all of the firsts, it is an opportunity for me to learn about a section of art history with which I am not overly familiar. Chicken congee is a dish that my partner fondly remembers from his childhood so I was more than happy to make it for him. It is a warm and filling dish that is perfect for the current frosty weather that has recently enveloped Sydney.

Anonymous, Mother Hen and Chicks, Sung Dynasty
Ink & colour on paper, 60.8 x 32.8 cm, current collection unknown

Read the rest of this entry »