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Come Dine With Art History: See What It Has Cooked For You


Come Dine With Art History: See What It Has Cooked For You

Socrates said that we eat to live, not live to eat (although his wife must have thought differently since according to the legend she was terribly fat). Well, even if ‘be, or not to be’ can be question, ‘eat or not to eat’ has only one answer: EAT.
Welcome to the feast!

1. Botticelli’s Virgin Feast


Sandro Botticelli, The Story of Nastagio degli Onesti: The Banquet in the Pine Forest, 1483, Florence, Palazzo Pucci

Botticelli illustrated a story from Boccaccio’s Decameron about Nastaggio and his unrequited love. When heartbroken Nastaggio goes for a walk into the forest, he witnesses a horrendous scene in which a girl who has rejected her lover is chased by him. Nastaggio decides to organize a banquet for his crush in the same forest. When a traumatized girl sees what happens to the chased girl, as she eventually is eaten by hunt dogs, she instantly changes her mind about Nastaggio. Romantic.

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2. Leonardo’s Last Supper

last supper

Leonardo da Vinci, Last Supper, 1498, Milan, Santa Maria delle Grazie

For us this fresco is just a starter. Unfortunately, so many hungry people want to see this fresco that it fades away because impatient Leonardo used a different than traditional technique: he would apply new layers of paint before the previous ones had been sufficiently dried. This resulted in an image which began fading already in Leonardo’s times and required restoration multiple times. Leonardo must have been hungry while painting this scene, what else could have possibly rushed him so much?

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3. Van Gogh’s Potatoes

potato eaters

Vincent van Gogh, The Potato Eaters, 1884, Van Gogh Museum, Amsterdam

Van Gogh lived in a small mining village for a while. He often went to practice his drawing to the miners, who would pose for him for a little fee. Here, he tried to depict a simple mining family who after the hard day gathered together to eat potatoes for dinner, as they had nothing else. Van Gogh used earthy browns and greens to show peasants’ connection to earth and the potatoes they had dug up themselves. Look at their hands and faces- these are truly hardworking people.

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4. Bruegel’s Wedding

Pieter Bruegel the Elder, The Peasant Wedding, 1567, Kunsthistorisches Museum Vienna

Pieter Bruegel the Elder, The Peasant Wedding, 1567, Kunsthistorisches Museum Vienna

Bruegel also depicts peasants, yet here they are cheerfully celebrating a newly married couple (spot the bride sitting under a paper crown which looks like a lantern, the groom is not present according to the old Flemish tradition). They don’t have much, soup, porridge and bread, but it’s seems enough to have fun.

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5. Velázquez’s Eggs


Diego Velázquez, Old Woman Frying Eggs, 1618, National Galleries Scotland

Before Velázquez became a first painter to the Spanish king Philip IV, he often depicted simple people in daily situations. Here, he dedicated an entire painting to a woman, who looks like she is blind, who is frying eggs. Is the boy her grandson, or a small thief who’s trying to steal her bottle of oil and a pumpkin? We don’t know. But we can admire the masterful rendering of the play of light on different surfaces: glass, brass, ceramic, textile…

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6. Tiravanija’s Free Meal

rirkrit free

Rirkrit Tiravanija, Untitled (Free), 1991

The act of eating can be an artwork in itself as Rirkrit Tiravanija intended to prove with his conceptual work Untitled(Free) from 1991. He decided to cook a free Thai vegetable curry for the visitors of the 303 Gallery in New York. Everyone would get a portion and eat it together with others, often sharing a table with strangers.
Tiravanija wanted the visitors to socialize in the gallery space, which in turn would become cozier, and to bring art closer to the people. Making new friends and sharing a meal can be art, yay!

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7. Manet’s Controversial Luncheon


Édouard Manet, Luncheon on the Grass, 1862-1863, Musée d’Orsay

A naked lady wouldn’t normally shock a 19th-century gentleman if she looked like Venus or was called Danae. But a naked lady who looked like a contemporary French courtesan, who moreover sat in company of clad men, was simply outrageous. In addition, she looked directly at the viewer, as if challenging him and saying: ‘Hey, you hypocrite, don’t you think that you’re like one of these guys next to me who treat women like objects?’ That was too much for the French Salon – the painting was rejected.

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Magda, an art historian-to-be, she writes about art because she cannot make it herself. She loves committed and political artists like Ai Weiwei or the Futurists; like Joseph Beuys she believes that art can change us and we can change the world.


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