Enfilade

In comparison to the nineteenth century, the eighteenth-century offerings are slim, but it’s still hard to tell this story without the latter. Press release (11 December 2014) from the Amon Carter:

Art and Appetite: American Painting, Culture, and Cuisine
The Art Institute of Chicago, 12 November 2013 — 27 January 2014
Amon Carter Museum of American Art, Fort Worth, Texas, 22 February — 18 May 2014

Curated by Judith A. Barter

John Greenwood, Sea Captains Carousing in Surinam, ca.1752–58
(Saint Louis Art Museum)

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This spring, the Amon Carter Museum of American Art invites visitors to feast their eyes on the rich tradition of food in American art with the opening of the exhibition Art and Appetite: American Painting, Culture, and Cuisine. Exploring the many meanings and interpretations of eating in America, Art and Appetite brings together 65 paintings from the 18th through the 20th centuries to demonstrate how depictions of food have allowed American artists to both celebrate and critique everything from trends in the national diet to the broader issues of society and politics. Featuring many iconic works by such noted artists as Edward Hopper, Norman Rockwell and Andy Warhol, the exhibition is on view from February 22 through May 18, 2014. Art and Appetite is organized by the Art Institute of Chicago; admission is free.

John Singleton Copley, Portrait of Mrs. Ezekiel Goldthwait (Elizabeth Lewis), 1771 (Boston: Museum of Fine Arts)

Art and Appetite takes a different approach to the subject of food in American art, contextualizing works to rediscover the meanings they held for their makers and their audiences. Despite the prevalence of works about food, research has rarely focused on the cultural significance of the objects depicted in these paintings, nor has it addressed how these images embodied changing ideals throughout the nation’s history. Thematically and chronologically organized, Art and Appetite breaks with the traditional histories of the genre to explore how these works illuminate American attitudes about patriotism and politics, identity and gender, progress and history, and production and consumption. The exhibition examines 250 years of American art, from the agricultural bounty of the “new world” to Victorian-era excess, debates over temperance, the rise of restaurants and café culture, the changes wrought by 20th-century mass production, and much more.

From the earliest years of the newly established United States, American artists such as Raphaelle Peale used still-life painting to express cultural, political and social values, elevating the genre to a significant aesthetic language. Later, in the antebellum era, depictions of food highlighted abundance, increasing wealth and changing social roles, while elegant decanters of wine and spirits in still-life paintings by John F. Francis reflect the prevalence of drinking and the mid-century debates over temperance. During the Gilded Age, despite the implications of the term, American artists moved away from excess and eschewed high Victorian opulence in favor of painting the simple meal. Many artists, such as William Harnett and De Scott Evans, also used images of food to serve up biting political commentary that addressed the social and economic transformations of the 1880s and 1890s.

In the 20th century new ways of eating and socializing began to change depictions of food in art. Restaurant dining—still novel in the United States in the late 19th century—became a common subject in the works of William Glackens, John Sloan and others. Café and cocktail culture, described in the work of Stuart Davis and Gerald Murphy, became increasingly important even as Prohibition banned the consumption of alcohol. Modern artists employed food in their radically new explorations of pictorial form, all the while challenging national ideals of family and home. Finally, during the 1950s and 1960s, Pop artists, among them Andy Warhol and Roy Lichtenstein, addressed the ways in which mass production and consumption dramatically altered the American experience of food. Hamburgers, fries and cakes were depicted as objects of mass-produced foodstuffs without human referent. Artists employed new means to explore the visual power of advertising, the standardization of factory-produced meals and the commercialization of American appetites.

Today, as professional and home chefs increasingly turn toward local, organic food and American society ponders its history as a fast-food nation, this exhibition offers visitors the chance to look at depictions of American food and culture with new meaning and fresh eyes.

Art and Appetite: American Painting, Culture, and Cuisine was organized by the Art Institute of Chicago. It is supported in part by generous contributions from Central Market, the Fort Worth Promotion and Development Fund, and the Ben E. Keith Foundation.

Also, see the online cookbook from The Art Institute of Chicago.

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From Yale UP:

Judith A. Barter, ed., with essays by Judith A. Barter, Annelise K. Madsen, Sarah Kelly Oehler, and Ellen E. Roberts, Art and Appetite: American Painting, Culture, and Cuisine (New Haven: Yale University Press, 2013), 248 pages, ISBN: 978-0300196238, $50.

Food has always been an important source of knowledge about culture and society. Art and Appetite takes a fascinating new look at depictions of food in American art, demonstrating that artistic representations of edibles offer thoughtful reflection on the cultural, political, economic, and social moments in which they were created. Artists used food as prism through which they could celebrate and critique their society, expressing ideas relating to politics, race, class, and gender.  With a focus that ranges from Colonial still lifes of the 18th century through the Pop artists of the 20th century, this lively publication investigates the many interpretations of eating in America.

Art and Appetite features still-life and trompe l’oeil painting, sculpture, and other works by such celebrated artists as John Singleton Copley, Raphaelle Peale, Lilly Martin Spencer, William Michael Harnett, William Merritt Chase, Elizabeth Paxton, Norman Bel Geddes, Stuart Davis, Edward Hopper, Alice Neel, Wayne Thiebaud, and Roy Lichtenstein, among others. Essays by leading experts address topics including the horticultural and botanical underpinnings of still-life painting, the history of alcohol consumption in the United States, the cultural history of Thanksgiving, and the commercialization of food in the world of Pop art. In addition to the images and essays, this book includes a selection of vintage recipes for all-American dishes.

Judith A. Barter is the Field-McCormick Chair and Curator, Department of American Art, at the Art Institute of Chicago.

From the exhibition press release:

Genius and Grace: Franҫois Boucher and the Generation of 1700
Cincinnati Art Museum, 14 February — 11 May 2014

Curated by Esther Bell

François Boucher, Venus Presenting Aeneas to Jupiter and Juno, 1747, black chalk, pen with brown ink, and brush with brown wash and touches of white gouache on tan antique laid paper (Boston: The Horvitz Collection)

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This spring, the verve, grace, and exuberance of 18th-century French drawings will be on display at the Cincinnati Art Museum. The Cincinnati Art Museum will show drawings by the talented group of artists responsible for an unprecedented level of artistic and cultural production in the France of Louis XV in an exhibition titled Genius and Grace: Franҫois Boucher and the Generation of 1700, on view from February 14 to May 11, 2014. Franҫois Boucher, Charles-Joseph Natoire, Carle Vanloo, and their contemporaries, born in or around 1700, executed virtuoso compositions whose refined elegance epitomizes the French grand manner. Along with Boucher, Natoire, and Vanloo, the exhibition will also celebrate lesser known but equally talented figures such as Louis-Gabriel Blanchet and Joseph Franҫois Parrocel, as well as several pastels, including a rare example by Jean-Baptiste-Siméon Chardin. More than seventy master drawings, many of which have never before exhibited or published, will be on view.

This exhibition is organized by the Horvitz Collection in Boston—the preeminent private collection of early French art in the United States. Twenty-nine of the most distinguished artists of this period will be featured, along with a fully illustrated catalogue edited by Alvin L. Clark, Curator of the Horvitz Collection and the J.E.Horvitz Research Curator, Department of Drawings, Harvard Art Museums/Fogg Museum. The Cincinnati Art Museum venue for Genius and Grace: François Boucher and the Generation of 1700 is organized by Dr. Esther Bell, Curator of European Paintings, Drawings, and Sculpture; it is the first old master drawings exhibition to take place at the Cincinnati Art Museum in more than thirty years. “These are some of the most beautiful and sexiest images the Old Masters ever produced,” commented Cincinnati Art Museum Director Aaron Betsky. “They are stunning in their display of talent and the sensuality they convey.”

François Boucher, Recumbent Female Nude, ca. 1742–43, red chalk, heightened with white chalk  (Boston: The Horvitz Collection)

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Sixteen of the works on view were created by Franҫois Boucher, who an eighteenth-century critic called “the painter of voluptuousness and grace.” One of the artist’s drawings, Recumbent Nude, depicts a luscious female figure. This may, at first, seem to be a provocative and erotically charged image, but it may have simply developed from a figure study intended to be used when painting a sea nymph or other historical subject. Also part of the exhibition is Carle Vanloo’s Saint Augustine Disputing with the Donatists, which has never before been exhibited. This masterpiece is remarkable for its heavy contours and energetic forms encased within a scene of monumental Italian architecture.

According to Cincinnati Art Museum Curator Dr. Esther Bell, “A selection of master drawings was selected that best tell the story of the unfolding eighteenth century. Not only will visitors be able to enjoy the sumptuous forms of the high Rococo, but also the virtuoso drawings that resulted from rigorous academic training and the cool and classicizing manifestations of these artists’ Italian journeys.”

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From Artbooks.com:

Alvin Clark, ed., Genius and Grace: Franҫois Boucher and the Generation of 1700 (Boston: The Horvitz Collection, 2014), 151 pages, ISBN: 978-0991262502, $34.

Genius and Grace: Franҫois Boucher and the Generation of 1700 features over seventy master drawings from the Horvitz Collection, Boston—widely considered the preeminent collection of French art in the United States. The exhibition features works by a group of artists known as the Generation of 1700. This talented group of artists born in or around the year 1700, such as François Boucher, Charles-Joseph Natoire, Carle Vanloo, and their contemporaries, will be celebrated for their virtuoso compositions whose curvilinear elegance epitomizes the French grand manner. From Boucher’s sumptuous reclining female nude, to a rare, early pastel by Jean-Baptiste-Siméon Chardin, to Director of the French Academy Charles Coypel’s mature self portrait—the works on view celebrate Dezallier d’Argenville’s comment of 1745: “A painter’s way of drawing is as distinctive as handwriting and more so than a writer’s style.” Includes: A. Clark, “The Generation of 1700: Draftsmen, Drawings, and Questions”; F. Joulie, “Reflections on the Early Drawings of Boucher and His Contemporaries”; and E. Bell, “Charles Coypel and the Age of Eclecticism.”