This article has been written by the Editor. The historical analyses are purely his own and has not been extrapolated from outside sources.
If you read an article about ‘food art’ then this is where the scholars will often begin their timeline: during the Roman period, or at least with Renaissance or neoclassical paintings of the Roman era. As we will explore more extensively in the next issue, people often consider highly realistic depictions of objects and people as being ‘true art’. This means that many artistic genres, such as Fine Art as well as food art, in the eyes of many academics, begin during the Roman period, such as with their sculptures or mosiacs, or the Renaissance. This Roman cup for instance, created in first century Gaul, modern day France, clearly depicts both food and the intended consumption of it (even if those wishing to eat these fruits here are centaurs as opposed to humans).
In terms of the cup itself here, to quote one of my favourite thinkers Orson Welles, and much like many historical artworks, ‘it is without signature’. Yet this two- thousand-year-old work of art still provides us with an insight into Roman life during the opening stages of the first millennium AD. Around this time for instance, Rome had recently conquered Gaul and so this artefact reveals to us that not only the Roman military, but also Roman culture was embedding itself in this new colony. It can also show us what the Romans used for entertainment (such as the harp), what they wore (notice the togas on the right), their mythology (the centaurs), what they ate (the fruits) and materials they used to eat and drink from.
As mentioned, If you were to research the existence of food art, then many sources will tell you that food only came to feature in art from the Roman, Renaissance or neoclassical era onwards. Yet such a viewpoint is not only narrow but only helps to bolster the growing argument that artistic establishments fail to take seriously art forms outside of the likes of Fine Art (see for instance Vicky Ellis’ feature in Issue 12, ‘Where do I belong?’, where she discusses the difficulties her and many artisans face in trying to establish themselves in the likes of galleries). Indeed, when you take this line of thought into account, then it is perhaps no coincidence that for many academics the subject of food art does not predate that of the Renaissance era, which many see as the dawn of Fine Art. As can be seen here however, it is obvious that artistic depictions of food predate the Roman era and were being created long before the Renaissance.
As shown within these works, food as a subject exists within a variety of art forms and has done since the birth of art itself, which most scholars consider to be that of cave painting. The statue above for instance is from ancient Greece and depicts a woman kneading bread. Even earlier is a cave painting from the Lascaux caves in France, dated some seventeen thousand years ago, that shows us humans hunting for our food. In this regard, it could be said that if experts were a bit more open to considering a variety of art forms within their arguments then we may just find ourselves with more knowledge about the evolution of art itself. Indeed, when it comes to ‘Art’ it is perhaps worth looking beyond the mainstream forms and to the ‘Etcetera’ - for we may just find ourselves with not only a greater understanding of art but of our history, the world, and our place in it.
Religious uses
From the Early Middle Ages right up until the Age of Enlightenment (500 A.D. – c.1700), arguably the key focus of life, apart from preparing for winter, was religion, specifically that of the Christian faith. Of course, the importance of religion during this era is made pretty obvious by all of the scriptures and churches that not only date from that time but still surround us. Yet what also emphasises the significance of religion during the medieval and Renaissance periods, something which is perhaps the most central source when it comes to understanding human perception, was the art that was being created.
As can be seen here in Da Vinci’s ‘The Last Supper’, painted sometime in the late fifteenth century, religion was a key aspect of the artistic movement during what was to be the closing stages of the Middle Ages and the start of the Renaissance. What is more, is that the emphasis is upon that of food. Da Vinci for instance cleverly uses the bread and wine to symbolise the body of Christ yet at the same time provides later viewers, like us, with an idea of what they ate during the time, such as the fruit and fish.
Putting food on the table
Compared to times gone by, acquiring food nowadays is simple: all you need to do is head down to the supermarket, tap your card or hand over a bit of cash and that is it. In fact, people on lower incomes statistically eat more calories, albeit ones that are less healthy as junk food is typically cheaper, than those on higher incomes (University of York studies). Centuries ago, however most food was grown in the fields and storing such produce was a nightmare. So if you had a table absolutely jam packed full of different foodstuffs, then this was not a sign of obesity but wealth. To convey this perception, artists were often commissioned by prosperous families to depict lavish banquets and tables full of exotic foodstuffs, such as citrus fruits and seafoods, to emphasise their wealth.
The desire to convey one’s fortunes caused a surge during the sixteenth and seventeenth centuries of still life paintings. Indeed, if you could put food on the table, then that was great – ‘but this much food?’ George the peasant expresses, ‘Then you must have someone working for you in the fields!’
Interestingly, this work here was in fact painted during the nineteenth century, a time when the popularity of still life had evaporated. It was also painted by someone who is thought to have toyed with ideas of anarchism during his youth, an ideology which condemns the very concept of wealth, Paul Cézanne. Of course, not being as politically outspoken as his friends, such as Jacob Pissaro, who was an anarchist, we will never know Cézanne true political inclinations. Though, what we do know is that after this painting Cézanne would go on to significantly influence the cubist movement of the early twentieth century (our in-depth analyses on cubism can be found in Issue 11 ‘Subconscious Realms’).
Beyond the Visual Realm
When it comes to food art, scholars not only tend to restrict what art forms they include within their studies, but solely focus upon works that visually depict pieces of food. Yet, as mentioned on page eight, food is often displayed within our art forms metaphorically. Above for instance, is a Korean Totem pole. Known as a Sotdae, this was erected in Korean villages prior to the industrial age in the hope that the coming harvest would be a plentiful one. So whilst this piece indeed depicts a bird, its main focus is upon that of food.
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