Craig Stephens: Honey and Cream

Before everything else, this painting demonstrates how a liquid can capture and preserve light. The role of the jar, both in the case of being an art object, and a container of a culinary ingredient, is similar: it conserves the contents (light and honey respectively) and, it mixes them, making the viscid substance appealing to the eye, as well as to the taste. In a way, the jar becomes the epicenter of an active process, artistic for all our purposes. Its placid appearance is misleading, and the lid comes to support that hypothesis: the red color implies on the representational tension occurring down and inside; the apple segment and the creamer's nose, both filtered by the said mix, only add oil to the fire. There is a sense of impending implosion, all the fumes being channeled to the red lid, a valve, which becomes the pictorial counterpoint of this piece.

But this is a three-way composition: the creamer further stabilizes it, providing a soothing outlet. Its neutral color, the color of all colors, becomes the white flag that suppresses the heat, in compositional, as well as in physical-optical terms. We do no see the cream, but the promise of it adds to the sense of balance. Appropriately, it is not the milk that gets spilled here: we can see how the golden light travels further to invade the shadow and become a part of it. A rare battle is without losses; the canvas becomes the land of milk and honey, and I should know...

The combination of two seemingly separate spheres of perception, the taste and the vision, is not incidental. It is well known that presentation is a key component in gastronomy; arranging a serving to appear appetizing demands an artistry immensely valued by connoisseurs. After the aroma, composition and color play the next in importance part in achieving a mouth-watering result. Both visual constituents, much like in painting, they target the aesthetic sense of the consumer. Consequently, this particular choice of subject matter, and its treatment, could be seen as a nod to the restaurant industry and the art of cooking. You know what -- and the art of eating, too.

Giuseppe De Nittis: Madchen am Strand

This painting employs an unusual angle to show its model. The lady is shown striding carefully towards the sea line, helping herself with an umbrella. Her face is intent, focused on the task at hand. The scene evokes endearment: the girl appears almost helpless; it is as if she would rather be supported by a man rather than by her umbrella. The cloudy sky serves to support the sensation of uncertainty and instability.

While on the one hand, I cannot help but root for the comely model, there is something modern in me that revolts against such demonstration of weakness. We are used to paparazzi photographs of our favorite models showing their skin unabashedly. These developments reflect empowerment and abandonment of the image of a "weak and pretty" sex. Pretty - yes; but not weak, by all means.

So while this painting boasts and impeccable composition (the lady forms a classic elongated triangle right in the middle of the canvas), to my view, it holds an historical value first and foremost. This painting could serve as a fine illustration to a book by George Sand, where women, though strong, still, more often than not, are victims - of their environment, of men and of contemporary society.