Wednesday, February 27, 2013
Joachim Beukelaer (Flemish painter c 1534-c 1574) Market Scene - Selling Poultry 1563
Pieter Aertsen (Dutch Northern Renaissance Painter, c 1508-1575) Martha Preparing Dinner Cooking birds
Bartolomeo Passarotti (Italian artist, 1529-1592) Les marchandes de volaille, 1577 Selling birds
Pieter Aertsen (Dutch Northern Renaissance Painter, c 1508-1575) Kitchen Maid in an Interior Preparing birds
Joachim Beukelaer (Flemish painter c 1534-c 1574) The Four Elements Air Poultry vendors
Pieter Aertsen (Dutch Northern Renaissance Painter, c 1508-1575) A Cook with poultry
Pieter Aertsen (Dutch Northern Renaissance Painter, c 1508-1575) Market Scene Selling birds
Floris Gerritsz van Scooten (Dutch artist, 1590–1655) Larder
Joachim Beukelaer (Flemish painter c 1534-c 1574) Kitchen Interior 1560s
Gabriel Metsu (Dutch Baroque Era Painter, 1629-1667) The Poultry Seller
Joachim Beukelaer (Flemish painter c 1534-c 1574) The Well-Stocked Kitchen including fowl
Gabriel Metsu (Dutch Baroque Era Painter, 1629-1667) The Poultry Woman
Bernardo Strozzi (Italian artist, c 1581-1644) Kitchen The Cook preparing the poultry c 1620
Rembrandt Harmenszoon van Rijn (Dutch artist, 1606-1669) Plucking Fowl
Vincenzo Campi (Italian painter, c 1536-1591) Poultry Vendors
1651 Frans van Mieris the elder (Dutch artist, 1635–1681) Lady Stuffing a Bird
1680s Abraham Hondius (Dutch painter, c.1625–1691) Man with Dead Birds
Henry Walton (English artist, 1746-1813) The Market Girl
Nathaniel Bacon (English painter, 1585–1627) Cookmaid
Unknown English artist, A maid in a kitchen, seated by a table laden with birds and poultry
Henry Walton (English artist, 1746-1813) Plucking the Turkey
Gustave Courbet (French artist, 1819-1877) Girl with Seagulls Trouville
Henry Charles Bryant (English artist, 1835–1915) Market Scene 1878 Selling birds and poultry
William Henry Hunt (English artist, 1790-1864) Plucking the Fowl
Henry Charles Bryant (English artist, 1835–1915) Portsmouth Market 1883 Birds and poultry at market
The Domestic Encyclopaedia: or, A Dictionary of Facts, and Useful Knowledge by Anthony Florian Madinger Willich. London 1802
"PIGEON-HOUSE, or DoveCote: a structure usually of wood, for the accommodation and rearing of pigeons.
"Dove-cotes ought to be built of a moderate height, and spacious, so that the birds may find sufficient room to fly about them with ease; and, in case they spy an external object which should alarm them, that they can readily escape. In constructing the nests, it will he advisable to interweave wickers, in imitation of those formed by wild pigeons; as they will thus be more easily domesticated, and have no inducement to forsake their habitations.
"Should any repairs become necessary in the cote...it will be proper to complete them before the middle of the day; because, if the pigeons be disturbed in the afternoon, they will not rest quietly during the night, and the greater pan will perhaps sit moping on the ground, till the ensuing day. Such unfavourable accidents, in the breeding season, will either occasion the destruction of ninny eggs in embryo; or, if there should be any nestlings, they will consequently be starved.
"In Parkinson's Experienced Farmer, we meet with a remark made by a skillful pigeon-breeder, who cautioned him "against letting the first-flight fly to increase his stock," but advised him to take them without exception; because they will otherwise appear at the Benting season, that is, between seed-time and harvest, when pigeons are very scarce, and many of the young birds would pine to death, from mere weakness.—Pigeons rise early: and, as they require to be supplied with food only during the benting season, it should not be carried to the cote later than three or four o'clock in the morning: for, if it be served after that hour, they will hover restlessly about the house, and thus be prevented from taking their proper exercise. During the greater part of the year, they ought to provide their own food; as they will find abundance in the fields, from the commencement of harvest to the end of the sowing season...those which are constantly fed at home, will not be prolific.
"The utmost cleanliness ought to prevail in pigeon-houses: hence the holes should be carefully examined, before the breeding-season arrives. If any of the young die during the summer, they will speedily become putrid, and emit a disagreeable stench, which is extremely injurious to the inhabitants of the dove-cote: thus, from the insupportable filth, and smell, they are often unwillingly compelled to quit the eggs laid for a second brood; so that the principal part of the season is lost.
"Farther, as pigeons are very liable to be infected with fleas, all the nests ought to be cleaned; and, if it be conveniently practicable, they should be washed out, and the dung, or oilier impurities removed, immediately after the first flight is hatched: this business, however, should, on all occasions, be performed at an early hour in the morning; and the remaining eggs must likewise be removed, so as to render the habitation perfectly clean for the harvest-flight.
"Thus managed, pigeons will thrive and multiply to an uncommon degree; but, as they have a great antipathy to owls, which, sometimes enter their habitations, such intruders must be immediately destroyed, rats, cats, weasels, and squirrels are likewise their mortal enemies, and will speedily depopulate a whole dove-cote. To prevent these depredations, it will be necessary to examine the different avenues to the pigeon-house, regularly once a week, or oftener, and with minute attention."
The American Domestic Cookery by Maria Eliza Ketelby Rundell New York 1814
"Pigeons: Bring two young ones at a time: and breed every month, if well looked after, and plentifully fed. They should be kept very clean, and the bottom of the dovecote be strewed with sand once a month at least. Tares and white peas are their proper food. They should have plenty of fresh water in their house, Starlings and other birds are apt to come among them, and suck the eggs. Vermin likewise are their great enemies, and destroy them. If the breed should be too small, put a few tame pigeons of the common kind, and of their own colour, among them. Observe not to have too large a proportion of cock-birds: for they are quarrelsome, and will soon thin the dove-cote.
"Pigeons are fond of salt, and it keeps them in health. Lay a large heap of clay near the house, and let the salt-brine that may be done with in the family be poured upon it.
"Bay salt and cummin seeds mixed, is a universal remedy for the diseases of pigeons. The back and breasts are sometimes scabby: in which case, take a quarter of a pound of bay salt, and as much common salt, a pound of fennel seeds, a pound of dill seed, as much cummin seed, and an ounce of sassafras; mix all with a little, wheaten flour, and some fine worked clay; when all are well beaten together, put it into two earthen pots, and bake them in the oven, when cold put them on the table in the dove-cote; the pigeons will eat it, and thus be cured."
BENEDICTION of The DOVE-COTE, COCK and HEN ROOST, and OTHER AVIARIES.
From The Protestant's Companion: A Collection of Presevatives Against Popery published by T Brettell, London. 1829
"Everlasting God! before whose view are all the angels, and by whose nod all things are governed, who also, in thy excellence, doth not cease to regard the meanest objects which are necessary for human frailty, and who givest food to all flesh, and fillest every living being with blessing; as supplicants we implore thee to shed thy benediction on this pigeon-house (or poultry, or keep of geese, ducks and drakes, &c.), that redounding to us, thy servants, by the agency of thy grace, the glory of thy majesty may be exalted."
This is a painting, That I find just plain confusing - intriguing, but confusing. The Met says, "Degas made sketches of this composition in a notebook he used during his second stay in Rome in 1857-58. Originally conceived as a depiction of a pensive woman overlooking an oriental metropolis, the picture assumed a mysterious air When Degas added the two red ibises around 1860-62. "
Edgar Degas (1834-1917) Young Woman with Ibis 1860-62
Tuesday, February 26, 2013
Antonio Paoletti was a 19th century Italian portrait & genre painter, who lived most of his life in Venice. He was entranced by scenes of young & old going about their daily lives, often feeding the birds in front of the incredible architecture of Venice. He exhibited in Milam, Turin & Rome, winning the Venice prize in 1894. He would have understood my excitement at seeing flocks of birds returning to our countryside.
Saturday, February 23, 2013
Friday, February 22, 2013
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) The Chocolate Girl 1743
Food historian Patricia Bixler Reber tells us in her blog Researching Food History - Cooking and Dining, that chocolate is made from the seeds of the cacao tree. Seed pods were picked, opened, & fermented for a few days, as they dried. In the 18th-century, the beans were roasted in a pan, pot, or roaster on the hearth. The shells were removed leaving the usable chocolate "nibs." The nibs were ground down into a paste by using a stone or steel metate & mano or in a choclate mill. Further grinding, conching, resulted in a smooth texture.
Jean-Etienne Liotard (Swiss artist, 1702-1789) Madame Liotard and her Daughter
Marylander Pat Reber shared 2 primary sources from the 1700s explaining chocolate preparation. "The Cacao...a Seed...when they have been divested of their Shells by Fire, and are afterwards peeled, and roasted in a Bason, before a moderate Fire, they are pounded in a very hot Mortar. The Americans bruise them with an Iron Cylinder, on a flat Stone made very hot; they are then formed into a Paste, which is afterwards boiled with Sugar; and this is called plain Chocolate. But if it is to be enriched with a fine Odour, four Pounds of this Paste, and three of powdered Sugar, are worked together in a Mortar, or on some Stone..." (Spectacle de la Nature. Noël Antoine Pluche. 1766)
Jean-Etienne Liotard (Swiss artist, 1702-1789) Le Petit Déjeuner
"The Cacao seeds are roasted like coffee...When the kernels are perfectly purified, they are pounded in a mortar of heated iron over burning charcoal, and thus reduced to a coarse paste, which is set to cool on a marble slab. A second rolling is bestowed with a steel cylinder on a smooth freestone, and as soon as the paste becomes sufficiently smooth, it is mixed with sugar in a hot basin and poured into tin moulds..." (The Encyclopædia of Geography, Hugh Murray. Phila: 1837)
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) La Chocolatiere c 1744
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) La Chocolatiere
Jean-Etienne Liotard (Swiss artist, 1702-1789) Mademoiselle Louise Jacquet
In 2006, the Frick Collection presented the works of Jean-Étienne Liotard (1702-1789), this artist's first in North America and one of his few anywhere. The review in the New York Times asked, "Liotard? He's a specialty item now, but in his era, Enlightenment Europe, he was a smash success. Even then he was seen as a maverick, a figure of contradictions. He was Swiss, but interesting; he was a stone-cold realist in an age of rococo frills. He had ultra-fancy patrons — princes, a pope, Madame de Pompadour — but a provincial education. He was a vigorous mover; he rarely stayed in one place for long. But he wasn't a shaker: he sparked no new style, inspired no disciples.
Jean-Etienne Liotard (Swiss artist, 1702-1789) La Belle Lectrice
"His apartness was as much circumstantial as personal. He was born in Calvinist Geneva, far from a Parisan art world dominated by the fashions, politics and hierarchies of the Royal Academy. Rather than study history painting, the prestige genre, he started out as a portrait miniaturist, steady-income work. In a great age of oil paint, he was partial to pastel. But he also mastered enamel work, printmaking, watercolor and drawing, a true high-low mix.
Jean-Etienne Liotard (Swiss artist, 1702-1789) Princess Louisa
"He had itchy feet. He worked in Paris for a while, traveled with a French patron to Italy, then with a British sponsor to Constantinople. Little of the art he did there survives, though the show includes...one of a European lady in elaborate native dress. Other artists might have made her exotic; under Liotard's clinical, detail-obsessed gaze she's an anthropological specimen.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789 Empress Maria Theresa Archduchess of Austria
"...the large self-portrait, known as "Liotard With a Beard." Beards were out of fashion in 18th-century Europe. He had grown his while in Turkey. Long, full and unruly, it was a bold cosmetic statement and, it turned out, a public relations coup. Heads turned when he walked the streets of Paris. People called him the Turkish painter. Commissions piled up.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Charlotte Marie Cazenove 1765
"He kept moving. He went to Vienna, where he established a working friendship with the Empress Maria Theresa. It says something about Liotard's character that he maintained long-term contact with this particular court, the most austere and least corrupt in Europe. And it says something about his gifts that the empress gave him the commissions she did.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Jean-Etienne Liotard (1758-1822) 1760
"Other artists got to do big-gun official portraits, the kind that turned a pawky prince into Adonis or Zeus. Maria Theresa asked Liotard to draw portraits of her children, intimate pictures that a fond mother could carry on her travels. She had quite a brood, 16 children in all.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Johanna Gabrielle, archiduchesse d'Autriche (1750-1762) 1762
"Whatever Liotard was paid for these pictures, it was too little. He poured every ounce of his talent into them. Each seamlessly blends several mediums: black and red chalk, pencil, pastel and watercolor. Details are executed with a watchmaker's precision. To give the figures a naturalistic glow, Liotard colored the reverse side of each thin sheet of paper. Marie-Antoinette is bathed in a rosiness that you sense rather than actually see.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Lady Charles Tyrell (1705-1778) 1746
"The Vienna stays were harmonious interludes in larger journeys. Were Liotard working today, he would live in airports, waiting for the next flight to Venice, Milan, Darmstadt, Lyon. He spent two years in London, then two in Holland, where, at 54, he married. He shaved off his beard for the wedding. He didn't need it anymore. He was rich and famous, and ready at last to be a good Swiss householder.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Pierre Lullin (1659-1762) 1762
"The portraits kept coming, of his growing family, of Genevan merchants and intellectuals. They are delightful, not just for their candor and skill but for their variety...and you discover that there was absolutely nothing he could not do with pastel.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Lady with a Jonquil 1750-59
"But his kind of realism was veracity, not verismo. Facts were his strength; truth of observation his goal. He delivers breathtaking flourishes, but always contained within solid forms. For him exactitude is the rule; but this means flaws are unavoidable, his sitters' and his own.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Amalia, archiduchesse d'Autriche (1746-1804) 1762
"Is his the face of the Enlightenment? Yes, and the Enlightenment at its best. It speaks of no sanctity, no pretension, no Fall, no fear, no ideology, no "God's in his heaven, all's right with the world." It says: The world is all right, period. And all wrong. All everything. And the artist — worker, entertainer, recorder — is happy to be here, wherever here is. For Liotard it seems to have been pretty much everywhere.
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Louise-Marguerite Marcet (1764-1788) 1785
"It is a concrete sense of hereness that makes his art refreshing. It makes every picture feel as if he approached it as his first and the last picture; as if no picture had a memory of any other; and as if each was an experiment, a flier to who knew where. Some took off; some didn't. He didn't fret over "great." He moved on to see what was next. He was wise that way, cool that way, modern that way."
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Antonia (Marie-Antoinette) archiduchesse d'Autriche (1755-1793) 1762
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Denis-Joseph La Live 1759
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Christine, archiduchesse d'Autriche (1742-1798) 1762
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Francois Tronchin (1713-1788) 1758
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Caroline, archiduchesse d'Autriche (1752-1814) 1762
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Elisabeth, archiduchesse d'Autriche (1743-1809) 1762
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Jean-Louis Maisonnet (1721-1812) 1755
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Josepha, archiduchesse d'Autriche (1751-1767) 1762
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Jeanne-Marie Liotard (1726-1789) 1752
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Marie Anna (Marianne), archiduchesse d'Autriche (1738-1789) 1762
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Marc Liotard de la Servette (1783-1827) 1775
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Paul Girardot de Vermenoux (1739-1789) 1760-1770
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Marie-Therese Liotard (1763-1793) 1779
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Madame Sophie de France (1734-1782) 1750-51
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Fredericke van Reede-Athlone at age 7
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Marie Jeanne Liotard (1761-1813) 1779
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Marie-Therese d'Autriche (1717-1780)
Jean-Etienne Liotard (Swiss-French artist, 1702-1789) Maria Josepha of Saxony, Dauphine of France.
See Jean-Étienne Liotard, the Unrelenting Eye of the Enlightenment by Holland Cotter New York Times June 23, 2006