Light & Night

Morland: Woman Reading by a Paper-Bell Shade: YCBA

Winter’s hard for me. I don’t like the lack of light, I don’t like the shortness of the days and how the sky is pale and stretched in these months. But this is a good time to think about basic needs, like light and heat and warm clothing.

The New York Times came to my rescue this morning with the article by Holland Cotter (and others) on “Artworks That Shine in New York Museums.” Cotter is one of my favorite critics and writers, and he, along with Karen Rosenberg, Roberta Smith, and other NYT critics, have selected some interesting pieces.

De La Tour: Penitent Magdalen, MMA

Ken Johnson leads with Georges De La Tour’s Penitent Magdalen. It’s earlier than my usual era but I was attracted to the image of the flame in the mirror; it’s not just a lighting device, of course, it’s a metaphor, but the rendering of the candlelight, and the use of the mirror to boost that light, tells us about how 17th and 18th century painters saw light, and how light was manipulated. We know from our simple experiments at work that mirrors really do amplify light, and that large stately rooms would only glitter with lots of candles and lots of mirrors. Light gives us a window on economy and wealth, as a precious commodity that cost money or labor to have.

Vermeer: Mistress and Maid, The Frick
Vermeer: Mistress and Maid, The Frick

Cotter looks at Vermeer’s Mistress and Maid at the Frick, and notes the lack of obvious natural light or other light sources, and the overall dark mood of the scene. But Cotter’s writing shines, as he concludes the little essay: Whatever Vermeer’s anxious thoughts, light stayed on his mind. It scintillates in the pearls the woman wears in her hair and shines in the butter-yellow silk of her jacket. And the blacked-out space the women occupy turns out to have sunlit windows after all. We see them reflected in glassware on the writing table as tiny lozenges of light, far in the distance, as if at the end of a tunnel, but there.

Writing like that is its own kind of light, a joy to have in the daily newspaper on a cold, short day. In all, four critics look at five paintings each from a range of cultures and time periods. It’s enough to make one want to hop a train south.

Winter Holidays

NGA-The Skater
NGA-The Skater

Family’s here (OK, my mother; we’re a small family) and it’s time to pay attention to the people in the room instead of writing. So to celebrate winter, and the shorter days (tell that to a child waiting for Christmas), here’s one of my favorite paintings by Rhode Island native Gilbert Stuart.

NGS- The Skating Minister
NGS- The Skating Minister

It has a cousin here, by Sir Henry Raeburn. The selection of Raeburn’s portraits online (there are 25 in the National Galleries of Scotland) is stunning. What a treat for wintery days in these dark but luminous works.

Sweet Little Dresses

Bellville Sassoon rang no bells for me, being American. So I did the google and ended up at the V&A, of course. They have a Bellville Sassoon evening gown, which is a lovely column of froth and beads, but not my taste.

V&A T.17-2007
V&A T.17-2007

This led me to gifts from David Sassoon,including this miniature dress, a quarter-scale couture reproduction of a Jean Dessès dress.

Whoa. That’s really interesting!

There’s a Madame Grès as well, and the V&A catalog record notes:

“These scaled copies use the same fabrics and show the superb craftsmanship as their full size equivalents. The V & A have four of these miniature dresses which the donor acquired from the archive of the wholesale house of Dorville. Wholesalers would buy the copyrights to couture dresses so that they could sell modified ready-to-wear copies. It is thought that these quarter-scale dresses were sold alongside the patterns to show how the dress looked when made up.” Ever see the Newman-Woodwar movie A New Kind of Love?

What I love about the the Dessès dress is how much it reminds me of these dresses:

KCI 1845 English Day Dress
KCI 1845 English Day Dress
V&A ca. 1895 T.17-1985
V&A ca. 1895 T.17-1985

That’s one of the fun things about fashion, and about history. Details emerge and re-emerge in style and design (yes, historicism) and connect our present with the past. Museums strive to do that every day, but fashion can do it on the street and in your closet. That’s another kind of living history.

Consider the Chicken

https://i0.wp.com/farm9.staticflickr.com/8311/7995409969_f925f8a7eb_n.jpg
Nobody puts Dumber in a pot

With apologies to the late David Foster Wallace

The majority of us do not consider the chicken. We may consider whether the package of chicken we purchase is free range, organic, cage-free, grain fed, cruelty free. But we are unlikely to think about the implications for the physical being, the essence of chicken-ness, that the chicken’s conditions create for it.

And I am here to tell you that the cage-free, organic, free-range chickens and chicken parts that you purchase at Whole Foods or your other large vendors bear little to no relationship to the actual free-range, catch-as-catch can, ne’er-do-well chicken of the historic barn yard. For one thing, living history chicken is ripped.

https://i0.wp.com/farm9.staticflickr.com/8205/8243387583_072e352ff9_n.jpgIt’s well-developed physically, with strong, sturdy bones and robust ligaments. Its musculature is tight: this is not a bird in need of a personal trainer. Its meat, when cooked, is not white. It is dark meat, not so dark meat, and sort-of white meat. Its taste was described to me as gamey, but I disagree. It was chicken, but earthy, sweet and fresh and rich.

But all that came after the meeting of human, knife, and chicken.

Disassembling the chicken fell to me; I declined rubbing butter into flour having prevented a fall down cellar stairs by putting my hand in fresh goose guano, so I after I washed my hands, I addressed the chicken in its bowl, and took up a knife.

Dumber & Friend

By this time, post-carrots, -parsnips, -squash, -string, -tallow and -suet, the knife lacked the purest essence of knife, that is, sharpness. But it functioned well enough for the task, with some persuasion. The skin was much thicker and more resilient than a store-bought chicken, and greasier, though not in an unpleasant way at first. The muscles were well-developed, and pink. Rosy pink, deep pink, dark like wine. There were no large slabs of the shiny, flaccid, pale meat you find on the chickens in the store. Those aren’t chickens any more: those are products.

The process of quartering the chicken took strength and pressure on the knife, and the strength of my hands. I did have to rip joints apart, and break the carcass’s back. All of this had a sound, and a mild smell of chicken, mixed with the melting tallow. But it was the sound that, with the greasy, slick knife, and the grease that soon covered my hands and wrists, that kept bringing me back to what I was doing, and that, when the bird was broken apart and in the pot and my hands washed, again (they itched), send me outside and up the hill for air and sky.

We boiled the chicken in a kettle we’d already boiled crook neck squash in; later, we added sage, thyme, parsnips and carrots. It was delicious. The broth was incredible, and the whole meal very simple. That’s the whole of the recipe: boil a chicken, add herbs and root or fall vegetables, boil until done, serve. Use any uneaten broth and bones/meat for  stew, pie or other dishes. That’s it.

The product chickens from the market are bred to fall apart. They haven’t got what a running, pecking, eating everything chicken’s got in muscle, ligament, and tendon.

On Sunday, after we came home, I looked at the food in our cupboards. There were boxes, cardboard, plastic, layers of packaging. The cheese was square. These things came from the good market, but were they food, or were they products? I felt like a passenger on the ship in Wall*E, and I was appalled.