May, 2020 - Of Art and Wine

The Hand as a Work of Art and Chianti, a Tuscan Red.

Detail of the Mona Lisa by Leonardo da Vinci, c. 1503.

Out of scholarly duty I put in the name of the painting and the name of the artist above, but we all know those hands. They belong to the Mona Lisa, also known as La Gioconda, after the family name of the rich merchant who had Leonardo paint a picture of his wife, Lisa. Since Leonardo never delivered the painting or at least not this painting, but kept it with him until his death in 1519 in France, we don’t know which parts of this might have been the merchant’s wife and which were from Leonardo’s many sketches of people’s features, including hands. Needless to say that the speculation on the origins and even the meaning of this portrait runs a wide spectrum from having her be the image of an ideal mother (done for a member of the Medici family whose illegitimate son’s mother had died in childbirth) to perhaps a type of self-portrait to show Leonardo’s feminine side (see youtube.com). Whatever the actual history, these hands painted by Leonardo are a work of art in and of themselves.

When standing close up to the painting (yes, in previous years one could go right up to the painting without any barriers, and if it was a visit on a weekday evening, there might not be anyone else standing there!), the hands are so full in dimension and so life-like that they seem to give off warmth. You really feel that if you could touch them, somehow they would feel alive. They rest calmly in her lap, one folded over the other, the fingers of the right hand partly separated, and the skin tones warmly colored, all of which may indeed remind many of their mother or grandmother’s hands. That stroke of universality may be part of the magic that makes the painting great. A well-studied knowledge, shown in this painting by the use of shadows and soft edges coupled with a keen understanding of the structure of the human hand, underlies the ability to create such a life-like rendering. The refinement and beauty of these soft, calm hands make us marvel at them even today.

Michelangelo’s David, close up of hand holding a rock. 1501-1504.

Michelangelo was no slouch when it came to representing the hand (or anything else). In the close-ups above from his statue of David, we see the young underdog. (Underdog? A statue over 17 feet! But just imagine Goliath.) He hides a secret weapon, a common rock, but one he knows how to put to good use. In marble, Michelangelo captures the tension of the moment by showing the veins in the hand standing out. One can almost feel the blood pulsing through, as David surely knew he would have but one chance to bring down his gigantic foe. The side view of the hand with the thumb facing forward is cocked rather casually at his side, the rock well hidden, a ruse to tell Goliath there was nothing to see there. The hands on that statue are out of proportion in terms of their size, but those large hands indicate prowess and strength. In fact, the whole purpose of the statue, which originally stood in front of the Palazzo Vecchio, Florence’s city hall, was as a symbol to all who visited Florence that the city’s energetic and shrewd youthfulness would see it through travails that might overpower others. Florentines were strong, young, capable, and crafty – Beware!

But what about the hand in more modern painting and sculpting? Has its beauty or its subtleties been lost in all our rush to the abstract? Well, just take a look at this wonderful Edward Hopper piece, New York Interior ( 1921)

New York Interior by Edward Hopper, 1921. Whitney Museum of Modern Art.

In this detail of the painting above, we see no thread, yet we can tell by the position of the fingers and the tension in the muscles of the hand and arm that the lady is pulling a thread through the cloth that lies on her lap, perhaps a lovely dress she intends to wear or even the hem of the one she has on. The hollow in her back along the spine is caused by that raised arm and its pulling motion. Writing in an article in the Washington Post, Sebastian Smee calls that hand “electrifying,” going on to say, “there is just enough detail for us to feel securely tethered to the real. The rest has been ruthlessly extracted.” www.washingtonpost.com

Andrew Wyeth’s painting of the bronze cast of his hands sitting on the jagged piece of ice being broken up by the swift current of a river is a statement by the artist of the role of those hands in the creation of his works. In fact, he said, “I wish I could paint without me existing – that just my hands were there” (see article on www.bonhams.com). The hands floating away in the ice floe, riding along on something that would one day melt away, indicates a type of dangerous liaison with his art and with nature itself. Wyeth seemingly preferred to be disconnected from his subjects as that allowed his mind to be free to create. Wyeth’s hands seem to be reaching for something, as though they really could work even if disconnected from the rest of him. They are a type of self-portrait in which the hands were so much more important than the face as a lasting symbol of his identity.

Now, we end with the beginning, all those thousands of years ago when the woolly mammoths roamed, and when humans did rituals in caves to reaffirm their existence and their hopes for survival, largely based on how well they could use those wonderful hands. The human hand is a marvel of design and to fully understand it just think of what other creatures on the planet could do if they had our flexible five digits, including that distinctively useful thumb. The prehistoric painters who left their mark in this cacophony of handprints showed their acknowledgement of the value of the human hand. These prints and others found in the caves of our ancestors wherever they appear in the world show us that the human hand has always been a worthy subject for art.

Prehistoric Handprints from Altamira, Spain.

Art works discussed are either in public domain or used in accordance with Fair Use Policy for purposes of discussion, review, and critique.

Marjorie Vernelle is an artist, writer, college professor, and traveler. For more see the Pages at ofartandwine.com or her author page at amazon.com and her art at Vernelle Art Boutique vernellestudio.com.

A real Tuscan Red – Meet Chianti.

Chianti in its familar basket, ready to be hung. www.vinepair.com

Tuscany, home of both Leonardo and Michelangelo, is a premier wine growing region. One of its most famous and popular wines is Chianti. Known for its casing in a straw basket, it has a lot more to offer than just a good wine to have with a slice of pepperoni. According to the Vinepair.com aticle (click above), it is actually hard to find Chianti in straw baskets any more, so I suggest that any Italian restaurants that have a few, keep them as collector’s items. Despite the change in format, Chianti remains one of America’s most popular red wines, and for good reason, as it comes in at least three different forms: Chianti, Chianti Classico, Chianti Riserva, and two sub-types, Colli Senesi and Colli Fiorentini, each of these representing slightly different growing areas and altitudes within the Chianti Region. And yes, Chianti, the wine, bears the name of the region that lies between Florence and Siena, a fertile 100 mile stretch that was often contested between the two rival cities (more on that later).

The wine itself is made from Sangiovese grapes. The name literally means “Blood of Jove” (Jove being another name for Jupiter, the king of the Roman gods). The deep purple grapes produce a rich red wine with the taste of berries, and spices with herbal tones. The lightness and high acidity in Chianti makes it work well with just about any food, but especially well with pizza.

Pizza, the perfect food pairing for Chianti

Chianti Classico and the Chianti Riserva, an aged version of the wine with softer tannins and more spice, but the same fruity, cherry flavors, up the wine’s game quite a bit. These must be made 80% from Sangiovese grapes grown in the region which has an DOCG appellation. The region in fact first got its appellation status in the early 1700s, granted by Cosimo III, Duke of Tuscany. It is hard to get a more authoritative stamp of approval than that. The wine can have a mixture of other red grapes for the remaining 20%. Normally that means an addition of Merlot or Cabernet Sauvignon. This blending of reds makes Chianti an Italian rival to Bordeaux. Chianti Classico and Chianti Riserva both pair well with hard cheeses and heavy pasta dishes. One great item to pair with Chianti Classico is the famous grilled steak dish known as bisteccca alla fiorentina. It is an extra thick porterhouse steak, seasoned with simple ingredients and grilled to perfection. Chef Michael Chiarello walks you through the recipe here: www.foodnetwork.com.

As previously mentioned this region has been producing fine wine for centuries. Along with the official acknowledgement from Duke Cosimo III and its current DOCG appellation, Chianti Classico has another mark that brands it as authentic – a black rooster or Gallo Nero.

This mark of distinction goes back beyond Duke Cosimo’s appellation in 1716. The black rooster story dates from the late 1300s and deals with which of two medieval city-states would rule the Chianti valley. Since the valley lies between Siena and Florence, securing it involved ages-old rivalry.

Though they sometimes fought actual armed battles, the two rival cities decided to settle this one more peacefully by having riders get up at dawn on a specific day and start out in the direction of the opposite city, riding through the fields of Chianti. Wherever they would meet, all the land from that point back to their respective cities would belong to that city. The key thing was to be up early on that day. To accomplish this each town decided to have a special rooster be the one to wake up the rider, so he could be on his way early. The Sienese, lovely, elegant, fanciful people, at least as shown in many of their paintings of the time, chose a white rooster which they fed very well. The idea was that he would wake up early to get more food. The Florentines, also elegant in their art but with a strict hard edge about drawing that led to the development of perspective in painting, had a black rooster which they keep on a minimal diet. The idea was that the hungry bird would be crying out for at least some crumbs of food and thus wake the rider very early. Well, they were right. The Florentine rider was out first and by the time he met up with the Sienese rider, that rider had only gone 12 kilometers (about 8.5 miles) outside of Siena. Thus Florence gained hegemony over Chianti and because their rooster was black, that image is found at the top of every bottle of Chianti Classico.

So now you have your basics in Chianti, but before we leave, you must hear the Chianti Song, sung by a trio of rich voices, in an Italian setting, and accompanied by Andre Rieu. If this doesn’t make you feel like throwing a Festa Italia with a nice bottle of Chianti, I don’t know what will. youtube.com

See the Cellars Wine Club page in the right hand column under Pages

If you are in the mood to explore the world through wine and be able to feel extra good about it, try joining one of the wine clubs at Cellars Wine Club. There is a club for every budget, a wide selection of wines, free shipping, and a “no bad bottle” return policy. As well, you can arrange to have 15% of your purchase donated to one of a number of vetted charities through the Give Back Program. Just click here ofartandwine.com.

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©marjorie vernelle 2020

Coming Soon: Uccello, The Battle of San Romano, and Brunello, another Tuscan Red.

One part of the triptych of the Battle of San Romano by Paolo Uccello. Now in the Louvre, Paris, France.

The rivalry between Florence and Siena is legendary, from fields for growing wine to who might control another city’s trade (in the case of the painting above Pisa), these two city-states fought over everything. This battle took place in 1432 and was won decisively by Florence, yet the struggles did not end there. A triptych of the battle was commissioned around 1435 by the Bartolini-Salimbeni family. Yet somehow it wound up years later in the possession of Lorenzo de Medici, and he didn’t buy it. Come find out about this wonderful set of paintings and another Tuscan wine, Brunello.

Watercolorists: Turner, Girtin, Bonington, and a Wine Called Chablis.

The White House at Chelsea, by Thomas Girtin, 1800.

J.M.W. Turner famously said of his friend and fellow artist, Thomas Girtin, that had Girtin survived, he (Turner) would have starved. Such was the high esteem in which Turner held his young friend’s work. Girtin, however, died at the age of 27 in 1802 but not before having been credited with inspiring Romantic watercolor painting. In the painting above, his deft touch of the brush manages to create light airy clouds and smooth shimmering sea waters along with the solidity of that strip of land. Though the buildings are indistinct, one can see a windmill, and a tower or two. However, the main point of distinction is what appears to be a house so white that it leaves a long strip of bright white reflected in the waters. The painting is light and so delicate that it seems as though the colors were put upon the paper in a single breath. Yes, as though the artist drew a breath of air and exhaled this painting with it onto the surface of the paper.

This portrait of Thomas Girtin done by John Opie in 1800 shows the young artist emerging from the shadows, head turned to present only the left side of his face, a paint brush in hand, and a stark white cravat to contrast with the skin tones of his face. His dark hair and clothing fade-to-black into the background, making him both mysterious and romantic, which is quite appropriate for a man who is credited with making watercolor be taken seriously.

Being taken seriously has often been a problem for watercolors. Often seen only as a medium for Sunday dabblers or “for women only” as was the commonly thought in the 18th and 19th centuries, it often has shown up in history only as a way to color in something more important, like a map or an architectural drawing. Yet, just recently a watercolor set a world record purchase price of 10 million British pounds or roughly $12,271,000.00. That painting is The Dark Rigi (1841) by Girtin’s great friend and great rival, J.M.W. Turner ( www.gov.uk).

Turner and Girtin were friends in their teens and twenties. They came to know each other as teenagers when they worked coloring in topographical prints with watercolors. The two were known to go out plein air painting sometimes with the express purpose of “skying,” or making paintings of the sky. As young men, it was Girtin who captured the most attention; however, since Turner lived much longer, his skills were able to develop into those that produced the masterpiece shown above. In it Turner pays homage to the friend of his youth with that little line of white in the far left that leaves a long reflection in the water. Turner’s paintings often have a spot of white as a remembrance of Girtin and as a reference to The White House at Chelsea.

The Dark Rigi is one of a set of paintings (there are red and blue versions of the iconic mountain) that Turner painted on a visit to Switzerland’s Lake Lucerne. In it we see how rich and varied the color combinations are. This is very much like the look of his oil paintings which often have tempestuous skies. In fact it has been hypothesized that Turner used watercolor techniques in his oil paintings (perhaps glazes to create the effects of light) and oil painting techniques in his watercolors (look at the overlay of white gouache used to form the clouds and morning mist). One thing for sure, he was no purist. He used what he needed to express what he wanted to say about the scene he was painting. There is some question about whether he always prepared his own paints or whether he used the then new pan colors that came pre-mixed. He certainly was in the forefront of the movement that began taking watercolors seriously which coincided with the production of those manufactured pan watercolors.

Close up from Turner Self Portrait done in 1799.

Britain developed quite a reputation for producing great watercolorists, another one of whom was Richard Parkes Bonington. With Bonington there is a bit of a twist to the story, as he lived most of his life in France though he was born of British parents. That fact allowed his work to be included in the 2009 exhibition, Corot to Monet, French Landscape Painting, held at the National Gallery in London. Bonington’s life like that of Thomas Girtin was short (1802-1828). However, at the time of his death, he was one of the most influential English artists, especially since he was also counted as a French artist who brought English influences into French Romantic painting.

At the English Coast by Richard Parkes Bonington, 1825

Bonington, pictured here in a portrait by Margaret Sarah Carpenter, actually learned his watercolor techniques from studying the works of Thomas Girtin. Perhaps a trace of that training can be seen in the nuances in the handling of the sky in the painting above. His creation of the choppy seas shows skillful usage of tonal variations and the contrast between dark and light to create depth.

Eugene Delacroix (1798 – 1863) first met Bonington in 1817 in Paris, though in 1825 they were known to go plein air painting and even shared a studio for a time. Of Bonington, Delacroix said in a letter, “…no one in this modern school, and perhaps even before, has possessed the lightness of touch, which, especially in watercolors, makes his work a type of diamond that flatters and ravishes the eye…” See the full quote here: www.en.wikipedia.org

So with those wonderful words of compliment from Delacroix, we all must take a look at watercolor with a new vision and one that does not make it play second fiddle to oils. No, painting in watercolor is a world in and of itself and not just for “coloring.”

All works of art used in this art history discussion are in Public Domain.

Marjorie Vernelle is an artist, writer, college professor and traveler. For more see the Pages at ofartandwine.com.

Chablis is not Chardonnay’s less pretty step-sister.

The towers at the entrance to the town of Chablis, France.

Just look at this beautiful picture. Would anyone doubt that there would be fine wine found here? Well, of course, there is good wine here, and it bears the name of this lovely town. However, there is something about Chablis that relates to the title above. It is a wine whose Appellation d’origine controlée requires it to be made only from Chardonnay grapes. So what is the difference between Chablis and its more honored relative Chardonnay? Well, it all has to do with climate and soil. Chablis is produced in northern Burgundy with the best vineyards being on the southwestern slope of hills just north of the town of Chablis. The cooler climate there influences the taste of the grapes that go into the wine and makes them distinct from Chardonnay grapes grown further south in a milder climate. As well, the “terrain” that the grapes grow in is made of clay and chalk, yes, chalk like what the sea cliffs in Normandy and Dover are made out of. This combination produces a dry wine with a flinty or even steely note.

Sometimes Chablis has been called the purest Chardonnay since it is generally made only from Chardonnay grapes. Yet there is a bit of a hangover from the 1980s jug-style Chablis that left people thinking of Chablis as some kind of country cousin to Chardonnay. In fact, Chablis has several distinctive qualities that set it apart. It lends toward dryness rather than to the fruitiness of Chardonnay. It is normally unoaked as it is produced in steel containers, which gives it a light taste that goes well with light fair that is not extremely rich; grilled shrimp is a good example. The good stuff also really has to come from Chablis in France, rather like Champagne comes from the eponymous region there. To get an idea of what goes into creating it, look at this information from Domaine Laroche.

Domaine Laroche is one of France’s premier producers of Chablis and as is common with many of the most celebrated wine producers there is a connection with a religious order. The abbots of Saint Martin started making wine in Chablis in the walls of a monastery called L’Obédiencerie in 867, starting the long tradition of producing Chablis and fine Chardonnay. Since the French Revolution, it has been a private property, but its fine wine making traditions continue. larochewines.com

Four appellations of Chablis exist. The Petit Chablis is very light, good to use as an apéritif or to take on a picnic. It should be served cold, around 45 degrees F. Chablis, which is the most commonly accessible appellation, is very versatile but especially good with seafood like oysters, and with goat cheeses or even with a salad and chicken pot pie. Chablis Premier Cru is fuller bodied but still light compared to a rich oaked Chardonnay. Again it is an excellent choice for seafood, oysters and/or oyster stew, scallops or chicken sautéed in white wine – of course, you would choose Chablis. Both Chablis and Chablis Premier Cru need a bit of a chill, around 50 degrees F. Finally there is Chablis Grand Cru. This is for when you go all out on expense and have it (pricey) with lobster, foie gras, or dishes with rich creamy sauces. This one can be served a bit warmer than the others at 57 degrees F.

Oysters on the half shell, perfect for a chilled, crisp Chablis

So when looking for a really pure experience of the Chardonnay grape, the best bet is to get a good Chablis.

Now in these times of limited travel, it might just be a good time to get your wine-tasting experiences through a wine club. Here I invite you to look at Cellars Wine Club, which has a plan for every budget, free shipping, and a “no bad bottle” return policy. You can take a look here by clicking on the Cellars Wine Club page in the right column or go directly CellarsWineclub.com

Of Art and Wine affiliates with Bluehost.com and CellarsWineClub.com and may earn from qualifying purchases.

©marjorie vernelle 2020

Coming Soon on Of Art and Wine: The Hand as a Work of Art and Chianti.

Close up of hands on Leonardo da Vinci’s Mona Lisa (c. 1503)

Hands as we know are very important in everyday life, and that means in paintings, too. From the first print of a cave man’s hand left on the cave wall he had painted with wild animals, right down to contemporary versions of the hand, the human hand as seen in art is a rich subject to explore. And what goes better with a Tuscan painter like Leonardo than an exploration of Chianti, Tuscany’s very own red wine.

Painted Animals and Wine + Chile (and not just the country).

Prehistoric illustration of a bull from Lascaux, France. smithsonianmag.com

The author of the Smithsonian Magazine article (linked above) contends that our prehistoric ancestors were much better illustrators of animals than our current artists are. Of course, the title is meant to catch the attention, and the whole article is not a complete slam on the drawing skills of non-prehistoric artists. One thing for sure is that humans have always been keenly aware of the animals that surrounded them. Those prehistoric artists created the beautiful, plentiful herds of animals ostensibly to link themselves mentally to the animals in order to secure a good hunt and plentiful food. They were rather like good military commanders who think like their opponents in order to figure out where those opponents were, and what they were doing.

Ducks and fish in a hunting scene from the Tomb of Menna, c.1422-1411 B.C.

The Ancient Egyptians, of course, seemed to believe that you really could take it all with you. Their tombs in particular were filled with beautiful paintings of the wild life that surrounded them along the river Nile. The representations of the wildlife are highly natural and recognizable for those who know the different species by sight. Once again the focus was on the practical, i.e. how to keep oneself fed for eternity, so the emphasis was on hunting and fishing, with glorious meals to be had afterward.

However, as always with artistry, there are those flights of fantasy that go beyond the more mundane look at our animal neighbors as useful for our physical sustenance. Below is a lovely turn of the imagination depicting a lithe young woman, hair-do perfectly in tact, as she floats along in the waters being pulled by a duck. The item is a cosmetics spoon which allowed one to dip into a variety of powders that could be used to create any woman’s beautiful appearance. Or they could also be used to gracefully throw myrhh on to fires in celebration of the gods or as part of a funerary ceremony. Regardless of how it was used, the lovely image of this delicate swimmer conjures up our fondest fantasies of what life on the Nile might have been.

Ancient Egyptian Cosmetics Spoon 1400-1300 B.C. Now in the Louvre.

Time marches on (and rapidly in this little blog space) to that period in European painting when animals took on symbolic meanings. Little dogs became a symbol for fidelity. One prime example is the little dog present in Jan Van Eyck’s The Arnolfini Marriage Portrait (1434).

This famous portrait is not of a wedding ceremony, but is rather a commemoration of what must have been a lovely marriage. According to Till Holger Borchert, Director of the Bruges Museums and expert on Van Eyck, the painting was done one year after the death of the lady, symbolized by her husband pointing heavenward as he holds her hand and the absence of a lit candle over her head. The little dog is there to symbolize loyalty felt not only in life but clearly here even beyond that.

Animals in Renaissance painting could be highly symbolic of many things. The portrait below is by Leonardo da Vinci, and what would life be without Leonardo? The portrait is supposedly of Cecilia Gallerani, the mistress of Ludovico Sforza, the Duke of Milan from 1480-1494. The young woman holds an ermine. Its calm presence would indicate that it is a domesticated pet not unlike the little dog in Van Eyck’s painting. However, the symbolism here is quite different. Ermine fur was extremely expensive so used by only the wealthy (see Madame Arnolfini’s dress lined in white ermine). The ermine was often seen as a royal animal, which brings us to why Cecilia might have one. It represents her status as the Duke’s favorite.

Lady with an Ermine by Leonardo da Vinci, c. 1490. Now in the National Museum of Krakow.

But enough of dogs and ermines, let’s get to some horses. Something that goes back a long way is the painting and sculpting of horses. How could Pharaoh possibly ride into battle (at least symbolically) were he not driving his Ferrari of a chariot pulled by two rearing steeds? How could those brave Greek warriors ride into battle (nude!) on anything less than the magnificent horses carved for the Parthenon (now called the Elgin Marbles and in the British Museum)?

Pharaoh Tutankhamun Rides into Battle (c. 1332-1323 B.C.)

Greek Warriors Ride into Battle. From a frieze formerly on the Parthenon in Athens 447-438 B.C.

Obviously, horses have a long history of being a means of transportation, whether in moving from camp to camp, carrying humans from one destination to another or riding soldiers into battle. However, it can easily be seen that their beautiful form and their swift, powerful, but graceful gallop have long been the subject of art. Even though in the telling of the story, they were part of the subtext, their dynamic forms shine through. The story of horse paintings is an art history subject in itself. However, there are those times when the horses themselves have become the main event.

War Pony by Rance Hood for the Trail of Painted Ponies.

Such an event was the Trail of Painted Ponies, which originated in Santa Fe, New Mexico, as the brainchild of Santa Fe native and author, Roy Barker. This venture of having artists express through painting life-size models of horses, which were exhibited, first in Santa Fe, then throughout the nation, became quite the phenomenon. Walking down any street, or through a small plaza, one might turn a corner and be in the presence of one of these fabulous creations. At the end of the exhibitions, the ponies were rounded up and auctioned off, raising over a million dollars for charities (trailofpaintedponies.com). Once again the horse was the vehicle, but this time for ideas and for art.

Wilderness Pony by Mitzie Bower, Pony Tales by Fran Larsen, and Sabanilla Bella by Frederico Virgil

While the painted ponies were the artists’ canvas so to speak, there is such a thing as capturing the essence, dare I say personality, of the animal itself. Colorado Springs artist, Susan Johnson, is an expert at that. A painter of animal portraits, normally her clients’ beloved household pets, she is also a master at presenting the animal as it exists in its own world. Since we are on the subject of horses, look at this winsome beauty, her head seductively turned to look at us over her shoulder.

Wild Mustang by Susan Johnson. Portrait done from a photo gifted by Gary O’Dell.

Johnson speaks of taking up the challenge of “trying to capture the spirit of the animal in paint.” She focuses on how color choices, shapes, and the play of light and shadow help to define a specific animal. In the painting above, the pose of the horse in water makes for a stunning composition. This is not a portrait of the horse as heroic beast, but rather of the animal being itself, enjoying the pleasure of the flow of the stream about its legs and perhaps wondering who we are.

As mentioned, Johnson does portraits of pets, but with attention to capturing the spirit of the animal. In this Portrait of a Collie, the intelligence of the animal is present in its eyes, along with a loving nature. The choice of the blue background contrasts nicely with the browns of the collie’s hair. The traces of blue in the white of its chest hair echoes the background color and adds harmony. The expression in the eyes would be one that anyone with this pet as a household member would love.

To round out this brief look at painted animals and animals in painting, I suggest a viewing of this wonderful little piece of video by art dealer Philip Mould in his Call to the Camera series. It is a series done while in COVID-19 isolation in which he asked his viewers to send in a picture of themselves with a favorite piece of art. This segment is on animals in painting, youtube.com

Humans and the other creatures on the planet have a long history together. Our art shows how important they are and have always been. In future perhaps our appreciation of them in art will help bring us closer to them in a compassionate understanding of one another.

Paintings used in historic discussion are in public domain. Images of the Painted Ponies come from Trail of Painted Ponies website, linked above. Paintings by Susan Johnson are used with the artist’s permission. Johnson can be contacted through this blog at ofartandwine@gmail.com

Marjorie Vernelle is an artist, writer, college professor and traveler. For more see the Pages at ofartandwine.com.

Wine from Chile, and Wine with Chile (Chili)

Rugged mountains, sloping valley filled with grape vines, and the remnant of the sun’s rays after they have kissed the growing wine grapes, beautiful isn’t it? Even the name of one of the most popular wines is lovely, Carménère. It is a French name since the vines originated in Bordeaux where the grapes were used in the various melanges that made up the different versions of the regions’ deep red Bordeaux wine. An offshoot of the Cabernet Franc grape, not unlike its siblings, Cabernet Sauvignon and Merlot, the Carménère grape is also a dark-skinned grape and one that has shared in their historic battles with the phylloxera louse.

Ah yes, but as always when growing anything, Nature seeks to feed all of its critters, and that lowly phylloxera louse just happens to like grape vine roots. In fact, the huge 19th century phylloxera contagion that killed off many a vineyard in France was only stopped when American phylloxera-resistant roots were grafted onto the vines.

Unfortunately for Carménère, its roots do not take to grafting, so the grape fell somewhat into disuse in France. Luckily, some years before the contagion, a few Chilean vintners took clippings of what they thought were Merlot grapes and carried the vines off to Chile. As it turned out, most of that haul of “Merlot” grapes were actually Carménère, which took nicely to the growing conditions in Chile, where there was no phylloxera. In fact, 96% of all these grapes are now grown in Chile, making it a Chilean specialty.

Chilean Carménère Photo credit James Suckling

While many of us peruse the shelves in our favorite wine merchant’s store, going first happily to the French and Italian imports, and then possibly to California or Washington wines, how often do we stop to consider Chile’s offerings? A recent article, “$15 Wines That Taste Like $50: Chilean Carménère,” which appears on jamessuckling.com, may very well change your mind. It would be well worth it to give this survivor a taste.

Only in Santa Fe, NM: Wine and Chile Festival

Okay, the first thing to get straight is the spelling. Chile is really the name of a country – you know, the one with the good Carménère wine. Chili is the name of a pepper used to make that wonder of northern Mexican and Southwestern U.S. cooking, chili con carne. However, much of the online information on this 5-day food fest in Santa Fe seems to use the name of the country and not that of the pepper. How these things happen is one of the mysteries of human language; however, I can tell you that the dish is really from the area mentioned above. I say that from my memories of long ago visits to Mexico City where no one at that time knew about such a dish. (I was too far south, I guess.) However, we know about it, and it seems that chili aficionados need only to go to Santa Fe on the last weekend of September to experience it. (Note: This festival along with the celebrated Indian Market have been postponed until 2021 because of COVID 19, but keep a note on your calendar.)

Well, of course, there is nothing like a glass of bubbly to really put oneself in a festive mood. Santa Fe has the answer to that as well, Gruet Winery. With a tasting room located in the Hotel St. Francis, 210 Don Gaspar Avenue in the heart of Santa Fe, one can have fine wine and fine surroundings all in one experience. Mimosa brunches are a specialty offered during the many Santa Fe festivals and of course on holidays. (Check for revised visiting hours.)

But back to the chile – er chili. To get the low down on chili recipes, there is no more authoritative source than Dave DeWitt at fieryfoodscentral.com. In Part 9 of the “The Great Chili Con Carne Project: The Southwest Chili Wars,” he spills the tea on the famous and the infamous in the chili history of the Southwest. However, chili con carne is not all that can be had with great wine. Here in a video to celebrate one of Santa Fe’s annual Chile and Wine Festivals is chef, Todd Hall. He prepares pistachio crusted lamb chops and talks about the festival here on youtube.com.

So, in these days of vicarious experiences and virtual travels, we can all still gather great recipes to cook and get good wines to drink with them. One way to get that wine is to join a wine club. Cellars Wine Club offers a wide variety of wines, including international selections, free shipping, and a “no bad bottle” return policy. With a club for every budget, the Cellars Wine Club page here on ofartandwine.com is worth a look.

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Coming Soon on Of Art and Wine, Watercolorists: Turner, Girtin, Bonington, and a Wine Called Chablis

The White House at Chelsea by Thomas Girtin, 1800. The Tate Britain.

Watercolors are often thought of as oil painting’s country cousin. You know, not quite up to being real painting. It is rather like the comparisons of Chablis to Chardonnay. However, there is a lot more to these underdogs that makes them well worth consideration.