Of Art and Wine Straight Out of Provence: Cezanne and Rosé Wine - the perfect cultural pairing

Straight Out of Provence: Cezanne and Rosé Wine

**Basket of Apples by Paul Cezanne, 1893. Art Institute of Chicago.** Click picture to magnify.

The painting above was shown in 1895 in Paris in the gallery of Ambroise Vollard and was the first work that Cezanne had shown in almost 20 years. Paul Cezanne (1839-1906) has the distinction of being both an Impressionist and a Post-Impressionist, and how that came to be has a lot to do with why he did not show his art in Paris for 20 years. As with many of the artists who were in the Impressionist movement, Cezanne struggled with his family to become a painter. He actually had to study law while taking courses at the local Beaux Arts in Aix-en-Provence. When in 1861 he was finally able to get support for what he most wanted to do, paint, off to Paris he went. Rejected consistently by the Paris Salon but also by the Salon des Refusés (1864-1869), which is where the Impressionists earned their name, he returned to his beloved Provence. However, during his time in Paris, he developed a friendship with painter Camille Pissarro, who was almost a father figure to Cezanne, as opposed to Cezanne’s own banker father. When Cezanne fled Paris during the Franco-Prussian War (1870-1871) and returned to the south of France, it was what he had learned from Pissarro (mostly determination) that stayed with him and influenced his views on his painting. In his long sojourn away from Paris, really the rest of his life after 1878, he moved from what could be defined as Impressionism, to what became an extension of the idea that bridged its way to early 20th century Cubism.

While Cezanne is well-known for his landscapes, including his many paintings of Mont Sainte Victoire, he is also known for still life paintings and for an important series of paintings, five altogether, known as The Card Players (1893-1896). One of the most interesting aspects of that series is how the paintings of two or three men playing cards become what some have called, “human still life.” It is worth taking a few moments to compare the painting of the fruit and the painting of the men playing cards to look at what Cezanne added to the vocabulary of painting in his time.

Les Joueurs de cartes (The Card Players) by Paul Cezanne, 1894-1895. One in a series of five at the Musée d’Orsay, Paris.

The first thing to notice about the two men playing cards is how intent they are on what they are doing. Now most paintings of card players, such as the ones done by the Dutch in the 17th century (especially anything by Jan Steen) are full of activity. Caravaggio’s famous The Cardsharps (1594) shows active cheating, one player with a winning card tucked behind his back while his partner spies on the hand of a vulnerable young man. Here there is none of that. The two men, one a gardener on Cezanne’s father’s estate (known as Père Alexandre, on the left) and a farm worker, Paulin Paulet (on the right), concentrate on their hands. Oddly there is no money seen on the table, nor are there wine glasses though there is a bottle of wine present. Those items would indicate action, and Cezanne cuts the action in this scene to a minimum. One would think that it would take a very long time for these two to play this hand.

In looking at the two paintings and thinking of the soft, lovely works of the Impressionists, one notices right away that Cezanne has hard edges. In The Basket of Apples, the handling of the white table cloth upon which the apples sit has a sharp angularity. The apples might fool one on first glance as some of them seem nothing more than red-orange balls. The basket holding some of the apples is tilted forward, though one sees no signs of what supports its upright position. The white plate holds what might be small loaves of bread, all rather indistinct in their forms. Yet, this adds more of the yellow color that plays off the yellow in the apples. One sees little block like stokes of color, very much like what one sees in Cezanne’s landscapes. There is a splat of orange-ish brown on the left hand side of the table, matched by another across the middle of the bottle of wine. The table cloth and the back wall both have little strokes of blue which unite the foreground and the background. Now while Cezanne felt that art ran parallel to nature, we definitely get the idea that Cezanne’s nature was somewhat abstracted and hard-edged, not unlike other post-impressionists, such as Vincent Van Gogh and Paul Gauguin.

In looking at The Card Players, the block like strokes of color mold the bodies of the two players, with the purples and dark greens around the edges of the sleeves and the jackets contrasting with the lighter splashes of color in the middle of the arms and the bodies, working to give a rounded feeling. One can tell there is an age difference between the men, with the younger man seeming larger and more robust than Père Alexandre. Their hats have character, as do their long jackets, but they seem perfectly comfortable in each other’s company. Their game of cards is a portrait not so much of the two men but of an element that symbolizes the timeless culture of Provence, where things move more slowly and where Cezanne, someone who suffered from depression and moodiness, knew tranquility.

Cezanne joins the elements of the painting of this card game together with his color harmonies of violets and lavender opposed by oranges and pale greens. We see them in the clothing, on the table cloth and in the smattering of paint on the back wall of the café. This is similar to what he does in The Basket of Apples, where the oranges, reds, and yellows of the fruit contrast with the cool blues and whites of the table cloth and the white dish holding the bread. They are real and recognizable but anything but photographic or naturalistic. His choppy strokes of color and the angularity in the posing of the arms and bodies of these figures, or the sharp folds in the white table cloth in The Basket of Apples, have the hallmarks of the Cubism that was to come. While Cubism is associated with Pablo Picasso, Picasso said that Cezanne was “the father of us all,” meaning all the early 20th century cubists. He referred to Cezanne as his “one and only master.”

So Paul Cezanne, who left Paris to return to his roots in the South of France and worked for years in his studio in Aix-en-Provence, not bothering to show work at all, is the father of all of those modern painters who came after. He is not only a great painter but an inspiration to all those who simply have to follow their own path, their wonders to reveal. Here you see one of his many self-portraits. What a beautiful curmudgeon.

Cezanne’s painting are in Public Domain.

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.

Rosé, the Wine of Provence.

**Add some summer chill to your life with a glass or two of cool (50-60 degrees) rosé**

You see it in the two paintings above, like a silent symbol of the land, a cultural icon. Yes, it’s the bottle of wine. While the bottles present in Cezanne’s paintings are quite dark, perhaps they even contain red wine (and there are fine reds produced in Provence), one likes to think that a proud Provençal like Cezanne would have them hold some rosé. First thing to get straight is that rosé is not just red wine and white wine mixed together, with the exception of some pink champagnes. In fact rosé wines in France have an appellation that forbids the blending of wines, though different kinds of grapes, including some whites, can be mixed together on their way to becoming wine. Rosé was once simply the wine of Provence, refreshingly light to drink in summer, and not much paid attention to. Then White Zinfandel became popular and according to some has mistakenly been considered a blush wine when it is actually made in the same way as rosé. In recent years rosé in all its forms has grown in prominence. In fact, it now outsells white wines in France. So what is this wine called rosé?

Rosé is a way of life in Provence. It’s made from Grenache, Cinsault or Mourvedre grapes to produce a light, crisp, dry taste that goes well with vegetables, seafood and meat. The process requires that the crushed grapes sit for 2-3 days with the skins still present during a process called maceration. During those days, through the process called saignée, the color of the grape skins bleeds into the wine to create those varying levels of pink. While Provence is the most famous producer of rosés, the Italians produce a variety of rosatos including the cherry pink Cerasuolo d’Abruzzo. Spain produces rosados in Navarra and Rioja. Of course, rosé is also produced in the wine growing regions here in the U.S.A. and include such delicately colored lovelies as Sebastiani Vineyards, Eye of the Swan.

Four Types of Wine: White, Rosé, Tavel, and Red

No kidding. Tavel is a town whose name is a rosé appellation. Tavel is rosé and everything in Tavel is “la vie en rose” by law. Tavel has a deep reddish pink color that sometimes has the orange tones of the sunset. The grapes used are Grenache, Syrah and Cinsault but often mixed with white grapes (not wine, just grapes) to lighten the color and give a flowery tone.

Oh, you make me blush!

The term blush wines, mentioned above, would seem to indicate a different process used in the creation of the wine. However, so-called blush wines are mostly made in the same fashion as rosé, as previously explained. In the U.S.A. they often bear the names White Zinfandel, White Grenache, and White Merlot and tend to be sweeter in taste than many of the classic Provençal rosés. There are those who draw fine distinctions between rosé and blush wines. One process for making blush wines is to create Vin Gris (gray wine), which takes black grapes, lightly presses them after harvest and ferments the juice without the skins. The result is a dry though slightly sweet wine that is pale pink in color. For more on blush versus rosé and the rise of White Zinfandel, take a look at this article by Keith Beavers for VinePair.com https://vinepair.com/wine-geekly/your-guide-to-blush-wine-which-isnt-rose-but-kind-of-is/

In terms of selecting the rosé wine that best suits your taste preferences, I am turning you over to an expert, Jackie Blisson , whose video is linked here https://www.youtube.com/watch?v=w5NZAV86rrk For a never-ending list of food pairings (and believe me rosé goes with everything), Fiona Beckett’s Matching Food and Wine has really great suggestions for every type of rosé, https://www.matchingfoodandwine.com/news/pairings/the-best-food-pairings-for-ros/

Provence with its wine-growing areas on both banks of the Rhone River has led the way in terms of the rosé revolution. It is becoming a wine for any occasion and all seasons, and the subject of literature. Elizabeth Gabay MW has written a book on the subject called Rosé: Understanding the Pink Wine Revolution. If this is whetting your appetite for some quality rosé, you can try any number of different kinds through a wine club like Cellars Wine Club, which has a wide selection, a plan to suit every budget and level of expertise, and a “No bad bottle” return policy. www.cellarswineclub.com

So just think of Cezanne as you look at The Card Players, The Basket of Apples or his Mont Sainte Victoire, sip a glass of your favorite rosé, perhaps a Tavel, and take a mental journey off to Provence. You’ll be glad you did.

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

©marjorie vernelle 2019

Coming soon: Botticelli on the Half-Shell, with Sancerre or Muscadet?

The **Birth of Venus by Sandro Botticelli, mid-1480s. Uffizi Gallery, Florence, Italy.**

The painting is iconic, no question about that. But what goes better with seafood, Sancerre or Muscadet? Well, that is the question. Make sure to come explore the option, next on Of Art and Wine.

Edouard Manet: Champagne and A Night at the Folies

**A Bar at the Folies Bergére by Edouard Manet, 1882.**

What could have been more joyful than an evening at a bar at the Folies Bergére? Not only could people be entertained by the singers, dancers, and other performers, but also by the actions, antics, and pretenses of the assembled crowds. It all could be enjoyed with the clinking of crystal in many a champagne toast. As can be seen in the painting, of the eleven bottles visible on the counter in front of the barmaid, six are of champagne, each ready to be opened to keep the party going.

Edouard Manet, who painted this piece in 1882 toward the end of his life, used it to express the delights of a life he knew all too well. However, he did not want just to celebrate the gaiety that could be had. He wanted also to show the illusory quality of that life passed in pursuit of momentary pleasures. Many painters create works that speak of life from a perspective that indicates life’s complexities and its unknowns. Uccello, in what some believe to be his final painting, The Hunt in the Forest (1470), summed up his final statement on his life-long obsession with perspective. One can draw a direct line from each of the people and animals involved in that hunt to some unknown spot deep in the forest where the vanishing point exists. Francesco Guardi, a Venetian painter of scenes of that city, painted a series of works in which there is a gondola apart from the rest, moving off in a direction far from Venice and its city life. So, too, Manet seems to reflect on the illusory quality of temporal life, but he does it in a subtle fashion. One can imagine him reflecting on his life over a good glass of champagne in a toast to it all, joys and sorrows alike, lived in the glittering City of Light, as Paris was then called.

**Items on the bar at the Folies**. Click picture to magnify.

Mirror, Mirror on the Wall

Let’s take a look at the bar. Now, this certainly is a row of earthly delights. One sees various things to drink, including quite a bit of champagne, a sumptuous crystal bowl holding shiny “mandarins,” as those little oranges are know in France, and a lovely wine glass of flowers right in front of the barmaid, a certain Suzonne, who posed for Manet, followed by more bottles of good drinks.

Over the barmaid’s right shoulder is a great mirror view of the crowd, men in top hats, ladies, one peering with opera glasses, and someone in green boots doing a trapeze act in the upper left corner. All of this presided over by an enormous crystal chandelier with gold trim. However, here is where the illusion begins. The crowd may look doubly large because that mirror reflects not only the people in front of the bar, but there is also possibly a reflection sent back by a mirror that lines the back wall. Of course, it could simply be that the crowd continues into another room; however, the point is that mirrors create illusions, making it hard to discern what is real and what is not. As Manet did it, the image here is the illusion of a never-ending crowd and a never-ending party. French philosopher Maurice Merleau Ponty wrote about the mirror as “the instrument of universal magic that changes things into spectacles, spectacles into things, me into others and others into me.” In other words, “It’s all done with smoke and mirrors,” as the saying goes, but ambiguity is one of the points of this painting.

**Close up detail of the strange mirror image of the barmaid and the customer.** Click picture to magnify.

That ambiguity is highlighted in this image of the back of the barmaid, showing her talking to a man in a top hat. It has been said that the lovely barmaids at the Folies were “vendors of drink and of love.” Now, it could be that the barmaid was simply listening to what the customer’s order was. On the other hand… The strange angle of the reflection of the barmaid’s back has always been a controversy, as it is set off to the side rather directly behind the barmaid. However, that is the only way that the viewer of the painting can see the man’s face, which must then be compared to the barmaid’s face.

And here we see her face on. Her eyes are moved to the side as though considering something. Perhaps it is what the man in the mirror is proposing? So amid all the gaiety, we have one rather solemn face, and we don’t know why exactly. Is she simply tired? Is she bored? Does the man before her make her think of or long for someone else? Manet’s painting is subtle, but it tells a story that the viewer can finish in any way he or she likes, because no one knows for sure.

This was Manet’s last major work. Though on the surface one sees what looks like a sparkling night of fun and entertainment, Manet’s rendering of the solemn face of the barmaid amid all the gaiety reminds us that all was not fun and games.

Here we see Edouard Manet, the man about town, perfectly attired, image immaculately created, a painting revolutionary hidden in superbly elegant style.

**Portrait of Edouard Manet by Henri Fantin-Latour, 1867.**
The Art Institute of Chicago

“Come quickly. I am tasting the stars!”

Dom Perignon, monk and cellar master for the Benedictine monastery at Hautville, France, was right when he first tasted the divine creation he had stumbled upon (the apocryphal tale says it was August 4, 1693). Tasting stars is normally how it feels, especially with a good champagne. Now, what is that exactly? Well, it is partially a matter of who produces it. It is also a matter of cost: higher quality more expensive brands taste better than those which are not. However, there is a matter of personal taste that goes beyond costs. Normally that has to do with how dry or sweet the champagne is.

There is a range of descending dryness that starts with bone dry champagne known as Brut Nature or Extra Brut. Then there is Brut, which is dry; however, Extra Dry is actually a bit fruity. Dry is somewhat sweet, also fruity. Demi-sec is quite sweet, and Doux (Sweet) is dessert champagne. You can get it in colors, from crystalline near white, or pale light gold, to pink (Rosé).

And champagne is not always champagne. Let me explain. France is where Champagne exists, the region where those lovely little champagne grapes are grown. They wisely formulated a treaty to protect the name of their product. Only their sparkling wine could bear the name champagne. Even in France, sparkling wine made outside of Champagne will bear a different name, like Cremant or Mousseux. Fine, but we in the U.S. make champagne, right? Right, the United States did not sign the treaty, so yes, we produce champagne, and good ones on the Pacific Coast. However, there are also excellent Italian sparkling wines that go under the name of Prosecco, Lambrusco, or Asti-Spumante. The Spanish have Cava, made in the traditional way champagne is made but with different grapes, like the macabeu, which produces a taste quite similar to French champagne.

“Champagne is the only wine that leaves a woman more beautiful after drinking it.”

Madame de Pompadeur knew a thing or two about beauty, high living, and champagne, all provided by her “boy friend” the King of France, Louis XV. One thing for sure, champagne allows one to be beautiful in a variety of settings. Champagne is a low carb wine, therefore good for your waistline, especially the very dry ones, Brut Nature and Extra Brut, but be careful not to have too many glasses (95 calories per glass). Brut champagne pairs well with seafood, lobster, pasta and any mushroom dish. However, it is just as good with popcorn and potato chips, so you can be beautiful while watching an old movie and having a throw-caution-to-the-wind snack. Any that are a bit fruity, like Extra Dry and Dry, can go well with classic hamburgers or sausage bits rolled up in flaky pastry crust. Just remember not to use a dry champagne with a dessert, as the flavors conflict. For dessert move to any of the champagnes bearing the word “sec.” Yes, sec, in French means “dry” but not in champagne. Demi-sec or Doux are sweet and good to serve with desserts. For more elaboration on wonderful things to have with champagne, look at Chris Hallowell’s article for Epicurious https://www.epicurious.com/expert-advice/30-sparkling-wine-and-champagne-food-pairings-article

Now, the most distressing conundrum: how do you get the bottle open? For that here is an expert with a step-by-step video on how to open the bottle with class: https://www.youtube.com/watch?v=CNlMroIwKKM If you are not too interested in “classy” but just want to get the bottle open in time to go with the hot popcorn, you can buy a little champagne set in any wine store. It comes with a nice metal top to re-cork your bottle of champagne and keep the bubbles in, and a little device with teeth-like points that you can put around the cork, squeeze tight and then twist. Pop! And if in desperation, a nut cracker with its little tooth-like ridges can be used with a twist of the wrist to torque off the cork.

In summing up, remember that champagne is just wine that sparkles, so you don’t have to wait for special occasions to enjoy it. There are many fine champagnes made here in wineries along the Pacific Coast. One of the best champagne and wine clubs is Cellars Wine Club www.cellarswineclub.com, a good choice if one is hesitant, because Cellars has something for every taste and budget, as well as a “no bad bottle” return policy. And for all those nice accessories to go along with your champagne and wine experiences, try Home Wet Bar (homewetbar.com). They have a selection of 20 different champagne flutes.

Finally, I leave the last word to Coco Chanel, who was never wrong about fashion or what to drink.

“I only drink champagne on two occasions: when I am in love, and when I am not.”

All art images are in public domain. Famous quotes on champagne from “Ten Best Quotes on Champagne,” Town and Country Magazine, and the quote by Maurice Merleau-Ponty comes from Wikipedia on The Bar at the Folies Bergére.

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

©marjorie vernelle 2019

Coming soon on Of Art and Wine: Straight Out of Provence: Cezanne and Rosé

Still Life with Basket of Fruit or A basket of Apples by Paul Cezanne 1890. Click picture to magnify.

Red Wine in Summer: Renoir’s Luncheon of the Boating Party

It is not something we readily think of – drinking red wine in summer. But make no mistake, red wine should not be put away with the winter clothing. It is perfect for summer outings, as we can see in the painting below. Why not have a glass of red while you enjoy finding out about this painting? Then read about the best red wines to drink with summer foods.

**Luncheon of the Boating Party by Pierre Auguste Renoir, 1882.**

The critique of the 1880 Salon de Paris, written by Emile Zola, contained his rather sharp criticism of the work of the Impressionists, saying their work was incomplete, illogical, and a bit too much (“exagéré”). He proposed a challenge to them to create more ambitious works that were more complex and closer to real life. Pierre-Auguste Renoir took up the challenge, and from it came The Luncheon of the Boating Party, which you see above.

So how did Renoir meet the challenge posed by Zola and still stay an Impressionist? A quick glance shows a very selective usage of that “incomplete” quality of Impressionism, along with skillful use of detail and complex composition to achieve an ambitious work with images closer to real life.

Impressionist Touches

When we look at the foliage and the boats on the river in the background, the hazy, impressionistic quality of the handling is just perfect for items not of great importance and in the background. They form a frame for the more important activity around the table. Likewise, the table and the things on it, half full or empty wine glasses, the remains of lunch, and napkins tossed aside, are done with just enough detail to define them. While we recognize what these items are, they are not really that clearly in focus. Renoir gives us enough to know that what we expect to be on that table is actually on that table, but only shows what the viewer needs in order to understand that a satisfying meal had been had, and there is still some red wine to drink.

**Detail of Aline Chrigot the future wife of Pierre Auguste Renoi**r

Portraiture

However, Zola had demanded work that was more important, more complex and true to life. For that we must look at the figures. All of the figures are known, and in fact, Renoir had them visit his studio individually so that he captured their features correctly. Of special interest are those in the foreground. The pursed-lipped, rosy-cheeked, young woman with the dog is Aline Charigot, the then mistress but future wife of Renoir. The man standing behind her is Jules-Alphonse Fournaise, the son of the owner of the auberge where the lunch was held. Leaning on the railing a bit further away is his sister, Louise-Alphonsine Fournaise. Across the table from Aline Charigot, in a tight conversational group, sit Gustave Caillebotte, a wealthy patron of the Impressionists and a fine painter himself, wearing a straw hat pushed back on his head, and with him, a model named Angéle. Behind them, but engaged in the discussion, is a journalist named Maggiolo. In the middle rear of the main table sits “The Girl with the Wine Glass” made famous more recently in the movie, Amelie. She was an actress and model for Manet, Renoir and others, named Ellen Andrée. The use of portraiture directly answers the criticism about incompleteness. Here Renoir provides real faces of real people.

Complex Composition

Having answered the criticism about the need to create complete images, more real to life, Renoir deals cleverly with the composition to provide the complexity required of an important painting. For instance, he uses the diagonal of the table to lead the viewer’s eye from foreground to background. Renoir provides several other ways to move through the painting as well. Since Jules-Alphonse Fournaise is a commanding figure and standing, he catches the eye. One can follow the direction of his regard to the people at the back of the table and over to the upper right corner where a cluster of people stand chatting. The eye then comes down to Caillebotte and his friends, then across to Aline and the dog, and back to Fournaise. Or one can simply follow the yellow hats and yellow flower. In that format, the viewer’s eye goes from Fournaise’s yellow hat, to Aline, across to Caillebotte, over to Louise Fournaise, then to a yellow flower in the background between a man and woman conversing in the upper right corner. Or, if so inclined, one can go from Jules to his sister, Louise, over to the yellow flower, down to Caillabotte’s hat and over the Aline. No matter which way the eye goes, it does a complete circuit of the figures in the painting.

Zola wanted more definition, more complexity, more realism, more logic. In this rendition of a gathering of friends on a summer’s afternoon by the river where some had been out boating, we see all of Zola’s demands met. Renoir delivered the goods, showing a real life scene of a casual summer gathering. Two of the men wear their straw hats still and are in what appear to be undershirts, perhaps they had done the rowing. Others hold to more formal attire worn by those who may have just come for lunch. Everyone seems relaxed. One can almost hear the noise of their chatter. The light warm colors (pinks, yellows, whites) create the feeling of summer, while the greenery surrounding the auberge and the blue of the river add a refreshing quality.

What? Red Wine in Summer?

Ellen Andrée has the right idea. Having a nice glass of red on a summer’s day is the perfect drink for an outing. We can see on that table in Renoir’s painting many bottles of red yet to be drunk. So why do we always associate red wine with the cold of autumn and winter, when in fact, it can make such a nice addition to our summer picnics, camp outs or boating parties? It bears taking a look at red wines and noting down the names of some which go wonderfully well with our summer time dining fair and even for celebratory events like weddings or anniversaries.

Here, it is best to talk to a sommelier, and one of the best in terms of summer reds is André Hueston Mack, producer of Mouton Noir Wines in Oregon. Mack was once in the world of finance, but moved into wines in his late 20s, becoming the Best Young Sommelier of 2003 as determined by the Chaine des Rotisseurs, a French gastronomic society located in Paris. His choices for summer red wines are Pinot Noir, full of fruity aromas; Gamay, often in the form of Gamay Beaujolais; Temperanillo, made from the grapes used for Rioja; Nebbiolo, from the Piedmont region in Italy; and wines made from the sangiovese grapes of Tuscany. He also has a wonderful 20-20 rule for serving both whites and reds. One should take a white out of the refrigerator 20 minutes before serving and put a red into chill 20 minutes before serving. For more of his career as a winemaker and his comments on red wines for summer see, https://www.theroot.com/5-red-wines-that-are-perfect-for-summer-1790860405

But what to eat?

No, you don’t have to serve pot roast for your summer picnic just because you also serve red wine. Grilled salmon is a great match for a chilled Pinot Noir, as is grilled seafood. Grilled pork, chicken or turkey are wonderful when paired with a Gamay. And you can always go Italian and have grilled pizza or summer pasta with a Tuscan Sangiovese red.

For those who want a bit of fizz for the upcoming 4th of July, try a Frappato or a sparkling Shiraz, yes, Shiraz. It’s somewhat heavier quality goes nicely with barbecue, just don’t over chill it, as that mutes the flavor.

So don’t forget the red wines just because the weather is warm. They are good all year around. For a list of where to buy Mouton Noir Wines, check here: https://1000corks.com/wine/Mouton-Noir-Wines You can find good selections of reds at wine clubs at Cellars Wine Club, which actually has a Red Wine Store, just go to www.cellarswineclub.com . And, of course, Renoir goes well with any meal.

Images used in this blog are from public domain sources. Reference work consulted was Les Impressionnistes, Fenetre sur L’art by Diana Newall

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

Coming soon…

Champagne is always great. You see it in prime position here at the famous Bar at the Folies Bergére in the Paris of 1882. Looks like a lovely time, but why are the reflections wrong? Come explore Manet’s world, and let’s talk reflections and champagne. Next on Of Art and Wine.

A Bar at the Folies Bergére by Edouqrd Manet, 1882.

#renoir #luncheonoftheboatingparty #impressionists #finewines #redwines

A Pieter Claesz “Banquet Piece” and Rhine Wine

**Still Life with Large Roemer, Lemons and Grapes** **by Pieter Claesz, 1646**

Historian Simon Schama has called it an “embarrassment of riches” and even has written a book with that title to describe the wealth of the Netherlands in the 17th century. Many things come with great wealth, like throwing money at any and everything (investing in tulips?). One thing for sure, when money is prevalent, the art market does well. The names of the famous Dutch and Flemish painters of that age roll off the tongue with ease, Rembrandt, Rubens, Vermeer, Hals, and many others. The flourishing economy allowed for certain genres of art to develop as they suited the tastes of the newly prosperous merchant class, thus we have the famous Dutch landscapes of Jacob and Salomon Van Ruysdael. Another popular form was that of the still life, as seen in paintings of tables over-laden with all kinds of foods, full of gleaming silver and pewter vessels, and of course, wine. In fact, these food and drink souvenirs became known as “banquet pieces,” or “dinner pieces,” and Pieter Claesz of Haarlem became a specialist in that genre.

What comprises a banketje?

Claesz eschewed the colors and complicated compositions that were a holdover from the Mannerist traditions of the 16th century. Even though he was a Baroque painter, as shown in his easily recognized, highly realistic images, he concentrated on simple compositions, subtle monochromatic tones, and the role of reflected light. He followed the tradition of the dinner and breakfast pieces (called banketje) by having the objects in the painting close to the edge of a table corner. Yet, he does not do much overlapping of objects, allowing the viewer to engage each one and thus enjoy the individual richness of each. Here we see a close up of a roemer (sometimes spelled rumer), which had a stem covered with protruding knobs to help one keep a good grip on the glass of wine. The tonality in his palette is abbreviated by points of single bright colors and the glow of the light reflections off of silver, pewter or liquids, like wine.

In looking at Still Life with Large Roemer, Lemon and Grapes (1646), we can see all of those things mentioned above working together to produce a feeling of luxury and abundance. The background is in gray but with a slight variation around the roemer, where one sees a lighter gray touched with a bit of a subtle warm rose color. The table cloth moves almost without notice from a warm burnt carmine brown, which again produces a warmth around the roemer of wine, to a deep gray. The flowers in the background are of much less importance than the overturned roemer, which catches the light and allows for a streak of white to brighten up the dark background. Coming closer to the front of this table, the skins of the grapes reflect points of light, as does the curled metal of a knife handle. The main event consists of the bright yellow and white of that lemon, the golden brown crust of the bread, and the light on each of the nobs on the stem of the roemer. Even so, it is the soft golden-green of the light reflected in the wine that makes it all so tempting. At the same time, the partially peeled lemon, half eaten bread, and overturned roemer are reminders that life’s perfections change and move toward dissolution, a sharp warning to an oh-so-prosperous society.

The Artist

Pieter Claesz (1597-1660) grew up in Haarlem, the center of the Dutch flower trade, and was originally known for exuberant floral paintings. However, he became a master of a genre known as banquet pieces. His work grew more colorful again when he started doing elaborate table settings. He was also know for his Vanitas paintings. Vanitas are vanities, a theme that caused Florence’s mad priest, Savonarola, to have people throw their luxury goods onto bonfires (unfortunately for us, Botticelli threw some of his paintings into the flames). Though Claesz lived a hundred years of so later, the theme was still the subject of a number of painters, including Caravaggio. Pieter Claesz had a fine career in his lifetime and a son named Nicolas Berchem, who became a landscape painter.

Paintings by Claesz are in Public Domain.

Divine Rhine Wines

One of the types of wine that the Dutch used frequently was Rhine wine. Produced from the rocky soil along the banks of the Rhine River in Germany, Rhine wines most commonly known in the U.S. are Riesling and Gewürztraminer. These wines are often crisp and light in taste, though they can also be sweet. A lot depends on when the grapes are picked. In terms of Riesling, there are three categories: Kabinett comes from grapes harvested early, which produce a rather dry, light, crisp taste; Spatlese is from a late harvest and are semi-sweet; and Auslese are havested last and often used for dessert wines. The dry ones go nicely with pork or chicken, while the sweeter versions work well with cheese and paté.

Gewürztraminer is known for its scent of spice, fruit and florals. In fact, the name means “spiced Traminer” indicating that it is an aromatic wine. Made from a pink-skinned grape, the Savangin Rose, the wine itself is a rather recent creation dating from the 1800s, though the winegrowers, perhaps to give it extra cachet, associated it with wines from the Tramin which go back 800 years. Whatever the case historically, it has a distinct sweet, spicy flavor and a definite perfume. It pairs well with such items as stir-fried pork and crayfish. The wines high alcohol content and low acidity can allow the level of sweetness to increase with the wine losing its balance. At best it has been compared to a musical composition and at worst to a “cheap perfume.” (For more on this interesting wine see the following Wall St. Journal article from which I quote: https://www.wsj.com/articles/gewurztraminer-a-rare-rewarding-wine-even-if-you-cant-pronounce-it-1472837792)

Ice Wines: The Shotgun Wedding of 1794

So what do you do when a sudden hard freeze happens a bit earlier than expected, and the grapes become marble hard beads of ice? Well, you force a marriage of grapes and cold weather. That is what they did in Franconia, Germany in 1794 when they created the first ice wine or Eiswein. In fact, the Ancient Romans had beaten them to it, but the recipe was lost (along with the one for concrete) until the genius of necessity occurred in Franconia (for the wine, not the concrete). Ice wines are very sweet since the water in them freezes, and the sugars do not. The yield from such grapes is sparse, so making ice wine takes determination. The grapes used vary but are often the same as for Rieslings or Gewürstraminers. As a dessert wine it can be paired with a soft cheese or served with ice cream or cheesecake. The largest modern day production of ice wines comes from, of course, Canada, where you can take your experience of ice wine to a new level by having it served inside an igloo at Peller Estates Winery and Restaurant (see video https://www.youtube.com/watch?v=EU79wUCsIww ) I must add, however, that New York State and Michigan are dominant ice wine makers in the United States. As well, the James Cole Winery in Napa, California is known for a superb Merlot ice wine.

Luckily for us, growers in the U.S. make very fine wines from the grape varieties originally found along the Rhine. One can have access to a wide variety of high quality wines at affordable prices from a wine club, such as Cellars Wine Club. Cellars has a plan for every level of taste and budget, including single bottle offerings, International wines, and their famous “no bad bottle” policy www.cellarswineclub.com.

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Coming soon…

Summer is almost here, time for red wine. Red wine in summer! Yes, indeed, just look at Renoir’s Luncheon of the Boating Party. I will give you some suggestions for your summer outings and the juicy details about the painting.

Images are from public domain or free sources.