In-Nova MusEUm "Peripheral Museums and the Art-Food Alliance

M u s e u m s c o m e b a c k t o t h e l o c a l c o m m u n i t y t h r o u g h A r t & Fo o d

PERIPHERAL MUSEUMS AND THE ART-FOOD ALLIANCE

Document title

Peripheral Museums and the Art-Food Alliance Author

Nuno Cintra Torres, CICANT/ ULHT (Portugal) Graphic Design

Pedro Guedes Date of release

31 March 2018 Project Leader

Centro Europeo Turismo Cultura e Spettacolo, Italy Project Partners

Skoklosters Castle, Sweden Theodoros Papagiannis Museum, Greece Universidade Lusรณfona de Humanidades e Tecnologias, Portugal Tirana Ekspres, Albania

Acknowledgments & Disclaimer This document, part of the In_Nova MusEUm project 570516-CREA-1-2016-1-IT-CULT-COOP1, has been funded with support from the Creative Europe Programme of European Union.

This publication reflects the views of the author, and the European Union cannot be held responsible for any use which might be made of the information contained therein.

Reproduction and translation for non-commercial purposes are authorised, provided the source is acknowledged and the publisher is given prior notice and sent a copy.

Co-funded by the Creative Europe programme of the European Union

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CONTENTS

Table of Figures

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Introduction

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1 Peripheral museums have positive local economic and social impacts

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2 Art and food is a timeless alliance 2.1 A sensory experience 2.2 Food as art 2.3 Cuisine in the museum 2.4The restaurant as art gallery

7 8 10 10 12

3 Summary

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4 Art and food: a pictorial overview

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5 Bibliography

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TABLE OF FIGURES 1 Hildegard von Bingen, The Four Humours, 11th-12th Century, Germany 11 2 Mechanical creation of a perspective image by Albrecht Dürer 13 3 Unknown, aurocs, horses, deer, Lascaux Cave, Dordogne, France, ca. 17,000 BCE (Ministère de la Culture, France) 17 4 Maler der Grabkammer des Menna, threshing the grain, 1422-1411 BCE, Egypt 17 5 Antimenes Painter, olive gathering by young people, Attic black-figured amphora, Ca. 520 BCE, Vulci, Italy 17 6 Unknown, transporting wine, Roman villa known as House of Dionysos, Mosaic, 2nd Century CE, Paphos, Cyprus.

18 7 Livre du roi Modus et de la reine Ratio, peasants breaking bread and drinking, 14th century, Paris, France 18 8 Ugolino di Nerio, The Last Supper, 1324, Siena, Florence, Italy 18 9 The Frankfurt Paradiesgärtlein, Panel painting, Ca. 1410, Germany 19 10 Leonardo da Vinci, The Last Supper, Tempera in gesso, 1495, Milan, Italy 19 11 Michelangelo Buonarroti, The Drunkenness of Bacchus (detail), 1496, Italy 19 12 Hieronymus Bosch, Allegory of Intemperance (detail from triptych), between 1490 and 1500, Flanders 20 13 Albrecht Dürer, Adam and Eve. Engraving, 1504, Nuremberg, Germany 20 14 Joos van Cleve, The Holy family, 1512-23, Antwerp, Flanders 21 15 Pieter Brügel the Elder, Peasant Wedding, Oil on panel, 1566-69, Flanders 21 16 Joachim Beucklaer, Christ Visiting Martha and Maria, 1568, Oil on panel, Antwerp, Flanders 22 17 Giuseppe Arcimboldo, The Greengrocer, Ca. 1590, Milan, Italy 22 18 Adam Elsheimer, Saint Elizabeth of Hungary bringing food for the inmates of a hospital, oil on copper, ca. 1598, Rome, Italy 23 19 Caravaggio, Supper at Emmaus, 1601, Rome, Italy 23 20 Peter Paul Rubens, Venus, Cupid, Bacchus and Ceres, Oil, 1612, Antwerp, Flanders 24 21 Floris van Dyck, also called Floris Claes, Still Life with Cheeses. 1615, Haarlem, The Netherlands 24 22 Diego Velasquez, The Triumph of Bacchus or Los Borrachos, Oil on canvas, 1629, Madrid, Spain 24 23 Pieter Klaesz, Still life with a roemer, a crab and a peeled lemon, 1643, The Netherlands 24 24 Bartholomeus van der Helst, Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Münster, 1648, Amsterdam, The Netherlands 25 25 Johannes Vermeer, The Milkmaid. Oil on canvas, Ca. 1657-58, Delft, The Netherlands 25 26 Jan Steen, The Bean Feast, 1668, Leiden, The Netherlands 25 27 Josefa d’Óbidos, Still Life with Sweets, Ca. 1679, Óbidos, Portugal 26 28 François Boucher, Le Déjeuner, 1739, Paris, France 26 29 Francisco de Goya, Still Life with Golden Bream, Oil on canvas, 1808-12, Spain 27 30 Gustave Courbet, After Dinner at Ornans, 1849, Paris, France 27 31 Jean-François Millet, Woman Baking Bread, 1854, France 28 32 Pierre Auguste Renoir, Luncheon of the Boating Party 1882, France 28 33 Edouard Manet, Le café concert, 1878, Paris, France 29 34 Vincent Van Gogh, The Potato Eaters, 1885, Nuenen, the Netherlands 29 35 Claude Monet, Claude Monet, Haystacks (Sunset), oil on canvas, 1891, Giverny, France 30 36 Rafael Bordalo Pinheiro, Fish Plate, Ceramics, Ca. 1880, Lisbon, Portugal 30 37 Paul Cézanne, Still Life with a Curtain, 1895, Aix-en-Provence, France 31 38 Henri Matisse, Red Room (Harmony in Red), 1908, France 31 39 Pablo Picasso, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 1914-15, France 32 40 Salvador Dali, Les Diners de Gala, 1973, Taschen 32 41 Andy Warhol, 32 Campbell Soup Cans, silkscreen, 1962, New York, USA 33 42 Claes Oldenburg, Floor Burger, acrylic on canvas filled with foam rubber and cardboard boxes, 1962, New York, USA 33

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INTRODUCTION

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he word periphery has its origins in the Greek word periphereia [περιφέρεια] meaning ‘circumference’, from peripherēs or ‘revolving around’. In the 16th century the word was used to denote a line that forms the boundary of something. Today, according to the Oxford dictionary, the word harbours among others the significance of a marginal or secondary position in, or aspect of, a group, subject, or sphere of activity.

The expression “peripheral museum” was coined to mean museums that share specificities, difficulties and opportunities arising from a peculiar location away from the “urban circumference”. The local economic and social impacts of peripheral museums are the first topic of this document.

It highlights the societal roles that these museums perform at the community level as sources for inspiration and learning and for economic regeneration. Partnerships with schools and local communities enhance the museums local relevance.

Art and food are universal sensory languages. The second topic of this document deals with the role of gastronomy in museum management. Food has enjoyed a central place in Western art for centuries. “Art and food is a timeless alliance” delves into some examples from the history of art and how gastronomy is used by museums and businesses to attract and to create bonds with the local communities and visitors at large.

In_Nova MusEUm suggests that peripheral museums should adopt a communication strategy that leverages the art and food connection to attract local publics and international audiences, in particular the fun loving and tech savvy 18-35 segment, the so-called Erasmus generation.

Our pictorial overview shows hunting, harvesting, producing, distributing food and beverages and the communal enjoyment of food as perennial themes in profane and religious western art.

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1 PERIPHERAL MUSEUMS HAVE POSITIVE LOCAL ECONOMIC AND SOCIAL IMPACTS

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his document starts where the word periphery was invented. The question of peripheral museums in Greece has been hotly debated over the years. In 1986, the use of museums for the promotion of regional cultural development was enchrined in law. The book “Living Ruins, Value Conflicts” by Argyro Loukaki offers an interdisciplinary account that highlights the role of regional museums as drivers of economic development of local communities. A Report to the Arts Council England deals with the economic effects of investment in art and culture demonstrating that it drives improvements in the quality of the local environment and the standard of life enjoyed by local communities. A speech at the WEF 2017 supported by data from Canada defended that in economic terms, art more than pays its way.

Another study, “Inspiration, Identity, Learning: The Value of Museums” postulates that museums inspire powerful identity-building learning in children, young people and community members. In Germany, The Peripheral Museum initiative aims to establish a cultural network through architectural interventions to redefine territorial strategies connecting the metropolitan areas with the hinterland and vice versa.

The first archeological law in Greece dates from 1834. “Living Ruins, Value Conflicts” recalls that the law included the provision to create museums in provincial towns, apart from Athens. The first local museums started being constructed in the last quarter of the 19th century. Traditional thinking of what an important museum should be included its aspects as a repository of superior objects that speak of greater harmony and purer motives, and offer an escape from the present. In addition, emphasis was placed on the role of museums as reinforcers of national identity through a combination of exhibits and sublimated interiors.

Changes in this thinking started in the 1970s, in Europe and in Greece, writes Loukaki. They were founded on changes in cultural, social and economic terms.

In its definition of 1974, the International Council of Museums (ICOM) suggested that a museum does not simply reflect social change, but itself becomes an

instrument of social change and development. This conforms to the new social role of monuments and antiquities themselves, in which, aside from the purely aesthetic qualities, their potential as bearers of many sorts of information, and of many interpretations, present and future, are discussed.

Another analogy between the modern role of monuments and that of museums deals with the wider social usefulness of both, namely their didactic aspect, and their role in the economic and cultural regeneration of peripheries. In Greece, for instance, the law 1622/1986 favoured the use of museums for the promotion of regional cultural development.

Many peripheral museums have scarce resources that can eventually be overcome through partnerships with local institutions, for example, schools (business, artistic schooling, tourism schools) for audience research or for the enacting of events, namely gastronomical events. These partnerships could also acts as drivers for the local communities to become involved.

The report “Contribution of the arts and culture industry to the national economy” (2015), for the Arts Council England, drew on research on the economic effects of investment in art and culture in the UK. The results are eye opening showing how the UK as a whole benefitted from a modest amount of public investment. For every pound of targeted public arts funding returns £5 in tax.

The Arts Council report refers that while it’s a fact that London’s extraordinary combination of cultural attractions and its position as a tourist gateway gives it advantages in attracting visitors and audiences all year round, other regions are growing too. The contribution to regional economies of arts and culture is growing in the East of England and the East Midlands - at more than the average rate for the UK as a whole. And, whereas this growth is now slowing in London, it is gathering momentum in these areas. This economic impetus is keenly appreciated in some of the regions of England that have been slow to recover from the recession. In the North East, the arts and culture sector has almost

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recovered to prerecession levels of contribution to the regional economy.

The positive spillover impacts of art and culture in the UK economy cover economic areas such as tourism, developing skills, improving national productivity and, noteworthy in the context of peripheral museums, as a catalyst for economic regeneration.

The investment in the arts and culture can drive improvements in the quality of the local environment and the standard of life enjoyed by local communities.

In the speech “How can artists lead dramatic social change?” to the World Economic Forum in Davos in January 2017, Oscar Winning documentary film maker Sharmeen Obaid-Chinoy reported that a Canadian business survey conducted in 2008 found that 86% of respondents believed art made for more integrated and healthier communities, while 88% thought it had a positive impact on health and well-being. In economic terms, art more than pays its way.

Several studies over the years in many countries, such as “Inspiration, Identity, Learning: The Value of Museums, The evaluation of the impact of DCMS/ DfES Strategic Commissioning 2003-2004: National/Regional Museum Education Partnerships” of the UK, have demonstrated that museums inspire powerful and identity-building learning in children, young people and community members.

Museums inspire learners across all age ranges and are sites of enhanced achievement, going beyond what learners think they can do. They engage both boys and girls and stimulate vulnerable pupils and those that find learning difficult. Museums are a useful tool to target and motivate disadvantaged individuals and groups effectively. They provide resources for all curriculum areas, and for inter-disciplinary themes and complement formal

education when pupils are off curriculum (hospital schools, pupils who are refugees).

Typical projects were designed to be innovative, and sometimes experimental, and to enable the museums to develop their work beyond what was possible with their usual level of resources. Other projects explored how museums can engage with contemporary social issues, such as social inclusion, community cohesion and neighbourhood renewal.

One project based on architectural development is the The PMCA / Peripheral Museum of Contemporary Art at the Fakultät für Architektur Technische Universität in Munich. The project has established the Rhein-Main Metropolitan space for identification, conceptualization and realization of Cross Territorial Cultural Supply Chains: a cultural network through architectural interventions to redefine territorial strategies connecting the metropolitan areas with the hinterland and vice versa. The PCMA considers that today’s central European landscape can be defined as a fragmented space with little dynamics within its territorial elements, wherby a clear division towards the hinterland is taking place resulting in a cultural split with the metropolitan space.

While the hinterland is economically still strongly positioned, it tends to loose its social and cultural voice resulting in isolation. The Rhein-Main area with it´s central power-house Frankfurt is one of the eleven European metropolitan stretches populated by over 5,5 million persons. Being located in the centre of Europe, Rhein Main is a polycentric agglomeration. The aim is to add sustainable value to the urban and territory and create a voice for the citizens, while the architectural presence must be established both from above – conceiving new territories and networks – and from beneath – establi-shing architectural spaces.

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2 ART AND FOOD IS A TIMELESS ALLIANCE

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rt and food are universal sensory languages. Food has enjoyed a central place in Western art, in painting and sculpture, for centuries. The books “Food and Art, from Prehistory to the Renaissance” and “Food in Painting: From the Renaissance to the Present” highlight the timeless alliance between food and art, from the mystic and at the same time realistic depiction of animals in Paleolithic cave paintings to the present. Ever since, food shows up frequently in art as a vivid testimonial of the symbiotic and irreplaceable relationship of food and humans.

Over millennia, hunting, harvesting, producing, distributing food, beverages -- wine in particular -and the enjoyment of food are the theme of many works of profane and religious western art that are eloquently depicted in our our Pictorial Overview that starts with the representation of oxes in Lascaux and ends with the representation of a beef burger in New York.

The enjoyment of food produced new sensations when food itself started to be used as the medium to create an ephemeral type of art – food art, elaborate dishes that please the eye as well as taste. The power of the art-food connection to attract visitors and customers was not missed by museum and restaurant managers. Some major museums resorted to elaborate restaurants and cafeterias or established a reputation for well-cooked food in pleasant surroundings, while entrepreneurial restaurateurs are including art in their menus to enhance the customer’s dining experience in redesigned premises to display artworks.

2.1 A sensory experience

The arts ­– painting, sculpture, installation, dance and music – are in part about creating a sensory experience – something for the audience to see, feel or hear, writes Jacquelyn Strycker in the New York Times (January 7, 2013). She argues that perhaps more than any other discipline, food has the ability

to appeal to all of our senses — a combination of colours, textures, crunches, smells and tastes goes into the making of a meal, and the selection and transformation of those elements is creative. Furthermore, when a creative, sensory form also has the capacity to express philosophies, inspire multiple interpretations, conjure narratives and/or allude to complex meanings, it is art, whether the medium is paint or piano or polenta. Strycker argues that food has not replaced art as high culture; it is art.

In the book “Food and Art, from Prehistory to the Renaissance”, by Gillian Riley (Reaktion Books, 2015), we learn that historians using computer images and statistical methodology of Paleolithic world art has led them to the conclusion that the images of animals in caves represented perceptions of fertility and male/female duality, expressed in stories and myths. She writes that fertility was both a blessing and a problem, in man and in the animal world; high infant mortality meant a need for fecund females. Cave art shows a pleasure in beauty that might have been found in other Paleolithic things that have perished, like textiles and clothing.

Riley tells that the drudgery and pleasure of preparing and enjoying food has been celebrated in art, from chaotic kitchen scenes to elegant banquets, from idealized gardens to fruit stalls loaded with symbolism, like the diagram of the Four Humours by Hildegard von Bingen (11th-12th century). The diagram recalls the relationship of food and emotions – the humours – with practical advice on diet and cooking.

In the book “Food in Painting: From the Renaissance to the Present” (Reaktion Books, 2004), Kenneth Bendiner writes that from the hearty meals being devoured by peasants on a Bruegel canvas to the lush and lifelike fruits of a trompe l’oeil, these two great sensory pleasures come together in centuries of paintings of food. The sixteenth century saw great innovations in food subjects, but, as Bendiner reveals, it was Dutch food painting of the seventeenth century that created the visual vocabulary still op-

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erative today. Alongside paintings that feature food as the central subject, Bendiner considers that Renaissance menus, aphrodisiacs, bottled water and the portrayal of dogs at the table contributed to food imagery determined by such factors as myth, religion, social privilege, and sexuality.

The recent book “Valeria Napoleone’s Catalogue of Exquisite Recipes”, by the eponymous Italian writer, elaborates on the relationship between art and food. She writes that food is a lasting presence in the art world. She reminds us that artists have always gotten together over a meal.

pect of political and social prestige, and required the skills of the finest artists and craftsmen of the time.

The contemporary milkstones and rice pieces by German artist Wolfgang Laib are large square slabs of marble that have been hollowed out and filled with milk, resulting in reflective white squares. His “Unlimited Ocean” was a grid of 30,000 piles of rice installed at the School of the Art Institute of Chicago. Laib uses these natural materials to create ephemeral and sensual experiences.

2.3 Cuisine in the museum

Several major museums have resorted to elaborate restaurants and cafeterias or have an established a reputation for well-cooked food at affordable prices in pleasant surroundings open to the public.

Some examples of museum restaurants and cafeterias: 1 Hildegard von Bingen, The Four Humours, 11th-12th Century, Germany

2.2 Food as art

Food as art has a long history, but requires a lot of talent. There are many recent examples of food being used as the medium to produce art.

A paper by Howard Coutts and Ivam Day published by the Henry Moore Foundation describes the European sugar sculpture, porcelain and table layouts from the 16th through 19th centuries.

In 1815 a feast given in the Great Hall of the Louvre by the Royal Guard to celebrate the final defeat of Napoleon included huge pièces montées, in the form of gilded sugar military trophies, crafted by the patissier Carême, displayed between the tables. At this level, table decorations were an as-

•Musée d’Orsay, Paris, France. It was considered essential to integrate contemporary design into the architectural concept for the renovation.

The Campana brothers were called on to completely redesign and refurbish the Café de l’Horloge. Inspired by Emile Gallé, the two Brazilian designers created a dream-like aquatic ambiance that pays tribute to the great glassmaker from Lorraine, and to Art Nouveau.

•Tate Modern, London, UK. The new Switch House extension by Herzog and de Meuron had a rapturous reception. The views from the 10th floor, its monumental perforated brick exterior and its three subterranean concrete Tanks – the world’s first permanent museum spaces dedicated to live art, installation and film – are seeing visitors squeeze into the lifts in unprecedented numbers.

The concept: A place of refuge from the Tate Modern hordes, with magnificent views of St Paul’s, the Millennium Bridge and Tate Modern itself.

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•Sainsbury Wing, The National Gallery, London, UK. The large mural by Portuguese born artist Paula Rego, depicting large-scale figurative pictures with complex narratives loaded with psychological tensions and dramas, exploring a whole range of emotions that lie just below the surface of things, brings art into the museum’s restaurant.

•Heard Museum, Phoenix, Arizona, USA. The café is treated as an extension of the museum’s education program. The menu features southwestern and Native American food, with an emphasis on New World food. Photographs and other graphics as well as take-home recipes and cookbooks enhance the experience of eating at the café.

•Columbus Museum of Art, Ohio, USA. The Schokko Art Café overlooks a sculpture garden. The restaurant takes its name from Alexej von Jawlensky’s “Schokko with Red Hat,” a painting in the museum’s permanent collection (1909 to 1910). There are several sinful desserts available in her honor.

•Denver Art Museum, Denver, Colorado, USA. Palettes serves new American cuisine in a sleek, modern space and offers rotating menus inspired by what’s going on over in the museum. The exhibition devoted to Samurai armor includes a variety o Japanese dishes. Previous special menus were inspired by exhibits on artists Andrew and Jamie Wyeth and jeweler Cartier.

•Crystal Bridges Museum of American Art, Bentonville, Arkansas, USA. Restaurant Eleven creates a tasting menu integrating the culinary arts with the museum’s exhibits. A current exhibition, “The Open Road: Photography and the Great American Trip”.

•Benesse House Museum, Naoshima, Japan.

Opened in 1992 integrating a museum with a hotel, based on the concept of “coexistence of nature,

art and architecture.” Designed by Tadao Ando, the facility is built on high ground overlooking the Seto Inland Sea. The artworks are found in all parts of the building including the restaurant, as well as in scattered locations along the seashore.

•Metropolitan Museum of Art, New York, New York, USA. Offers a food-themed tour after the museum’s the visit. Participants can choose a meal that reflects the artworks they just visited.

•Museu Calouste Gulbenkian, Lisbon, Portugal.

The museum was inaugurated in 1969. It is surrounded by luxuriant gardens, a masterpiece of garden and landscape design by architect Ribeiro Teles.

The cafeteria adjoins the museum section that contains the modern art collection and overlooks the gardens.

•Serralves Museum of Contemporary Art, Porto, Portugal. The museum adjoins the Serralves Villa, a unique example of Art Deco architecture, from the 1930’s. The museum opened in 1999. The design is by world-renowned architect Alvaro Siza. It includes the cafeteria that harmoniously integrates with the surrounding urban area and the pre-existing spaces of the gardens of the Park and Villa.

2.4 The restaurant as art gallery

Restaurants are increasingly using art to complement and enhance the customer’s dining experience, either by commissioning the redesign of the premises or by using the premises to display artworks.

According to Mourad Mazouz, owner of restaurants Derrière, in Paris and Sketch in London, in the Wall Street Journal, “in the kitchen we are creating art everyday, but it is ephemeral art”.

However, Aaron Meskin, Director of the Centre for Aesthetics at the University of Leeds, thinks otherwise. In his paper “The Art and Aesthetics of Food” he temperates the view that food is art: “Although I believe that some food is art, I think we would be

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better off justifying our concern for food on its own terms. Let’s make the case for the value of food as food and not worry so much about its aesthetic and artistic status.”

The design community has also welcomed cuisine into the fold. Core77 Design Awards includes a category for “Food Design.” The Vitra Design Museum Boisbuchet in France has hosted a lecture by food photographer, designer and cookbook author Emilie Baltz. And in 2011, “Talk to Me: A Symposium at MoMA” featured presentations and panel discussions related to the communication between people and objects. There couldn’t be a more blatant expression of the conversation between an industrial design object and food as the “Lobster Telephone” created by Salvador Dali in 1936 for the English poet Edward James (1907–1984), a leading collector of surrealist art.

•Sketch, London, England, UK: Turner Prize winner Martin Creed invited to redesign the gallery restaurant. A new artist will be picked each year to redesign the entire room.

2 Mechanical creation of a perspective image by Albrecht Dürer

Two examples of restaurants as art galleries: •Cock’n’ Bull Gallery, Rivington Street, East London, England, UK: A specialy commissioned Damien Hirst artwork, one of his iconic cows in formaldehyede, takes centre stage at the restaurant.

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3 SUMMARY

1.

Peripheral museums, as regional museums in general, have positive spillover impacts in the economy covering areas such tourism, developing skills, improving national productivity and as catalysts for economic regeneration.

2.

The investment in the arts and culture can drive improvements in the quality of the local environment and the standard of life of local communities.

3.

Peripheral museums have scarce resources that may be supplemented with partnerships with local institutions.

4.

Museums inspire powerful and identity-building learning in children, young people and community members.

5.

Art and food offer a timeless alliance that can often times blend seamelessly with museum colections or settings.

6.

Restaurants, cafeterias and gastronomical events have proved to be an attraction and a driver for visitors to museums.

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4 ART AND FOOD: A PICTORIAL OVERVIEW

3 Unknown, aurocs, horses, deer, Lascaux Cave, Dordogne, France, ca. 17,000 BCE (Ministère de la Culture, France)

4 Maler der Grabkammer des Menna, threshing the grain, 1422-1411 BCE, Egypt.

5 Antimenes Painter, olive gathering by young people, attic black-figured amphora, ca. 520 BCE, Vulci, Italy

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6 Unknown, transporting wine, Roman villa known as House of Dionysos, Mosaic, 2nd Century CE, Paphos, Cyprus.

7 Livre du roi Modus et de la reine Ratio, peasants breaking bread and drinking, 14th century, Paris, France

8 Ugolino di Nerio, The Last Supper, painting, 1324, Siena, Florence, Italy

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9 The Frankfurt Paradiesgärtlein, tempera on oak, ca. 1410, Germany

10 Leonardo da Vinci, The Last Supper, Tempera in gesso, 1495, Milan, Italy

11 Michelangelo Buonarroti, The Drunkenness of Bacchus (detail), marble, 1496, Italy

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12 Hieronymus Bosch, Allegory of Intemperance (detail from triptych), oil on panel, between 1490 and 1500, Flanders

13 Albrecht DĂźrer, Adam and Eve. Engraving, 1504, Nuremberg, Germany

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14 Joos van Cleve, The Holy family, oil on panel, 1512-23, Antwerp, Flanders

15 Pieter BrĂźgel the Elder, Peasant Wedding, Oil on panel, 1566-69, Flanders

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16 Joachim Beucklaer, Christ Visiting Martha and Maria, 1568, Oil on panel, Antwerp, Flanders

17 Giuseppe Arcimboldo, The Greengrocer, painting, ca. 1580, Milan, Italy

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18 Adam Elsheimer, Saint Elizabeth of Hungary bringing food for the inmates of a hospital, oil on copper, ca. 1598, Rome, Italy

19 Caravaggio, Supper at Emmaus, oil on canvas, 1601, Rome, Italy

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20 Peter Paul Rubens, Venus, Cupid, Bacchus and Ceres, oil on canvas, 1612, Antwerp, Flanders

21 Floris van Dyck, also called Floris Claes, Still Life with Cheeses, oil on panel, 1615, Haarlem,The Netherlands

22 Velasquez, The Triumph of Bacchus or Los Borrachos, Oil on canvas, 1629, Madrid, Spain

23 Pieter Klaesz, Still life with a roemer, a crab and a peeled lemon, Oil on panel, 1643, The Netherlands

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24 Bartholomeus van der Helst, Banquet of the Amsterdam Civic Guard in Celebrationof the Peace of MĂźnster, oil on canvas, 1648, Amsterdam, The Netherlands

25 Johannes Vermeer, The Milkmaid. Oil on canvas, Ca. 1657-58, Delft, The Netherlands

26 Jan Steen, The Bean Feast. Oil on canvas Leiden, 1668, The Netherlands

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27 Josefa d’Óbidos, Still Life with Sweets. Oil on canvas, between 1660 and 1670, Óbidos, Portugal

28 François Boucher, Le Déjeuner. Oil on canvas, 1739, Paris, France

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29 Francisco de Goya, Still Life with Golden Bream, Oil on canvas, 1808-12, Spain

30 Gustave Courbet, After Dinner at Ornans. Oil on canvas, 1849, Paris, France

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31 Jean-Franรงois Millet, Woman Baking Bread. Oil on canvas, 1854, France

32 Pierre-Auguste Renoir, Luncheon of the Boating Party. Oil on canvas, 1882, France

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33 Edouard Manet, Le cafĂŠ concert, 1878. Oil on canvas, Paris, France

34 Vincent Van Gogh, The Potato Eaters. Oil on canvas, 1885, Nuenen, the Netherlands

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35 Claude Monet, Haystacks (Sunset), oil on canvas, 1891, Giverny, France

36 Rafael Bordalo Pinheiro, Fish Plate, Ceramics, Ca. 1880, Lisbon, Portugal

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37 Paul CĂŠzanne, Still Life with a Curtain. Oil on canvas, 1895, Aix-en-Provence, France

38 Henri Matisse, Red Room (Harmony in Red). Oil on canvas, 1908, France

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39 Pablo Picasso, Nature morte au compotier (Still Life with Compote and Glass), oil on canvas, 1914-15, France

40 Salvador Dali, Les Diners de Gala, 1973. Book, Taschen

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41 Andy Warhol, 32 Campbell Soup Cans, silkscreen, 1962, New York, USA

42 Claes Oldenburg, Floor Burger, acrylic on canvas filled with foam rubber and cardboard boxes, 1962, New York, USA

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5 BIBLIOGRAPHY

“Inspiration, Identity, Learning: The Value of Museums The evaluation of the impact of DCMS/DfES Strategic Commissioning 2003-2004: National/Regional Museum Education Partnerships”, UK “Contribution of the arts and culture industry to the national economy”.

2015. for the Arts Council England Bautista, S. S. 2014. Museums in the Digital Age: Changing Meanings of Place, Community, and Culture. Maryland: AltaMira Bendiner, K. 2004. Food in Painting: From the Renaissance to the Present.

London: Reaktion Books Loukaki, A. (2016) Living Ruins, Value Conflicts. Oxford: Routledge Natter, B. 2004. The Rijksmuseum Cookbook, Great Chefs Draw Inspiration from the Dutch Masters. Amsterdam: Thomas Rap Napoleone, V., Hix, M. 2012. Valeria Napoleone’s Catalogue of Exquisite Recipes. Frankfurt: Koenig Books Riley, G. (2015) Food and Art, from Prehistory to the Renaissance. Oxford: Reaktion Books

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In_NovaMusEUm: Museums come back to the local community through Art&Food – the main objective is to help strengthen the capacity to attract new audiences of European museums located in peripheral areas, through activities of audience development related to Art&Food, transnational mobility and trainings for artistic curators and museum directors.

Website: http://www.innovamuseum.org/ FB: https://www.facebook.com/innovamuseum/