Georg Flegel (circle) - Stillleben mit Zitronen, Nüssen,Tieren und Gegenständen auf einem Tisch
Quasi quattro anni fa, quando la mia piccola era appena nata, tra un cambio di pannolino, un'allattata, un pianterello e un po' di coccole, quando finalmente lei pacifica dormiva o se ne stava tranquilla, il mio diletto era seguire Laura Ravaioli su Gambero Rosso channel. Ho così accumulato un piccolo tesoro di ricette tra cui questa che condivido.
Grattugiare la buccia di un'arancia non trattata.
Frullare 150g di nocciole con 175g di zucchero, aggiungere 300g di farina00 e la buccia d'arancia, poi 250g di burro a pezzetti e formare delle briciole, quando il burro ed il resto degli ingredienti risulta ben miscelato introdurre un uovo ed un tuorlo e 5 cucchiai di rum.
Far riposare l'impasto per circa un' ora in frigo e poi stenderlo e dargli la forma che ci piace.
Cuocere in forno a 180 C° per 15'.
Georg Flegel (Olomuc, 1566 – Francoforte sul Meno 1638), tedesco, con certe bellissime secchezze. Inizio con un quadro della cerchia, per via della grande evidenza delle nocciole. Tra i primi di quella cultura a dedicarsi alle nature morte, per cui si suppone una formazione fiamminga.
In the culinary culture of the aristocracy and the patrician middle classes, banquets consisted of six to eight - sometimes even nine - courses and were always concluded by a dessert. Interest in desserts came to a climax at a time when numerous delicacies had been introduced as new luxuries. This was especially true for sugar confectionary, which appeared in still-lifes around 1600 for the first time. The introduction of sugar marked a radical revolution of taste. Initially it was only used for pharmaceutical purposes, but it soon replaced honey as a sweetener and a food.
The crystalline structure of the candied sugar was rendered especially accurately by Georg Flegel in his confectionary still-life. His painting shows candied fruit on a table in the foreground, including two figs on the right, encrusted with large sugar crystals. Some of the fruits have been cut up in the shape of letters, for example a large 'O' can be made out as well as a crumbled 'A' beside the loaf of bread. A straight piece of sugar is lying across the loaf like a cross-beam and is being approached by a disproportionately large bee. The earthenware bowl with the blue pattern contains candied fruit dusted with icing sugar, and a brimstone butterfly, whose wings also show traces of sugar, has alighted on it.
Flegel added a religious dimension, because the seemingly innocuous arrangement is full of Christian allusions. For example, the letters 'A' and 'O' (Alpha and Omega) as the first and last letters of the Greek alphabet are a reference to Apocalypse 1:8 and 21:6, where Christ is referred to as the beginning and the end. The cross formed by the loaf and the piece of sugar emphasizes this aspect even further. Finally, as a reminder of the Eucharist, there is the bread and wine in the dainty glass, with decorations resembling amphora handles which drop down in the form of grape-like clusters at the bottom. The redemptive work of Christ is called to mind by the butterfly, an ancient symbol of the human soul as well of the resurrection, as new life comes forth from a seemingly dead chrysalis. The heart on the right is a specially shaped piece of bread, made from communion wafer dough, and is apparently meant to remind the viewer of the heart of Christ.
In Flegel's art, sugar has entirely taken over the religious connotations of honey, which was understood as a symbol of 'spiritual sweetness' during the Middle ages.
Still Life with Bread and Confectionary. The painting depicts a collection of delicious sugar coated desserts with some baked goods, wine, and insects. The insects in the picture seem a bit out of place, of course some bugs are attracted to sugar, but a ladybug, a butterfly, and an oversized wasp make up an absurd assortment. The strange collection can be used as a hint that there is more to the painting than irst irst meets the eye. Upon closer examination it is revealed that the work is full of Christian allusions. The most obvious symbol in the painting is the loaf of bread in the l ower left corner. The rectangular stick of sugar has been carefully laid across the bread to make the shape of a cross . Next to the bread there are some oddly shaped treats. To the right lies a circle, or O - shaped candy. Directly in front of the bread there is a pile of sugary sticks that form a b r oken A shape. These desserts are intentio nal references to Apocalypse 1:8 and 21:6, where Christ is named the beginning and the end, the Alpha and Omega. The wine is yet another symbol for Jesus, in an obvious reference to the communion. Wine was used very widely as a religious symbol in painting s of this era because of its very strong association with scripture. The symbols in this painting are rather clear and their meanings are difficult to dispute, but there are some objects whose meanings are often subject to reinterpretation.