PAOLO VERONESE

At a wedding in Galilee, Jesus performs his first attributed miracle when he turns water into wine to satiate thirsty guests. The story appears only in the Gospel of John, but has long been held not only as an important proof of Jesus’ divinity, but also as a symbol of the Christian approval of marriage and acceptance of earthly celebration. Some fifteen hundred years later, in an era of Venetian indulges rife with feast and celebration, the great Mannerist, Renaissance painter Veronese brings the story into his contemporary world. Feasts such as the one depicted here were common in society, sumptuous displays of food that not were not just about presenting wealth, sophistication, and power, but literally passing on these qualities to the guests via food. Jesus sits at the centre of the table, surrounded by more than one hundred and thirty figures on all sides, dressed in extravagant garb of the day. A story of a humble miracle becomes indicative of a celebratory society, and brings the sacred into the profane, reminding viewers that the act of sharing food and drink is more than just community but communion.

GEORGES BRAQUE

While Georges Braque and Pablo Picasso began together, creating the vocabulary of cubism that would go on to inform the entire 20th century art movement, by 1941 the two had gone their separate ways. Picasso was restless, experimenting further and defying boundaries at every turn as he became increasingly unclassifiable in his practice. Braque, on the other hand, was rigorous, disciplined, and singularly focused on mastering Cubism and continuing to burn the torch for the art movement that he developed. His later works, such as Still Life with Fish here, are some decades removed from the origins of the movement and the increased wisdom is clear. Gone are the dizzying, erratic geometries that obscured the subject into kaleidoscopic wonder and in their place is a gentle, deftly handled study of perspective. The wildness of youth and excitement of the new has been tempered by a deep understanding of his forms and style, and Still Life with Fish is a masterful example. Its radicalness creeps up on you - at first glance it looks like a recognisable scene but the more you engage, the more you see just how many perspectives Braque shows this simplicity in. While Picasso may have answered more questions in his wild career, Braque answers are perhaps more concise.

ADOLF GOTTLIEB

A floating orb glows with searing intensity. It is the summer sun that brings with it joys and dangers in equal measure, that enforces a regularity and order to life dictated by its rising and falling. Below, a violent, calligraphic, abstract form grounds us in entropy, chaos, and the fallibility of humans. “I feel that I use color in terms of an emotional quality... a vehicle for the expression of feeling.”, said Gottlieb, “Now what this feeling is, is something I probably can't define, but since I eliminated almost everything from my painting except a few colors and perhaps two or three shapes, I feel a necessity for making the particular colors that I use, or the particular shapes, carry the burden of everything that I want to express, and all has to be concentrated within these few elements. Therefore, the color has to carry the burden of this effort”. And carry the burden, his colors do: soft pink hues, electric scarlet, dark blood reds, and the brown of earth speak to apocalypse as much as to connection and human flesh. Gottlieb represents summer as something that engulfs us, that we long for and fear, and mustn’t look at too long in case it damages our eyes.