The art of menus | viewer

There is, of course, no endeavour, no craft, no profession, no commerce that ignores the “expression of community”. This is common. For example, the collective narcissism of respectable builders claims that carriers and construction work reflect society. argument Menu design in Europe He is relatives. Graphic artists, restaurateurs, decorators, and chefs, over the course of two centuries, expanded their abilities according to the environment in which they practiced. Lists, then, aren’t just job listings, they’re self-advertisements, galleries, temptations, and sometimes, seemingly collectible desirable objects.

Indeed, this book has the unmistakable feel of an obsessive scrapbook, and it’s a full glass. The complement in question is Taschen’s California editor Jim Heymann. The majority of images in this 450-page sharpened weapon are from his collection. He also collects unspecified Americana: surfing memorabilia, games, photos of googie roadside architecture, and ephemeral advertising (which is no longer ephemeral once I give it his eternal coordinating hand). There is not much writing here. Heimann is largely silent. However, prolific design journalist and print historian Stephen Heller provides a brief introduction. It starts quietly:

starving? Do you like diversity? Try Europe! Europe is arguably the largest food court in the world. Including haute cuisine and trendy fare – most of which are delicious – the continent is a mecca for star chefs and an abundance of gourmet delights. One might say that Europe is a gigantic and moving feast, constantly changing its remuneration…

One might indeed choose, but might equally choose not to adopt the j-sizzle joke of the easily influenced American food ‘writers’. He concludes, “A beautiful menu will not make the dish taste better, but it will make the dining experience complete.” This overall experience will leave me stunned.

French dinner menus from 1906 (right) and 1916 (left). Courtesy of Jim Heimann Collection.

Comments on the photos were provided by Mark Selvaggio, a Berkeley bookseller and merchant in the Meridian. A daunting task given that the majority of the painters are unknown. Existing cards were rarely signed. And even when they were, the signature was and still is hard to decipher. But far from impossible. With a small amount of research, a name can be given to the anonymous artists and thus, belatedly and temporarily, an explosion of uproar after his death. It’s a vague insult to the shadows of Alfred Maelik, George Redon (no relation), brilliant camper Guy Arno, Glasgow Outback poet Robert Eddy, and engraver Valentin Le Campion (a Toncliffe resident). Admittedly, it is of local and niche interest. That can’t be said of Paul Delvaux, the world famous but apparently not Chez Selvaggio.

The most obvious example of not admitting failure is this unmistakable Belgian painter’s design for La Coronne in “Brussels, Belgium” (instead of Brussels, Orange County). It was even signed, although it need not be. Delvaux’s signature is at every mark, including his April 1954 dedication to Albert and George Niles, owners of La Coronne and members of a restaurant family whose descendants still own many Bruxellois establishments including the excellent Le Canterbury, underlying pollutants on the banks of the Ixelles ponds. The cooking is memorably good but the menu is quite memorable. The same can be said for most lists of the last half century.

Jean Cocteau menu design for Le Grand VĂ©four, 1969, Paris. Courtesy of Jim Heimann Collection.

There are exceptions. Lameloise in the small Burgundian town of Chagny is by far the worst restaurant with three worthless Michelin stars. He was so pretentious in the mid-’80s that his listing spells out the name of the place in Diane, the only boring font designed by the incomparable Roger Excoffon.

The last years of this poll were represented by what might be a lot of jobs from military DDR with some weights from the rest of the Soviet bloc (some of which were recycled from the same publisher. beyond the wall). Honecker enjoyed the meals he had just caught. It was, of course, atypical. The average Ossie enjoyed an industrial, processed diet with an abundance of sweet pepper flakes. But he is still better than his fellow Czechs.

Even after Chemnitz’s name was changed to Karl-Marx-Stadt, its luxury hotel remained the Chemnitzer Hof. Her menu on New Year’s Eve 1960 promised the elegance of tacky cocktails, san serifs, and “sophistication” that might have been 30 years ago, fanciful elegance rarely achievable in the land of tarps, high-tar cigarettes, meltbars, and nylon shirts. This diversity of escape was transcended by a hilarious, funny, and popular reaction to modernity, which was still present many years after the reunification.

In the mid-nineties, the fabric of everyday life suggested that the “former” East was not earlier at all. East Elbe Everything looked, smelled and tasted like a destitute old DDR that was already instigating an ostalgie. Convenient pollutants, color-blind fabrics, lava ceramics, baby-like stickers, glassware, erotically patterned house covers, menus filled with anthropomorphic animals, anthropomorphic cartoon characters, dolls, graphic samovars, onion domes (Russian restaurants) and (Cuban) guitars. Most of them refer to the rejection of the material heaven that was before 1989, for example, a mockery of Magdeburg and Dresden: Promise Savior, Illusion Shattered.

But while cramped warmth and sober home life characterize the menus and restaurants, the architecture of the hotels that house many of these is more brutal than ever. After decades of the practical, cheap, off-the-shelf term that has been neglected as Khrushchevka, the last years of the reign of his successor were the years of Leonid Brezhnev’s style blazes Vegas, a modern Faroese school with a myriad of variants, there are no rules and no aesthetic controls. Read correctly, it would have predicted the imminent split of the Soviet Union.

What do you expect the current English menu? Final ending of uppercase letters, disappearance of punctuation and pound signs? It befits open ‘democratic’ kitchens, non-hierarchical hard surfaces, physical discomfort, pretense to share, raucous screams, and the mysterious sanctity of a cult of chefs who have no taste for synergy and are subcutaneous vegetarians.

Try this – and enjoy:

cerumen forage sourless crusted leek suet brioche 17

26- hibiscus wax

Salinity Birch Bark Molasses Coypu Popcorn Chlorophyll 29

Menu design published in Europe by Jim Heimann by Taschen.

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