The watermelons of our summers are not the watermelons of yesteryear, as demonstrated by a 17th-century painting by Italian artist Giovanni Stanchi. The Renaissance still life depicts a sliced watermelon with a knife resting over pinkish, pale flesh full of dark seeds— much different from the lush reds with only a scattering of seeds that we see when slicing them open today.
As Vox reported this week, the painting captures an early form of the fruit so well that James Nienhuis, a University of Wisconsin horticulture professor, shows it to his classes when teaching crop breeding. The painting, which was auctioned last year at Christie’s, captures the watermelon in the midst of domestication from its wild form, which originated in Africa.
Over time, watermelons were bred to have different shapes, fewer seeds, more water and sugar, and that rich, red flesh. And they’re still evolving: we now have seedless watermelons, square watermelons, and even — horror — watermelons with human faces. Most of us likely realize on some level that the majority of the fruits, vegetables, and meat in our grocery stores are not completely natural, resulting from centuries of selective breeding and modifications. For example, almost all of our carrots are orange despite the fact that they grow in shades from yellow to purple, the result of a 17th-century cultivating frenzy of an orange breed with a hefty amount of beta-Carotene, as a tribute to William of Orange. The peach, also, once only found in China, was cultivated to be bigger, sweeter, and have a smaller pit for easier consumption.
Old master still-life artists like Stanchi froze fragments of time, including moments in our agricultural history. Below are more examples of watermelons of the past captured in art.
Once denounced as “women’s work” with no artistic merit, embroidery is experiencing a revival, with a feminist punch.
Inspired by the journey made by the epic hero Homer’s Odyssey, a show at Villa Carmignac combines myth with contemporary issues.
This new kunsthaus in Potsdam shows modern and contemporary works of art from East Germany in what was once a terrace restaurant.
Courtney Stephens’s documentary on women’s travels from the 1920s to ’50s presents not just personal glimpses into daily life a century ago but also documents of colonialism.
Laura Larson’s City of Incurable Women draws from archival materials to speculate on the lives of women who were famously hospitalized for hysteria throughout history.
The Philadelphia organization offers artists on-site access to recovered materials, studio space, construction equipment, a $1,000 stipend, and more.
The company is asking users to verify their bank details via Plaid, a fintech company that recently settled a privacy class action lawsuit.
Each artist will receive $190,000 in cash and benefits from the Tulsa Artist Fellowship over a three-year period.
Drawn to Life at the Ackland in Chapel Hill, North Carolina, showcases 17th-century Dutch drawings of landscapes, portraits, preparatory studies, and biblical and historical scenes.
The 1,000-year-old Cañada de la Virgen ceremonial site will be protected from encroaching development.
A total of 24 board members stepped down from their posts after the art center’s parent company allegedly attempted to terminate 12 of their colleagues.
A group of artists and writers denounced the center for hosting Philippines President Ferdinand Marcos Jr., son of the country’s former dictator.