Tuesday, March 31, 2015

Closely Looking at Hokusai's "Great Wave" (aka "Under the Wave off Kanagawa") + FOOD: EGGPLANT & TOMATO CASSEROLE

The world-renowned landscape print "Under the Wave off Kanagawa" — also known as the "Great Wave"— by the Japanese artist Katsushika Hokusai (1760–1849), is currently on view at the Met Museum in NYC.
"Great Wave' image courtesy of the Metropolitan Museum of Art
The "Great Wave" belongs to a series of
Hokusai prints titled: "
Thirty-six Views of Mount Fuji".
Mt. Fuji represents the highest point in Japan (12,389 ft) and
as an active volcano, it last erupted in 1707-08. 
The mountain is located 60 miles south-west of Tokyo,
on Honsu Island. On a clear day it can be easily seen
from Tokyo and many parts of southern Japan.
ART:
CLOSELY LOOKING AT 
HOKUSAI'S 
GREAT WAVE
(c. 1829-32) at the Met Museum.

The Metropolitan Museum of Art, in New York City, is celebrating the 100th anniversary of their Department of Asian Art with a year long program of 19 exhibitions and installations.


Outside the Met, a banner hangs
touting the 100th anniversary of
their Asian Art Department.
Above, is one of four early and high quality prints
of the "Great Wave" in the collection 

of the Met. Museum in NYC.

To commemorate the centennial of the Met's Department of Asian Art the department has organized an exhibition of its formidable holdings, which includes the world-renowned "Great Wave" print by Hokusai, first published by the artist in 1831.

This famous woodblock print, by the Japanese master artist Katsushika Hokusai (1760–1849), is titled "Under the Wave off Kanagawa", but the artwork has come to be known as simply the "Great Wave".

Now, let's take a very close look at this famous icon of the art world: Hokusai's "GREAT WAVE".

"Great Wave" (c. 1829-32), by the Japanese master Katsushika Hokusai (1760–1849),
out of his series "Thirty-six Views of Mount Fuji".

Hokusai was born in 1760, in Katsushika, a district east of Edo (Edo is now Tokyo, Japan). He was the son of a mirror maker to the shōgun and his mother was most likely a concubine. When he was in his late 60s, he started working on "Thirty-six Views of Mount Fuji", which proved so popular that he later added ten additional color prints. He died at the age of 89, in 1849. His work is considered to be a part of the "Edo Period" of Japanese art. 

Hokusai self-portrait.
(cropped)

Hokusai's career spanned more than seven decades. Not only did he achieve fame for his dynamic wood block prints and illustrated books


Katusushika Hokusai, "Fuji at sea", 1835
from vol. 2 of 3-vol.
illustrated book
"One Hundred Views of Mount Fuji"
1834 - 1842

(This B/W book includes an expanded series
of Hokusai's Mount Fuji images.)
...but was also recognized as a skilled painter, known for his ingenuity in technique, perspective and compositions. 

 A Hokusai Painting: ink and color on silk
"Boy viewing Mount Fuji" 1839
Some years before his death he is reported to have stated:
At the age of five years I had the habit of sketching things. At the age of fifty I had produced a large number of pictures, but for all that, none of them had any merit until the age of seventy. At seventy-three finally I learned something about the true nature of things, birds, animals, insects, fish, the grasses and the trees. So at the age of eighty years I will have made some progress, at ninety I will have penetrated the deepest significance of things, at a hundred I will make real wonders and at a hundred and ten, every point, every line, will have a life of its own.


A sample of a Japanese wood block being carved.
Hokusai's "Great Wave" is a woodblock print created from his original ink and brush drawing, his color selections and his design. Hokusai was the artist, but a master wood carving craftsman actually cut the wood blocks, and a printing craftsman inked the blocks and made the final prints all under the artist's supervision. The "Great Wave" has become the most well-known work of Japanese art in the world today.


In the seriesMt. Fuji is the unifying element in every one of the wood block prints. In the "Great Wave", as dynamic and imposing as the huge breaking wave is, in many ways the diminutive profile of Mt. Fuji arguably remains the focus of the composition. The large cresting wave reveals the mountain within the hollow of its draft and then points down toward Mt. Fuji, while the darkened horizon helps the mountain to stand out, as it creates a strong contrast with the snow capped peak.


In wood block printing, each color is created by a separate block. The complicated and sophisticated use of various hues of blue in the "Great Wave"  is a distinctive feature of several prints from the "Thirty-six Views of Mount Fuji"
 Some of the prints with dominant blue coloring 
from Hokusai's series: "Thirty-six Views of Mount Fuji".
At the time the "Great Wave" print was produced, there was a large demand in Japan for "Berlin blue", popularly known as "Prussian blue", which was imported from Europe. 

Three separate blue variations of ink were used on the "Great Wave",
each requiring its own woodblock to be cut, inked, registered and printed.
Along with the light "dayflower blue", and medium "royal blue", scientific analysis has revealed that both "Prussian blue" and traditional "indigo blue" were used in the "Great Wave" to create subtle gradations in the coloring of the darkest blue tones.

Left: Blues on the color wheel, Center: "Prussian Blue" powdered pigment,
Right: "Indigo Blue" a sample showing the color.


For the "Great Wave", in addition to the three blue blocks, the light yellow color in the sky, which defines the clouds, plus the various shades of reddish yellow in the three boats, were most likely all inked on one woodblock. The dark grey sky, fading to light grey extends up under the yellow sky and was another printing block. Finally, the solid brush-like black outlines defining the artwork and giving an edge to most of the colors was the last block to be printed. If our guess is correct, this made a total of 6 wood blocks which had to be carved, inked, registered and transferred to the paper using a brayer - all by the hands of the craftsmen. Major mis-registrations or smears anywhere along this process, meant the print had to be discarded, and at that time in history, paper was a true luxury item. 

Interestingly, every individual wood block print from this period was a unique work of art, as opposed to just being a part of an edition. Because of the way each block was hand-inked, there are always unique variations in the individual prints.



Mt. Fuji is an active volcano and for that reason the mountain has a beautifully symmetrical cone shape. The volcano has not erupted since these artworks were produced, so the mountain remains much as Hokusai would have seen it.

Detail of the print, isolating Mr. Fuji. Notice how similar the snow capped blue mountain is to the foam covered blue sea waves. Also notice the white dots in the blended dark grey sky, allows the water droplets/spray of sea to continue in space, away from the wave.
The type of wave depicted by Hokusai is referred to as "okinami", or great off-shore wave. These are common to the Pacific Ocean off the Kanagawa prefecture (where the port city of Yokohma is located, today). Both raging ocean storms and grand volcanoes are two of the most powerful natural phenomenas on Earth. Here Hokusai dramatically allows the two to interact and compete for our attention. 


Notice how the shape of the smaller cresting wave duplicates the cone shape of Mt. Fuji, snow cap and all. The powerful sea seems to be mocking the volcano. Is this artwork depicting an Asian version of "Clash of the Titans" - Sea God vs Volcanic God?

Detail: the smaller wave repeats Mt. Fuji's shape and 
Mt. Fuji can easily be mistaken for one of the waves.
The crest of the great wave is very menacing, as it visually bears down on Mt. Fuji, claws revealed. It truly seems to be attacking its land-locked opponent.


In the "Great Wave", Hokusai has performed an almost impossible task, by graphically depicting the powerful energy created when gale force winds whip up an "angry ocean". 


The energy of the draw is felt equal to that of the cresting wave above, 
as a huge amount of water is sucked up to create the swell. 
Skilled observation of the how the ocean performs, went into creating this drama.

Hokusai has created sea foam that is animated and
anthropomorphous. The viewer begins to see creatures
in the foam with legs and beaks, horns and claws.
This may well be the most interesting depiction of 
sea foam, ever, in the history of art.

Although the Sea God may be battling the Volcanic God of Mt. Fuji, it is the poor mortals who are in jeopardy here. As the rush of water drops the boats into the valley created, the men brace for a powerful crash from the wave hovering above them. Notice how the barge crew has hunkered down, holding on tight to the wooden grid of each boat, hoping to survive.


Foundering among the great waves, three barges, probably carrying fish 
from nearby islands, are caught in the turbulence.


In the upper left corner of the "Great Wave" print is the artist's signature and his title.


Title box.

The title of the series and this particular print is contained inside a rectangular box, where it is written:
冨嶽三十六景 
神奈川冲
浪裏" 
Which translates to "Thirty six views of Mount Fuji / offshore from Kanagawa / Beneath the wave"



Hokusai's
signature
for this print.

The brush-like inscription to the left of the title box, is the artist's signature: 

北斎改爲一筆 

Which translates to: "From the brush of Hokusai, who changed his name to Iitsu".

(Hokusai, given his humble beginning, didn't have a last name and his first pen-name, Katsushika, only referred to the region where he was born. Over his career, he used more than 30 different names, never beginning a new cycle of works without changing it, letting his students use the previous name. 

In his work "Thirty Six views from Mount Fuji" he used four distinct signatures, changing his signature according to the phase of the work: 
Hokusai aratame Iitsu hitsu
zen Hokusai Iitsu hitsu
Hokusai Iitsu hitsu
zen saki no Hokusai Iitsu hitsu.

---------------
The impact this print has had on the world.


Claude Monet's "Great Wave" print
still hangs on the wall of
his home / art studio in Giverny.
The "Great Wave" makes an impression on most every viewer. During the impressionistic period of art, the great painter Claude Monet kept an early editon print of the "Great Wave" prominently displayed at his home/studio in Giverny, France. 


"Portrait of Pere Tanguy", 1887,
 surrounded by Japanese prints
painting by Vincent Van Gogh
The Post-Impressionist artist, Vincent Van Gogh, was smitten by the quality of the outlines and compositions of all Japanese woodblock prints, especially those by Hokusai. 

The French impressionistic composer, Claude Debussy, was inspired to repaint the "Great Wave" using only music, in the orchestration of his composition: "LA MER"   

Hokusai's "Great Wave"
is said to have inspired 
the impressionistic French 
composer Claude Debussy, to create
his musical composition "LE MER".
https://www.youtube.com/watch?v=RLAIJjWdJRQ
One last look at "Under the Wave off Kanagawa", aka the "Great Wave",
created by the Japanese master artist Hokusai, 184 years ago.
A simple composition made up of the Pacific Ocean, three boats and crews, one landmark and the sky.
Seen this way, there are only four elements, but this artwork reveals the beauty and power of nature
and one man's ability to make a contribution to civilization and the history of art.

---------------
Notes about this exhibition at the Met. Museum.

Hokusai's "Great Wave" is on display through September 27, 2015, as part of "Discovering Japanese Art: American Collectors and the Met." The museum will begin by showing a fine impression of the "Great Wave" but to avoid light damage from leaving the color print exposed for too long, the curators will rotate in other impressions of the print through-out the exhibition. The Metropolitan Museum has four different impressions of this print -- all of them early, fine impressions, in good condition.
Online Q: Is the fading problem connected to the blue color?
Online A: In fact, Prussian Blue and Indigo Blue, both used by Hokusai to create the dynamic coloring, are not overly sensitive to light, but the pale Dayflower Blue will fade if exposed to light over a prolonged period. 

Detailed specifications of the "Great Wave":
Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei)
Artist: Katsushika Hokusai (Japanese, Tokyo (Edo) 1760–1849 Tokyo (Edo))
Period: Edo period (1615–1868)
Date: ca. 1830–32
Culture: Japan
Medium: Polychrome woodblock print; ink and color on paper
Dimensions: 10 1/8 x 14 15/16 in. (25.7 x 37.9 cm)
Classification: Prints
Credit Line: H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Accession Number: JP1847
Department: Asian Art, Japan

(Source: Portions of the text and photographic images for this article were supplied by The Metropolitan Museum of Art's Press Department. The other images used are in the public domain. Additional factual information came from Wikipeidia. Any analysis or opinions are original creations by the staff at ARTSnFOOD.blogspot.com. Original Art, Text & Photographs are © Copyright 2015, all rights reserved.)

FOOD: 
EGGPLANT &
TOMATO
CASSEROLE

Ingredients
2 med. eggplants
    (peeled & cut into 1/4" rounds)
2 large fresh tomatoes, sliced in rounds
2 hard boiled eggs
3/4 bottle favorite tomato sauce
    (marinara)
1 cup of whole mushrooms
    (sliced)
4 garlic cloves
    (minced)
3 oz pepper jack cheese
    (chopped into pieces)
3 oz of Parmesan cheese curls 
1 jar of pimentos
Splash of sherry
Slash of rice vinegar
Ground sea salt
Fresh ground pepper
1 tsp chipotle chili seasoning
olive oil
butter

Directions
- Place the oven rack in the center of the oven.
   (making room for two trays of eggplant)
- Foil line, then spray cooking oil on baking sheets
- Place the eggplant rounds on the the oiled baking sheets
- Spray eggplant with oil on both sides
- Sprinkle both sides with salt & pepper
- BROIL 2 - 3 minutes on each side,
   or until eggplants are lightly browned (& have softened)
- Remove eggplant from oven and set aside
- SET OVEN to 450º f.

- Heat a little oil & butter in a large high walled skillet
- Add mushrooms and sauté
- Half-way through cooking mushrooms add splash of sherry and splash of rice wine vinegar, garlic + a few grinds of salt and pepper
- When liquid has evaporated, add tomato sauce, chipotle seasoning, stir, cover and simmer for 5 to 10 minutes or until thickened, to sweeten the tomato sauce and meld the flavors. Stir intermittently while cooking.
- Remove skillet from the heat

- Lightly coat a 9"  high walled square casserole dish with cooking spray
- Spread 1/3 of the tomato & mushroom sauce over the bottom of the casserole dish
- Top with half the eggplant rounds, overlapping if needed
- Place the tomato slices over the eggplants
- Sprinkle the chopped egg over the tomato slices
- Lightly salt & pepper the eggs and tomatoes
- Repeat the sauce and eggplant layers
- Sprinkle the eggplant with the pimentos
- Spoon the remaining sauce over the top of the last layer
- Sprinkle the two cheeses on top of the sauce to cover

- Cook, uncovered, in the oven for 20 minutes
- Remove and let cool just a little
- Cut into 9 square servings & spoon onto plates 

Serves 9
Works as an entree or side dish.
(original recipe, Atkinson Family Cookbook)

Until Later,
Jack
ARTSnFOOD, is an online publication dedicated to "The Pursuit of Happiness through the Arts and Food." ™ All rights reserved. Concept, Original Art, Text & Photographs are © Copyright 2015 Jack A. Atkinson under all International intellectual property and copyright laws. Any gallery, event, museum, fair or festival photographs were taken with permission. Images © individual artists, fabricators, respective owners or assignees.

Tuesday, March 24, 2015

The Armory Show, NYC 2015 (Part 5 Finalé) + FOOD: Deviled Crab Salad

The Los Angeles-based painter, Amir Nikravan, fuses the logic of painting, photography, and sculpture onto one deceptively flat plane. Using negative space he creates a positive, colorized, representation of an object. His photorealistic 2-D ‘still life’ paintings looking like the original 3-D object.

ART
The Armory Show
Part V (FINALE)
New York 2015
Art representing: 
"This moment in time!"
Living artists and contemporary galleries from around the world, at the Armory Show 2015, NYC.

This last posting of art from the Armory Show, 2015, looks closely at a few of this year's more interesting artists. It's hard to create a "WOW" factor in the art market today, with so much art constantly being shown through galleries and all of the Art Fairs around the world. Although many artists caught our attention this year, these few had something that was both interesting and different.

-------------------
Amir Nikravan -- Taking the title from the Photoshop command that collapses all visible layers into one conglomerate layer, "Merge Visible" the paintings are constructed through the physical enactment of this directive. Materials ranging from paint to rocks are built up in layers via repetitive gestures until a temporary sculpture emerges. The sculpture is covered in fabric which is vacuum-formed into every crevice, then spray painted to capture the real topography. Finally, Nikravan removes the fabric and destroys the original sculpture - stretching the painted cloth over aluminum, creating what he calls a "performance painting". The resulting paintings embrace a disconnect between sight and touch. The artworks look like a 3-D image, but the surfaces reveal themselves to be flat. The viewer encounters a painting, not of an object, but a 2-D replica that steals the visual appearance of the original object, the temporary construction.

(Editor's Note: Even up close, in front of the paintings, your mind believes these works are three dimensional, but the canvases, when viewed from the side, are completely flat.)

Amir Nikravan, "Merge Visible", 2014 Painting Series,
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles

Amir Nikravan, "Merge Visible", 2014 Painting Series, 
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles

Amir Nikravan, "Merge Visible", 2014 Painting Series, 
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles

Amir Nikravan, "Merge Visible", 2014 Painting Series, 
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles

Amir Nikravan, "Merge Visible", 2014 Painting Series, 
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles

Amir Nikravan, "Merge Visible", 2014 Painting Series, 
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles

Amir Nikravan, "Merge Visible", 2014 Painting Series, 
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles

Amir Nikravan, "Merge Visible", 2014 Painting Series, 
3-D illusion from 2-D paint on canvas
Various Small Fires Gallery, Los Angeles
-------------------
Ben Murray, painterly artworks, oil on canvas  -- Many collectors still want painterly oil on canvas "paintings". Across the US and around the world, MFA programs create artists who are great painters in traditional techniques, but canvases of this nature are rare at the Armory Show. This is true of most major contemporary and international art fairs, today. Conceptual works in all media, digital photography, sculpture, video, documented performance, installations and more simple, graphic paintings rule the day.

Ben Murray, oil on canvas, Moniquemeloche, Chicago


Ben Murray, oil on canvas
Moniquemeloche, Chicago

-------------------
Hayv Kahraman’s work grapples with the marginal spaces between Western and Middle Eastern culture, aesthetics and concepts of gender through her personal history as an Iraqi émigré to Europe and ultimately the US. Her paintings elegantly recall Japanese style calligraphy, Italian Renaissance painting and illuminated Arab manuscripts, though the subjects are deeply and psychologically brutal. Her work calls back to these Western and Middle Eastern art histories, but her aesthetic, as an immigrant, belongs to neither. 

In a recent, New York Times article about her exhibition Extimacy, she says “Having these women violently detaching their limbs, for me, is very reminiscent of the psyche of a refugee, and that sense of detachment you have from your land that you’ve had to leave behind. That’s the idea of the diasporic women, who are fragmented, or cyborgs almost. They’ve had to give up part of themselves.”

Hayv Kahraman, "Hapool Meshkhoor" 2015, 
oil on linen, Jack Shainman Gallery
Hayv Kahraman, (detail) "Hapool Meshkhoor" 2015, oil on linen, Jack Shainman Gallery

Hayv Kahraman, (detail) "Hapool Meshkhoor" 2015,
oil on linen, Jack Shainman Gallery

Hayv Kahraman, (detail) "Hapool Meshkhoor" 2015, 
oil on linen, Jack Shainman Gallery

Hayv Kahraman, (detail) "Hapool Meshkhoor" 2015, oil on linen, Jack Shainman Gallery
-------------------
Jon Rafman creates these sculptures using a digital printer as a part of his process. 3-D printing is still very new and there are a few artworks at most art fairs using the technique. This approach offers so much potential for the future of sculpture and it will be interesting to see it develop.

Jon Rafman b. 1981, Quebec, Canada,  Education: M.F.A. School of the Art Institute of Chicago, Film, Video and New Media, 2006-2008 

Jon Rafman, Manifolds series, 2015,
Photopolymer, resin, pigment (3-d print),
25" tall, Zach Feuer, NY

Jon Rafman, Manifolds series, 2015, 
Photopolymer, resin, pigment (3-d print), 
26" tall, Zach Feuer, NY
-------------------
Brandon Ballengée takes Audubon-style nature prints, featuring now extinct animal species, cuts-out the lost creatures and frames the results. The species, which were all alive during the 1800s, are now represented as blank spaces filled only by the color of the walls on which the print hangs and by the shadows cast by the missing image. Installation at Ronald Feldman booth.

Brandon Ballengée’s ‘Frameworks of Absence’ (2006–ongoing),
Ronald Feldman Fine Arts, NY

RIP Imperial Woodpecker", Ronald Feldman Fine Arts, NY


Brandon Ballengée’s ‘Frameworks of Absence’ (2006–ongoing),
Ronald Feldman Fine Arts, NY
-------------------
Zipora Fried’s is best known for her large-scale drawings, characterized by a rigorous physical process and dense accumulation of medium, generating monumental works up to 30 feet in length. The intensity of this practice influences her sculpture that requires a similarly additive process. Fried employs an unexpected approach to her materials, mixing the historical and nostalgic influences with the futuristic.
Regardless of media, deft gestures and a palpable psychological mood permeate all of Fried’s work. The viewer senses the inner world of the artist lies beneath their sumptuous surfaces, yet veils of secrecy and mystery undermine any specific or personal narrative, reflecting instead a dark and beautiful mirror into our collective pathos.

Zipora Fried (solo booth), sculpture: "Jojo", 2015, 
wood, baseball bats, gold mirror, 
79" x 52" x 32"
On Stellar Rays
Zipora Fried 
(in the background),
 "Jojo", 2015, 
wood, bats, gold mirror, 
79" x 52" x 32"
On Stellar Rays booth
-------------------
Berta Fischer’s sculptures are abstract and reductive poetry. The edges are glowing line drawings and there is a remarkably light in all of the transparent shapes and their shadows. Her work appears to be the sum of material and form. Fischer uses synthetic materials like PVC and acrylic glass, still her compositions seem organic and natural. The colors are fluorescent yellow, blue, red, green and orange, and light-up the space they reside.

BERTA FISCHER at Fuentes Gallery: Born 1973, Dusseldorf, Germany, lives and works in Berlin.
Berta Fischer, Color Plexiglas, 2014, James Fuentes Gallery

Berta Fischer, Color Plexiglas, 2014, James Fuentes Gallery

Berta Fischer, Color Plexiglas, 2014, James Fuentes Gallery

Berta Fischer, Color Plexiglas, 2014,
James Fuentes Gallery

Berta Fischer, Color Plexiglas, 2014,
James Fuentes Gallery

Berta Fischer, Color Plexiglas, 2014,
James Fuentes Gallery

Berta Fischer, Color Plexiglas, 2014,
James Fuentes Gallery
-------------------
Armory Arts Week 2015
March 3-8
New York City

Another Armory Arts Week ends in NYC, but art in New York City is a ongoing whirlwind of gallery and museum shows. No one person can ever take it all in.
If you missed the Armory Show, the NYC Art Fairs will continue, with The Affordable Art Fair just around the corner and the giant Frieze Art Fair Week happening May 14 - 17, 2015.

Armory Arts Week ends.

Editorial Commentary:

The take away from seeing all of the art at this year's Armory Arts Week:
The artistic theory behind the image or object defines art today and creates the value aesthetically and within the art world/market! In reality, this has always been true - all art is perception! There is value in beauty, perfect presentation, talented technique, time and certain mediums, but those pale in comparison to the "intellectual concept" of each work of art.
- partially based on writings of Arthur Danto

Our comments on Ben Murray's painterly artworks, oil on canvas, earlier in this article: 
Many collectors still want painterly oil on canvas "paintings". Across the US and around the world, MFA programs create artists who are great painters in traditional techniques, but canvases of this nature are rare at the Armory Show. This is true of most of the major art fairs, today. Conceptual works in all media, digital photography, sculpture, video, documented performance, installations and more simple, graphic paintings rule the day.

Pluralism has been suggested to describe the art of the 21st century, but in reality no styles or -isms truly define these times. Riding at the top of the art world today are only individual artists, some working in several styles, who have one thing in common, they have become famous. When we look at the contemporary culture of the world, fame is the most important factor in so many areas: Chefs, Entertainment, Politics, Law, Architecture, Entrepreneurship, and now it seems to be driving the Art World.  

FOOD
Deviled
Crab Salad

It is wonderful to indulge the sweetness of fresh crab meat. This recipe uses crab, fresh eggs and chopped red onion mixed with a mustard and yogurt cream for a luncheon treat.

INGREDIENTS
12 onces fresh crab meat (or frozen, thawed)
2 hard-cooked eggs, chopped
2 teaspoons chopped parsley
1/4 cup minced red onion
4 teaspoons Dijon mustard
1/2 cup Dilled Sauce*
2 lettuce leaves per serving
12 yellow grape tomatoes, quartered
1 lemon wedge per serving
Salt & Pepper to taste

* Dill Sauce: 
Combine 1/2 cup Mayonnaise with 1 tablespoon chopped fresh dill, mix well.

DIRECTIONS
Pic over the fresh crab meat for shells, (even frozen has some). Try not to shred the meat too much. If you use crab legs, cut the meat with a medium chop. Put all of the ingredients, except the lettuce, tomatoes and lemon, into a bowl and mix gently. Add Salt & Pepper to taste. Place some lettuce on four separate plates, spoon in one quarter of the crab salad onto the lettuce and top with the tomatoes and a lemon wedge on the side to garnish. (If not served immediately, cover and refregerate. Any remaining salad should also be stored in the fridge.)

Until Later,
Jack

ARTSnFOOD, is an online publication dedicated to The Pursuit of Happiness through the Arts, and Food ™ All rights reserved. Concept, Original Art, Text & Photographs are © Copyright 2015 Jack A. Atkinson under all International intellectual property and copyright laws. Any gallery, event, museum, fair or festival photographs were taken with permission of the event and the galleries. Images © individual artists, fabricators, respective owners or assignees.