There are so many twists, turns and fascinating detours in the National Gallery’s rehang you have to pick up some kind of thread. In my case, perhaps distracted by the thought of the National’s new restaurant, Locatelli, it’s foodie still lifes.
Two huge paintings of cheese take pride of place in one of the Dutch rooms. In Floris van Dijck’s 1616 still life, a black gouda rests on top of a yellow one, their cut and recut surfaces like walls of fat. In another room you can see Gustave Courbet’s great, melancholy Still Life With Apples and a Pomegranate, which manages to express the defeat of the Paris Commune in battered, pockmarked fruits. Finally, at the climax of Britain’s free national collection of European art from the middle ages to the birth of modernism, three revolutionary still lifes hang together so you can see how Cézanne’s pictures of fruit begin to rip apart perspective and make way for Picasso’s mind-boggling 1914 cubist masterpiece Fruit Dish, Bottle and Violin.
