Pastry Art Quotes

You may feel that you have eaten too much...But this pastry is like feathers - it is like snow. It is in fact good for you, a digestive!

There are only four great arts: music, painting, sculpture, and ornamental pastry- architecture being perhaps the least banal derivative of the latter.

There are only four great arts: music, painting, sculpture, and ornamental pastry - architecture being the least banal derivative of the latter.

At least once in his life, he would like for her to look at him as she would a morsel of fine French pastry. Or a slice of Victoria sandwich. Or even a humble piece of buttered bread.

You accept food and music from every part of the world without reservation, don’t you? You don’t have to be Danish to eat Danish pastries or Italian to eat pasta and pizzas. You don’t have to be a German to enjoy Beethoven or an Indian to listen to sitar music. Why then, when it comes to wisdom, do we become so narrow-minded?

Strike up a conversation with a complete stranger. For instance, as you wait in line at a coffee shop, comment on the pastries and then ask your neighbor an open-ended question, such as: “I’m trying to decide which is the most sinful: the muffin, the brownie, or the cake. How would you rank them?

With museums, I am at best stealing creative yeasts with which to make my strange pastries later. This is why we call it culture.

Five years from today. Where, exactly, do you want to be?" Her eyes lit up. Sadie loves that kind of question. "Ooh. Wow. Let me think. December, getting close to Christmas. I'll be twenty-one..." "Passed out under the tree with a fifth of Jack, half a 7-Eleven rotisserie chicken, and a cat who poops in your shoes." Frankie returned our startled glances with his lizard look. "Oh, wait. That's me. Sorry." I opted to ignore him. "Five years to the day,Sadie." She glanced quickly between Frankie and me. "Do we need a time-out here?" "Nope," I said. "Carry on." "Okay. Five years. I will be in New York visiting the pair of you because, while NYU is fab, I will be halfwau through my final year of classics at Cambridge, trying to decide whether I want to be a psychologist or a pastry chef. You," she said sternly to Frankie, "will be drinking appropriate amounds of champagne with your boyfriend, a six-three blond from Helsinki who happens to design for Tory Burch. Ah! Don't say anything. It's my future. You can choose a different designer when it's you go. I want the Tory freebies." She turned to me. "We will be sipping said champagne in the middle of the Gagosian Galley, because it is the opening night of your first solo exhibit. At which everything will sell." She punctuated the sentence by poking the air with a speared black olive. "I love you," I told her. Then, "But that wasn't really about you." "Oh,but it was," she disagreed, going back to her salad. "It's exactly where I want to be. Although" -she grinned over a tomato wedge- "I might have the next David Beckham in tow." "The next David Beckham is a five-foot-tall Welshman named Madog Cadwalader. He has extra teeth and bow legs." "Really?" Sadie asked. Frankie snorted. "No.Not really.

I BUMPED INTO MY ‘FRIEND’ AGAIN a few weeks later at a private view (a recent Goldsmith’s graduate showing protective headgear made out of shortcrust pastry, at the Terminus Gallery). He was standing close to, not actually in, a group in which were mixed some of the art world’s established and emerging talents. That’s where I was standing as well. I

I sipped my hot, sweet, milky tea, feeling myself settle, center. I couldn't possibly stay in a state of high emotion, and there was a lot to get through in the next few days or weeks. Right this minute, I could enjoy this table in a bakery in a small English village. The place was clearing out, and the chelsea bun beckoned. It was a coil of pastry laced with currants and a hint of lemon zest, quite sweet. I gave it the attention it deserved, since a person couldn't be pigging out on pastries and eggs and bacon all the time. Not me, anyway. Unlike my slender mother, I was built of rounder stuff, and I hadn't been able to walk as much as was my habit. In the meantime, the tea was excellent, served in a sturdy silver pot with a mug that didn't seem to match any other mug on the tables. The room smelled of yeast and coffee and cinnamon and the perfume of a woman who had walked by. Light classical music played quietly. From the kitchen came voices engaged in the production of all the goods in the case. A rich sense of well-being spread through me, and I realized that my leg didn't hurt at all.

As soon as he was out of sight, Gui pulled the macaron mixture towards him, and took a deep breath. He whipped it back and forth, beads of sweat springing on his forehead as his arm muscles released and contracted. When it was almost ready, he reached up for the shelf where the spices and colors were kept. Carefully, he brought down the bottle of 'creme de violette,' the jar of delicate, dried violets, their petals sparkling with sugar. In tiny drops, he measured the purple liqueur into the mixture. He was acting on impulse, yet at the same time he felt certain, as though his first teacher, Monsieur Careme, was with him, guiding his steps. The scent reached up as he stirred, heady and sweet as a meadow, deep as lingering perfume in a midnight room. Hands shaking, he piped the mixture onto a tray in tiny rounds, enough to make six, one for each day that he and Jeanne would have to make it through before they could be together for the rest of their lives. Maurice was delayed talking to Josef, and by the time he returned, Gui was putting the finishing touches to his creations, filling them with a vanilla cream from the cold room, balancing one, tiny, sugar-frosted violet flower upon each.

In truth, he had always considered the sight of men eating croissants slightly ridiculous, especially at the beginning, when for the first bite they had to maneuver the point of the crescent into their mouths. No matter what a person did, he ended up with an asymmetrical mouthful of pastry, which he then had to relocate with his tongue to a more central location. This made him look less purposive than he might. Also, croissants were more apt than other breakfast foods to spray little flakes all over one’s clean dark suit. Art himself had accordingly never ordered a croissant in any working situation, and he believed that attention to this sort of detail was how it was that he had not lost his job like so many of his colleagues.

Harry glanced down at the oversized pastry with a crooked grin. “Which end do I start with?” “I have no idea,” she replied. “The only way to find out is to take a bite.” His hands went to her waist, and he turned her gently to face him. “I think I’ll start with you.” As his mouth lowered to hers, she yielded easily, her lips parting. He drew in the taste of her, delighting in her response. The casual kiss deepened, altered into something patient and deeply hungering . . . heat opening into more heat, a kiss with the layered merosity of exotic flowers. Eventually Harry lifted his mouth, his hands coming to her face as if he were cupping water to drink. He had a unique way of touching, she thought dazedly, his fingers gentle and artful, sensitive to nuance. “Your lips are swollen,” he whispered, the tip of his thumb brushing the corner of her mouth. Poppy pressed her cheek against one of his palms. “We’ve had many kisses to make up for.” “More than kisses,” he said, and the look in those vivid eyes brought a heartbeat into her throat. “As a matter of fact—” “Eat, or you’ll starve,” she said, trying to push him into a chair. He was so much larger, so solid, that the idea of compelling him to do anything was laughable.

Deep, fluting emotions were a form of weakness. She'd seen the softening in her work over the years, she'd started making the lazy, homey treats like apple crumble, chocolate muffins, butterscotch pudding, and lemon bars. They were fast and cheap and they pleased her children. But she'd trained at one of the best pastry programs in the country. Her teachers were French. She'd learned the classical method of making fondant, of making real buttercream with its spun-candy base and beating the precise fraction off egg into the pate a choux. She knew how to blow sugar into glassine nests and birds and fountains, how to construct seven-tiered wedding cakes draped with sugar curtains copied from the tapestries at Versailles. When the other students interned at the Four Seasons, the French Laundry, and Dean & Deluca, Avis had apprenticed with a botanical illustrator in the department of horticulture at Cornell, learning to steady her hand and eye, to work with the tip of the brush, to dissect and replicate in tinted royal icing and multihued glazes the tiniest pieces of stamen, pistil, and rhizome. She studied Audubon and Redoute. At the end of her apprenticeship, her mentor, who pronounced the work "extraordinary and heartbreaking," arranged an exhibition of Avis's pastries at the school. "Remembering the Lost Country" was a series of cakes decorated in perfectly rendered sugar olive branches, cross sections of figs, and frosting replicas of lemon leaves. Her mother attended and pronounced the effect 'amusant.

The pastry kitchen is colder than I had imagined but smells delicious, as sweet and crisp as the bite of an apple. The walls are covered in white tiles, and almost everything is made of stainless steel. There are quite a few Chinese chefs in the kitchen, busy at work. They don't look rushed at all, carefully executing their tasks. One chef is releasing praline balls from their molds and then dipping them in a bowl of melted chocolate. It looks like a silken soup, and my mouth waters. He drops each ball in with a large fork and slowly stirs it around. When it comes up again, it has the satin sheen of the warm chocolate. He rolls it, the fork providing a cradle against a marble bench top until it is cool. The fork leaves no crease or mark on the finished product, a perfect sphere. There is such slow art to it; I feel hypnotized.

Pablo Picasso entered the world howling. Seconds after he was born, one of the hospital physicians, his uncle Don Salvador, leaned down and blew a huge cloud of cigar smoke in the newborn’s face. The baby grimaced and bellowed in protest—and that’s how everyone knew he was healthy and alive. At that time, doctors were allowed to smoke in delivery rooms, but this little infant would have none of it. Even at birth, he refused to accept things as they had always been done. The baby was named Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso—whew! He was known to his friends as Pablito, a nickname meaning “little Pablo,” and he learned to draw before he could walk. His first word was piz, short for lápiz, the Spanish word for pencil. It was an instrument that would soon become his most prized possession. Pablo inherited his love of art from his father, Don José Ruiz y Blasco, a talented painter. Don José’s favorite subjects were the pigeons that flocked in the plaza outside the Picassos’ home in Málaga, a town on the southern coast of Spain. Sometimes he would allow Pablo to finish paintings for him. One of Pablo’s earliest solo artworks was a portrait of his little sister, which he painted with egg yolk. But painting was not yet his specialty. Drawing was. Pablo mostly liked to draw spirals. When people asked him why, he explained that they reminded him of churros, the fried-dough pastries sold at every streetcorner stand in Málaga. While other kids played underneath trees in the Plaza de la Merced, Pablo stood by himself scratching circles in the dirt with a stick.

He had the sleeves rolled up on his bathrobe, and it was a fairly jarring, chaotic picture he painted, yet somehow he made it seem lazily elegant. Like a sculptor shaping a lump of clay with muddy hands, like feeling along the edges of rolled-out pastry dough to check its thickness, or scoring a flour-dusted bâtard—something weirdly bold and confident about it. The seductive art of Nutella, as taught by one Tonio Salone. Unnerving.

garden-variety LDL particle is fused with another, rarer type of protein called apolipoprotein(a), or apo(a) for short (not to be confused with apolipoprotein A or apoA, the protein that marks HDL particles). The apo(a) wraps loosely around the LDL particle, with multiple looping amino acid segments called “kringles,” so named because their structure resembles the ring-shaped Danish pastry by that name. The kringles are what make Lp(a) so dangerous: as the LDL particle passes through the bloodstream, they scoop up bits of oxidized lipid molecules and carry them along. As my lipid guru Tom Dayspring points out, this isn’t entirely bad. There is some evidence that Lp(a) may act as a sort

The waiter appeared beside her, distributing artfully foamed lattes and herbal teas around the table, and setting down two baskets of shiny pastries in the middle. There wasn’t a woman here who would let her hand come within six inches of the sugar-filled carbs, but they served the purpose of brightening up the table, like a floral centerpiece

Pindar turned his thoughts back to time. What exactly was a moment? Was it the shortest span of time that could be represented by art? Perhaps moments were like sheets of gold leaf, hammered ever so thin, each leaf the locus for new thoughts. Time would then be a matter of layering, so that each second had a stack of moments on top, a baklava of time. Was this why his new Babylonian fragment had the word layers, then a gap where a piece was chipped out, then time? Or was that word branches rather than layers? Perhaps time wasn't flat after all. In that case, no sheaves like baklava, but filaments like kataifi, those nests made of shredded pastry drenched with syrup or honey. He saw the pastry threads as silver, now, each strand branching into new trees of silvery time growing out from each second, all of them inhabited by breath. For breathing had become necessary to his conception of time, inspiration and expiration. He needed the gods to breathe into him, breathe through him like a flute.

From my bag, I took out a Moleskine notebook and a pen that I always carried for essay ideas and made notes on the setting. The clothes and attitudes of the passersby, the kind of shops that populated the hallways, the cakes in the case, so different from what I'd see at Starbucks in the US- these heavier slices, richer and smaller, along with an array of little tarts. I sketched them, finding my lines ragged and unsure at first. Then as I let go a bit, the contours took on more confidence. My pen made the wavy line of a tartlet, the voluptuous rounds of a danish. The barista, a leggy girl with wispy black hair, came from behind the counter to wipe down tables, and I asked, "Which one of those cakes is your favorite?" "Carrot," she said without hesitation. "Do you want to try one?" If I ate cake every time I sat down for coffee, I'd be as big as a castle by the time I went back to skinny San Francisco. "No, thanks. I was just admiring them. What's that one?" "Apple cake." She brushed hair off her face. "That one is a brandenburg, and that's raspberry oat.

Phillip had shown her where everything was stored, how to anticipate what customers would desire, and how to slip something different into the menu- something that would make them think, Hmm, that sounds interesting. She learned how to maintain an inventory of supplies, which suppliers could be relied on in a pinch, and how to monitor food costs. This last was a real lesson for Nora. She had never examined the invoices for the oils and butters, the creams, the bricks of chocolate charged automatically to her credit card. Now it was imperative that every nugget of sugar be accounted. Everything leftover could be turned into something new. A few extra leaves of fresh organic sage remained after the bakers had made enough herb loaves? Turn them into sage ice cream, to serve with twists of caramel. A few loaves came out of the oven too misshapen to sell? Break them up and make chocolate bread pudding. Soon enough she was not only costing out individual pastries, but enjoying pastry baking more for doing it. It completed the very preciseness of the art, and pushed her to be even more creative.