Response Paper

The analogy made by Walter Gropius seeks to redefine the value on how art is perceived by man. In particular, he seeks to demolish on the value that society and common norms divide an artist and craftsmen. In his understanding, these two go hand-in-hand and supplements better ways to convey styles and merge an end-product that is comparable to any great architecture that existed. Due to this, he sets up the Bauhaus  an institution committed towards educating individuals to establish corresponding competency with their corresponding fields (Gorman, p.98). This guild in turn solidifies his efforts to merge a connection between craftsmen and artists by exploring the potential of creating an institution that can address further education and unifying different forms of artistic representation together.
   
Contemplating on the analogy by Gropius, it can be argued that his contentions relates with what is essential in the value of art. In a matter of interpretation, it provides a holistic foundation for achieving greatness. Though he succumbs to the idea that art cannot be learned, it is rather the components that are part of the idea that can cultivate and honed. Since there are existing standards with regards to sculpture, architecture, and painting, it then showcases the capacity for individuals to be taught of the proper techniques and strategies. At the same time, I do believe that this argument remains essential in outlining something unique which is evident within the realms of German art. His effort in the Bauhaus not only serve as an instrument in cultivating this objective, it also serve as an important cultural endeavour that unifies and creates a different perspective in developing an art that is exclusively unique from their end.
   
The analogy made by Theo van Doesburg showcases his inputs to the transcendence of todays appreciation in the arts to that of a more modernized approach. Though it still considers valuable the application of the potentialities of artistic appreciation that addressed its spiritual philosophy, the trends nowadays correspond to its material component. Here, it derives meaning from the value of how people and society view the changes in life. Given these conscious effort to address these changes, it then brings about the capacity of synthesizing the objective to achieve what van Doesburg calls mechanical aesthetic and constructive reality (Gorman, p. 102). In particular, it takes considerable attention to the value of applying the principles of simplicity, clarity and vital response as supplemental aspects in fostering new dimensions towards design and willingness of artists to re-engage into a new style (Gorman, p.102). It is through such process that modern artists nowadays convey the way machines appeal to the aesthetic appeal of todays reality.
   
Responding to the argument by van Doesburg, I will have to agree that art and aesthetics have underwent numerous changes in time and has brought about new perspectives in its appreciation and development. In particular, I do adhere to the notion that it succumbs to the changes happening in time and with the realities of the current environment. It can be argued though that this approach corresponds to the notion of seeking the other side of the conventional or spiritual philosophy surrounding art. In essence, people appreciate ideas, works, and illustrations according to its capacity to convey simplistic and pure art form. Such capacity to induce these changes then allocate truthfulness without really striking too much on detail which sometimes hinder the capacity of viewers to fully appreciate its true value and worth. Thus, such conceptualization of this new shift is I believe a response to the growing nature of this new style emanates from the way man evolves in seeking to showcase its expression towards others.

YOUR EXPANDED ESSAY

I consider art as an expression of the soul.  However, like many other art forms, and while talent is inherent, formal training is still necessary to be able to express oneself better and with a wider scheme of possibilities. 
Being born in Lima, Peru in 1973, my initial exposures to art began when I was taught the graphic arts in a traditional way. I learned drawing, illustration in gouache, color theory, watercolors, and dry media through short courses and the tutelage of my peers and parents.  I have been involved in art education since 1991, when as a student, I taught art to young pupils at different private schools throughout Lima, Peru.  I now reside in Orange County, with my husband of eleven years, Mike and I have taught art for many organizations such as the Irvine Fine Arts Center, Newport Heights elementary, Boys  Girls Club of Garden Grove, Art  Creativity For Healing, Inc., the Huntington Beach Art Center and more. I have been teaching art throughout Orange County as My Arts Studio, Inc. since 2002.

To enrich myself further, I have continually participated in a wide range of studio art classes at different art organizations, schools, colleges, and art retreats, taught by award winning artists.  Other than enriching myself through these exposures I find them very enjoyable.  I opened my own art school in Newport Beach CA in 2005, and since then I began to concentrate on my own artwork as a self-taught artist, which I call canvas journaling. I work with a variety of mixed-media techniques. My pieces are very textural, with a use of bold colors and attempting to convey messages using lots of symbolism. My work reproduces familiar visual signs, and you may find some of my Roman Catholic beliefs rearranged into new conceptually layered pieces.

I personally believe that art is an interpretation of ones lifes desires, fears, joys, confusions, and of course, passions.  As such, I consider art to be the most wonderful and purest non-verbal form of self-expression and communication.  I have been with art for the most part of my life and my personal experience with being able to express myself in brush strokes and colors is an experience that I would like others to have.  It is a deeply fulfilling and moving experience to see how images take shape with the movements of the brush and the applications of paint.  People need to appreciate art in the same way to be able to know how important it is to society and community.  As a form of aesthetic expression, art embodies the collective thoughts of society and community viewed from an artists perspective. 

Art is an encapsulation of culture, and more importantly, an attempt to make beauty out of lifes harsh realities.  For me to be able to convey this passion that I have for art to other people who might consider art to be a waste of time, I am seeking formal training in the field.  While I can easily express myself in my art, I believe that I will need the proper vocabulary to communicate my ideas and thoughts more effectively in instruction.  As an art educator it is important that I am able to convey the technicalities of my art form not only to seek acceptance as an artist but more importantly, to encourage young minds who might be interested in the world or art.  Of course, further training and education in the field will help me become a better artist  first, by giving me the necessary technical skills required in producing better artwork, and second, by giving me access to the artistic community that is the best venue for me and my art.

In the future, I hope to obtain a Bachelor of Fine Arts degree to be able to expand and grow as an artist and to continue to share my passion for the arts.  In this life, there is one thing that I would like to achieve, and that is to be able to use my art to touch lives and make a difference.

History and techniques of Printmaking

Before the invention of printing press, printmaking was employed as a means of communication. Later printmaking started to be appreciated as an artistic medium with distinctive technical qualities. Generally, the artist creates an image on a surfacematrix  places a sheet of paper on top of the inked surface to transfer image on it. Pressure is applied either manually or with a press, to transfer the image  create an original print. The materials used for matrix vary according to the technique of printmaking employed. Hence for engraving or etching, metallic plates can be used while for lithography stone is employed. Similarly, blocks of wood and linoleum are used for woodcuts and linocuts respectively (Highpoint Center for Printmaking, 2009). This paper is aimed to evaluate the history of printmaking technology in different areas of world. The variety of techniques used for printmaking will also be explored.

The simple use of printmaking was found on the cave walls of prehistoric times (Eyeconart, 2009). This technique of printmaking was further adopted by ancient Sumerians around 500 BC. They used wet clay to engrave carved-out seals by pressing, to signify the ownership of goods. The invention of paper in China proved as a milestone in the development of printmaking. With the spread of papermaking technique from China, to the rest of the world, the art of printmaking also extended and technologically sophisticated.
Being formerly used as a form of communication, the printmaking soon started to help in dissemination of Buddhist manuscripts in the 8th century, by Japanese artists.  Further, in 14th century, woodcut prints became a fashionable means to distribute religious images to the common people. The art of printmaking was flourishing at its full strength, in Europe and the United States in late 19th century (Eyeconart, 2009). Some of the leading artists who carried printmaking to new heights were Degas, Turner, Goya and Blake.

Printmaking afforded the creation of multiple prints of their art works. As the art of printmaking started to spread, new tools and techniques were adopted and the art became further complex. The five main techniques frequently practiced are discussed below

Intaglio Printing In this technique, various tools (sharp needle, burin) or acid is used by an artist to etch depressions in such metals as copper, zinc and brass. The engraved lines are then inked, covered with a wet paper and passed through a press to achieve a final image. Through intaglio printing, a range of interesting effects can be achieved such as various depths  patterns of lines (cross-hatched or parallel lines). Primary techniques of Intaglio printing are etching, aquatint, drypoint  engraving.

Relief Printing  This is the oldest form of printmaking. An image is printed from the raised portion of a material after the artist chisel out the portions he wishes to appear white using a sharp tool.  The image formed in the final print is the result of raised areas being inked. These prints are characterized by bold dark and light contrasts. Chief techniques employed are woodcut, wood engraving  linocut (Highpoint Center for Printmaking, 2009).

Screenprinting Screenprinting uses a stencil method to generate images. First the artist creates a screen by firmly affixing a piece fabric, to a sturdy wood or metal frame. Afterward, the artist uses materials such as glue, paper or film stencils to block out areas on the screen the areas left open will be printed using the common method (Highpoint Center for Printmaking, 2009).

Lithography This technique allows artists to produce images with a variety of tones, similar in appearance to charcoal painting. The artist employs an array of oily crayons to paint on limestone. The image is then transferred to a paper by the pressure of the lithographic press (Highpoint Center for Printmaking, 2009).
Monoprints Unlike other techniques for printmaking, an image can only be printed once in its original state. In this technique, an artist usually uses the ink to paint an image onto a smooth surface such as a metal plate. After that a dampened piece of paper is laid over the plate and passed through a press to create a unique print (Highpoint Center for Printmaking, 2009).

Art and Culture 16th to 18th Century

There are some who argue that Mannerism is more than merely the late period of the Renaissance. Rather, they contend, Mannerism reflects the rise of the Protestant Reformation and the resultant anxiety prevalent in the Church at the time.
   
The term renaissance is similar to rebirth and it refers to artistic movement which started in Italy in the fourteenth century and ended in the sixteenth century. During this period, several aspects of the classical Roman Empire such as its sculpture, art, literature and philosophy were being reinvented by scholars and artists. Mannerism is a style of art that focuses on human form, portrayed in exaggerated poses that is not realistic in nature. Art during the renaissance period concentrated on the harmonious balance of composition, naturalism and color. After evolution, art became more sensual through the use of exaggeration, jarring colors and artificial perspective. The term mannerism was coined from an Italian word maniera which means style.

This style originated from Florence and Rome between the year 1520 and 1600, and marked the evolution of an art style used during the renaissance period into a distorted and more emotional form (Cheney, 1997). Although mannerism developed during the late period of renaissance, it should not be portrayed merely as the end of renaissance since mannerism marks the rise of protestant reformation and a change in the style of art. This essay shall certainly explore the fundamental concepts that underlie the state of mannerism in terms of the artistic development of the renaissance period. It shall address the question, what was the exact scope of mannerism
             
Mannerism marked the end renaissance and to a certain extent, this period portrays the rise of protestant revolution owing to the decreasing authority of the Catholic Church.  Generally, manneristic art brings out a tense and anxious impression which is different from the serene atmosphere created by the renaissance. Europe was undergoing a series of social, religious and economic crisis in the 16th century. It was also experiencing economic, political and religious crisis in the 16th century. The turmoil led to the disruption of the political stability established in the 15th century, leading to the redistribution of powers in several countries which caused social instability (Maniates, 1979). Major events transpired during the protestant and catholic transformation which divided the two institutions permanently. Historically, this movement was initiated by a series of both political and religious events that were happening in Italy among them being the forceful invasion by Germany and France.
             
The protestant reformation was formally initiated by Martin Luther in 1517 after he came up with a different thesis.  The Catholic Church was accused of being corrupt and bureaucratic among other administrative incompetence. By propagating the ideas of reform, the movement led to the revolution and invention of mannerism art. The Catholic Church countered this in the year1545 by instituting a Council of Trent. As the pace of reform geared up, the Catholic Church tried to win back members and reestablish its secular and religious domination. Despite the fact that the movement started as a religious activity, the results had major political impact with both entities urging their followers to align themselves to a specific movement.
             
The nature of mannerism has often been debated and compared to high renaissance. Some experts compare it with renaissance classicism while others see it as its logical extension and the evolution of Michelangelos modeling and Raphaels refinements. Mannerists were often accused of destroying the harmony of renaissance classicism, its mixture of aesthetic values and ideas, and its combination of mass and content, (Bousquet, Taylor, 1964, p.102). Although currently classicism does not possess the unique claim of perfection, mannerism tends to emerge openly as a joint between the high renaissance and the ones popular and broad baroque art that proceeded. The role of classics on art and literature, which was being influenced by renaissance, begun to decline, while other ideas such as capitalism, national pride, and absolutism, continued to grow.
            
Prints in the form of engravings and etching were the major styles used by mannerist in spreading art throughout Europe. Although the protestant revolution spread rapidly in many parts of northern Europe, Italy remained staunch followers of Catholic Church and adhered to Counter Reformation. Different protestant groups opposed the use of art in the church environs while the Catholic Church, which had been a major patron of art, emphasized on the importance of visual art in spreading personal faith, (Daniells, 1963, p.23).
            
Despite the fact that mannerism emerged at a time of crisis, it continued to grow and took the form of aesthetic expression. Many scholars argue that mannerism became a distinct style towards mid century before the beginning of religious struggles, and it was not intended to compete with Counter Reformation movement. That role had already been played by the Baroque. Mannerism is described as a violent reaction to renaissance and a departure from its basic ideals and order (Franzsepp, Michael, 1963). The way in which art was evolving in the 16th century led to a departure from classical principles, plain reasoning and normative proportions of the high renaissance.
            
Its only after 1580 after the decrees released by the council of tenet which enacted the official policies of creating religious art, that we start to analyze Counter Reformation on a wider perspective. Catholic Church refused to acknowledge the exclusiveness of the mannerist and their main focus was to lure back people who had joined the protestant movement. Elements of mannerism can be accessed in the Laurentian library in Florence, made by Michelangelo massimi palace in Rome by Peruzzi and Palazzo del Te in Mantua, designed by Giulio Romano.
              
Civilization and industrialization changed the way in which people analyze day to day activities and the works of art that reflect these changes are several. To start with, Baroque is a style of art which gained popularity between the 16th and 18th century. It became successful after the Roman Catholic Church, during the Council of Tenet, accepted the use of art in communicating religious themes. The paintings are less ambiguous, more stylish and baroque architecture can be found in churches, palaces, reception areas and courts (Maniates, 1979). Baroque art can be found in Luxembourg palace in Germany and Cornaro chapel in Saint Maria.
             
Another work of art is the Rococo style which emerged in the 18th century. Being a French art, Rococo style has been used in designing elegant furniture, ornamental mirrors, wall paintings and small sculptures. Rococo has been widely acknowledged as a major phase in the development and evolution of European art. This style was mostly used in decorative arts in houses and interior designs. Moreover, it extended from France to catholic regions in Germany and Austria. Solitude Palace in Germany and the Bavarian church in Wies boast of Rococo styles of interior design and they act as reflection of how the style reached the European architecture. Rococo paintings were done using delicate colors depicting leisurely activities. Moreover, this style was also used in designing of sculptures through the use of porcelain which reflect a theme of love and cheerfulness.
            
The third work of art which had a major effect on European art is neoclassicism. It utilizes different movements in decorative arts, literature, music, visual arts and architecture. These movements were commonly used between 18th and 19th century and reflected on the culture practiced in ancient Greece. Neoclassical paintings acted as a change from Baroque and Rococo styles of art and usually boast of sharp colors and finer details.  An example of French neoclassicism is Jacques Louis David, whose works reflect both roman and Greek items in portraying the French revolution (Bousquet, Taylor, 1964). Neoclassicism initially gained popularity in France and United Kingdom after French students were trained and influenced by Johann Joachim Winckelmann, and his ideas spread widely. Many public buildings in Europe have been built using neoclassical styles.
            
Chiaroscuro is an Italian art which makes use of contrast between lighter and darker colors. Its used as a reflection of bold and light contrast which aims at producing three dimensional objects like human bodies. Similar effects that use chiaroscuro style include the lighting in cinemas and photographic pictures. This style was first used during the renaissance where artist drew on colored papers using different tones of light and dark ink or color. This style is often used in cinematography especially black and white movies and its also common in modeling and paintings. The fifth work of art which evolved in the 21st century is rational art which Nicolas Boourriaud defines it as the general set of practices of creation that basically take both their practical as well as their theoretical departure points from the whole overview of their relationship with human beings (Cheney, 19970. In this art, people are portrayed as a community rather than objects in the paintings. This style of painting rest on the rationale that a piece of art is identified by the inter-human concept it produces.

The Sumerian and Egyptian Creation Stories

The Enuma Elish speaks of the creation of the world, which was a struggle between chaos and cosmic order.  It speaks of the cycle of seasons, wherein two primitive gods, Apsu and Tiamat, creates other gods, such as Ea and his brothers, all responsible for the creation of light, firmament, dry land, luminaries, and man.  On the other hand, the Egyptian creation story speaks also of the cosmic order and the magnitude of the Nile river, which was said to exist when nothing, save water (called Nu) and light, have ever existed.  Out of Nu, everything began when floods recede and then emerges the land Nu swallows the sun, creating darkness as well as the stars plants emerge from Geb, the earth god, and Atum who wept tears of joy, creating men and the rest of the world.

Despite the fact that both believed the primitive earth to contain only water and light, the differences between these two myths lies on the fact that Enuma Elish believed earth to be a giant continent that remains in the sea, while the Egyptian epic believes earth to be the creation of Nu or the swirling watery chaos (Deurer 2008).  Also, there is the divine speech in Enuma Elish, containing the power to create the earth and the world but the Egyptian myth indicates that the power resides in water or Nu, and Atum, the sun god responsible for the creation of the land, plants, animals, and men.  Enuma Elish centers more on chaos, while Egyptian centers more on the Nile water where the primitive earth was said to take place.

The Enuma Elish contains similarities with Genesis of the Hebrew, which also describes cosmic order and the divine speech of one powerful god.  The Egyptian myth is similar to the Indian myth where there was chaos, death, and hunger in the primitive earth.

Catholic and Protestant Baroque Art

Baroque art today is regarded with wonder and respect for the talented artists that produced such pieces. The term baroque though was once derogatory and in fact means odd or irregularly shaped. It was used in the eighteenth century to describe the styles departure from the Italian Renaissance. Surviving pieces of Baroque art today have common elements, although they also have many differences. While Baroque art was initially practiced by Catholic artists, the style was later widely adopted even by Protestants. Thus, Catholic Baroque art shares many similarities with Protestant Baroque art but the disagreements between these two religious beliefs also reflect on their art pieces.
   
The Catholic resurgence known as the Counter-Reformation occurred during the Thirty Years War, which ended in 1648. The Counter-Reformation pushed forward all the practices and beliefs the Protestant Reformation went up against. While Protestants were iconoclasts who were repulsed by religious sculptures and paintings in churches, Catholics glorified and created more images as they reaffirmed the communion of saints. In the seventeenth century, the Catholic Church was the largest source of artistic commissions and it aimed to forward its beliefs through art pieces made in the Baroque style (Nici 312).
   
At the end of the sixteenth century, Baroque art started to flourish to express the mentality and ideas of the Counter-Reformation. Dominant motifs in Baroque art include mystery, drama, passion and grandeur. Generally, as can be seen in the Jesuit church of Gesu in Rome, Baroque attempts to integrate all art forms to achieve a unified religious experience. Massive emotionally sculpted statues of saints and other religious figures were created to evoke the peoples faith in Catholic heroes and heroines. Wall murals richly decorated and colored with Biblical events emphasize the power and grace of God. Two of the most famous Catholic artists were Giovanni Bernini and Peter Paul Rubens who produced spectacular pieces still revered today (McGonigle 27).

As for Protestant Baroque art, Dutch masters Rembrandt and Vermeer stand out among others with their fabulous art pieces. While Rembrandt was careful not to be a dogmatist, he did believe in basic Protestant beliefs. One of the most common features of paintings by Protestant Dutch masters is fluctuating light that gives off an expressive and mysterious atmosphere. Rembrandt utilized chiaroscuro in his pictorial representations along with a bold impasto to create pieces loaded with visual and spiritual meaning. He also emphasized a Protestant belief through the use of light  that spirituality is not separate from real life, and that these two compose one unified existence (Barber 277). Thus, the sacred and the secular exist at the same time in the lives of people.
   
Catholic Baroque architecture is very similar to its painting counterpart. Baroque architects highlighted movement and contrast to increase the visual impact of their works. Churches and other buildings designed in this style had numerous twisted columns, swags, volutes, and an overwhelming amount of detail to capture peoples attention and proclaim the beauty and power of God. The unwritten rule was to create everything in such away that nothing is simple, rigid or restrained (White 27). The overall effect of these architectural pieces was a spectacular display of movement, exuberance and vitality seemingly to differentiate itself from its commonplace earthly surroundings.
   
As the Baroque style spread to the north, Protestants absorbed and changed it to serve different purposes. For example, in Holland, the Mauritshuis in the Hague was designed in the Baroque style, thus the grandeur shared by Catholic Baroque buildings. However, the Mauritshuis noticeably has less detail than its Catholic counterparts. The main principle in Protestant Baroque architecture seems to be controlled movement, power and elegance.
   
When it comes to Baroque literature, the poet Richard Crashaw epitomizes the sensibilities of Catholic Baroque writers. Like Baroque churches that cant be contained by the usual boundaries of architecture, Baroque poetry cant be controlled by the usual limits of meter, conventional metaphors, and other literary traditions. Crashaw along with other writers tried to come up with grand metaphors to describe their overwhelming religious feelings (Summitt 87). Their metaphors were so expressive that they sometimes verged on grotesque. For example, Crashaws Hymn to Saint Teresa vividly illustrates the religious ecstasy of Saint Teresa, describing her experience as similar to being pierced with a spear. He even mentioned delicious wounds to project Saint Teresas suffering (Hopkins and Steggle 96).
   
Protestant Baroque literature also showed characteristics of grandeur and passion though it pushed for a different set of beliefs. One of the most significant Protestant literary works in Baroque style is John Miltons Paradise Lost, which tried to join Christian beliefs with the principles of Renaissance humanism (Reich and Cunningham 196). Milton, who had diverse religious beliefs but was generally a Protestant, expressed heightened spirituality, drama and psychological insight in this classic literary piece.
   
Catholic and Protestant Baroque both illustrate the powerful passion of the people in the sixteenth and seventeenth centuries who wanted change. While Catholic Baroque of the Counter-Reformation strived to emphasize the value and beauty of religion, Protestant Baroque maintained the importance of the secular in spiritually connecting with God.  Both types of Baroque show that specific feelings can be evoked through the use of different techniques in various art forms. In painting, architecture and literature, both are also useful models for todays artists who want to learn how to express powerful movement and emotion through their work. Thus, Catholic and Protestant Baroque art pieces must be preserved.

Garde Manger

Garde Manger is a phrase which remains inevitably attached to food industry around the globe. Garde Manger is actually a French term for the cool, well-ventilated pantry area (usually in hotels and large restaurants) where cold buffet dishes are prepared and other foods are stored in refrigerated units (Food Dictionary Garde Manger). Often the term itself can refer to one who keeps such a pantry area. Well-built restaurants and cafes give a more extended labour range for Garde Manger including supplementary responsibilities like producing ornamental essentials of buffet arrangement, counter positioning and eatable centrepieces completed from supplies such as ice, cheese, butter, saline bread and tallow.

Generally, in contemporary kitchens, they are identical with restaurant chefs and are given the responsibilities of handling salads, soups, desserts, stuffing and other cold dishes. It can be seen as an initial stage of the cooking process. A simple definition of Garde Manger will not be able to cover the entire extent of the words context, because the stretched area in food industry as well as the chef and the item itself, all come under the scope of this term. The statement a Garde manger works at the Garde manger preparing Garde manger will itself vouch for this fact. (Garde Manger What is Garde Manger). This paper attempts to eliminate the perplexity in the aforesaid quotation with the completion of the analysis that follows.

Medieval period in history had aristocracy in their lap and so had their splendid lifestyles. As a part of these, their hideouts had elaborate areas for culinary purposes. Cooks were forced to develop their own methods of preparing various dishes and preserving them for long periods. Household employees, known as garde mangers or stewards, were responsible for maintaining the Garde manger area and prepared, stocked, and distributed all of the food that was stored there (Garde Manger What is Garde Manger).

(Garde Manger What is Garde Manger).
Wealthy mansions had an array of resources of food in store which had to be preserved by some or other means chosen by those grade mangers. Hunts and domestication created much significance for conservation of food stuffs in such houses for storing it properly for future use. During those times, cold storage techniques like refrigeration were not available. The garde mangers were made in underground rooms to get cooling effect and safety advantages for stuffs stored. The workers developed their own methods as well as combined it with traditional ways to perform their duties. With the passage of time, they acquired skills to prepare sauces, pates etc., leading to an advanced stage of grade manger than before. Later, these were considered by the owners who utilized these as a business gaining much profit. But governmental curiosity regarding the quality and cleanliness of those stuffs often put constraints on this business. Later on, as trade became intense, workers were compelled to modify existing techniques for better, cheaper and efficient models. Enhancements in garde manger business, paved the way for specialization and professionalism in this field as well.

This, in turn, turned out to be the realistic foundation for the present status of garde manger. It was the French Revolution that gave opportunities for household garde mangers to leave their jobs to seek better positions in various restaurants. The revolution also compelled nobles to leave their dwellings, giving freedom for their employees. At restaurants, garde manger became a specifically important position helping its owners in deriving more revenues. Thus arose the wide spread demand for these skilled workers in eateries and this job soon got elevated to the status of an elite profession. From this point of shift, there has been a tremendous development in the garde manger area of food industry, forging a clear distinction between classical and modern. As evident, a real gap has been created between both, due to various innovations of science and technology and several additions and modifications that this concept underwent.
Garde manger is categorized as classical and modern based on the difference in techniques and outlook.

Classical Garde Manger relies upon traditional methods of preparations and storage. Modern Garde Mangers have the support of technologies like refrigeration and various artificial preservative techniques. The role of the modern chef Garde manger, or larder chef, has evolved in response to changes in dining trends and in technology in the kitchen. (Hunter, Tinton and Carey). Initially, curing and brining were the main techniques used for preservation which was supported at a later stage by sauces and spices. The invention of refrigeration and the successful results brought in by a wide range of chemicals as preservatives have created the era of modernism in garde manger. Recently, a trend of ornamentation and arrangements in an elaborate manner has become common.

(Modern Garde Manger 1e).
The actual duties of garde manger cannot be confined toa few stipulated processes as its scope stretches far beyond that concept. The labor of the chefs who perform these duties often extends much beyond the tables they serve. The preparation procedures are executed from which various dishes are served and garnished to reach the final table of consumption. They have to observe even the slightest cut made and minute curving accomplished. The success of garde manger lies in their dedication and involvements in performing an assigned job.  There is a necessity for the professional garde manger to acquire varied sets of skills for functioning efficiently in a modern kitchen. Cookery is a rapidly evolving area where innovations give a new tinge to the concept of taste. Besides, knowledge about foundation of existing systems is very much essential in evolving better strategies to achieve success. Every culinary professional should understand this. There is no substitute for education and experience. (Garde Manger). Proper information and training on most modern techniques compared and contrasted against classical methods will have higher level utility.
The image below shows a representation of modern Garde Manger.

(Garde Manger Garde Manger in the Modern World).
Every aspects of garde manger cannot be identified and stated, but it is true to a great extent that modern grade manger professionals have more responsibilities than classical, ranging from starter dish preparation to party presentations.
Following is an interview conducted with Mr. Williams Peck who has experience of 10 years as a garde manger chef at Food Court.

Q. What is your opinion about your work

A. When I speak about it, of course, I should mention how much I enjoy when Im into it. This job gives me an opportunity to facilitate the satisfactions of numerous people in food industry, both customers and employers. In fact it gives me great contentment.

Q. Could you describe a day at work

A. Im working in a place where there are 15 workers for whom Im the leader and supervisor. The day starts and ends with my breath. When I reach my work place, the first thing I do is to get the entire place arranged in order to begin my job Then the plan I prepared at the dawn of previous days work, comprising of entire labor and requisites for the day is divided among different individuals. Assigned sections are evaluated by them and they list out the needed raw materials that are presently not available. Those are bought and we carry on with our work. I will go through the entire sections of our garde manger to see whether everything is moving in the proper way. I also have to check the preparation of the mix and the ingredient flavor for all items. However, serving is not done instantly, but only on the basis of orders, with the final touch up and garnishing as well as ornamentation.  This is the usual routine apart from which there will be extra work of hall arrangements for buffet parties at times. My day ends up with the same job I did at the start.

Q. In your 10 years of experience, can you quote any day which you cherish the most

A. Yes, of course I had the chance to arrange a lot of parties. The one arranged about 3 years ago for the marriage function of my brother was really the most memorable one in my career. It turned out to be a milestone in the name of our Food Court itself.

Q. What about debate on classical vs. modern

A. In my opinion, classical remains purely the same as it was years ago while modem is not something apart from classical. We use almost all techniques employed by classical garde mangers along with the utilization of certain contributions from technology. Refrigeration, of course, has created a real shift in our industry and it has traversed through various stages of development in the course of its evolution. Again, microwave technology is another significant benchmark in this development. Anyways, modern is somewhat application of technologies as compared to classical procedures which were purely based on traditional methods without the use of technology.

Q. What specific traits about garde manger inspire people to take up this career

A. People who know about it see it as a unique profession. Since the present day garde manger in most cases is a fusion o f both classic and modern it gives the job a definitive identity. Actually, it is the art of cooking and serving which cannot be studied but can be developed by practice.

Q. What advice would you give to an up-and-coming garde manger professional

A. Realistic approach in this field will mold a professional garde manger. My advice is that people who choose this job should attain the skills of culinary exquisiteness to achieve what is called satisfaction through numerous satisfied people.

Q. What changes, if any, you see happening in foodservice right now related to garde manger

A. The chief and prominent variation in trend is regarding the arrangements and decorations for dishes and tables. Earlier, there was no such widespread requisite for these, but it remained limited to taste, flavor and number of dishes. Now the scenario has changed giving more importance to creativity.

Q. How have your garde manger skills helped you in other areas of cooking

A. Ability to adapt is the first and foremost trait a good garde manger should have. This will help him to traverse through the varied paths that he will be compelled to, in the culinary world.

Q. What about the influence of your job in your personal life

A. Frankly speaking, my friends and relatives tease me about my arrangements and decorations maintained at home especially in my kitchen. In fact, my job made me much ordered and self managed.

A garde manger professional should essentially have creativity, patience, innovativeness and interest for novelties. Charged taste buds are his targets which he attempts to achieve with real time adaptation to circumstances and techniques. Always, such a professional should have dedication and concern for his assigned job.