ABSTRACT
The aim of this paper is to analyze a set of images, especially paintings from various periods of food and meal scenes depiction, antagonistic or with some parallelism between them, and thus demonstrate that the phenomenon of graphic recording of meals and foodporn is not as contemporary as it seems. It’s not a painting of a genre, like still life, but it anchors in some paintings of that genre. Meals and food images arise in a natural way as a scene. Images are presented in parallel discourses, without chronological concerns and assume a symbolic content while others are presented merely as objects of desire.
