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Starting from a recent IKEA commercial, we will go back to the way in which the seventeenth century seized or revived the question of the manducation of images. We will examine the historical and aesthetic conditions under which painting and cooking led artists to experiment with the first Eat Art forms. The new scenographies of the meal combined with an examination of the reality of the painting thus participated in the construction of a “distribution of the sensible” (J. Rancière) in which images found a problematic and fruitful new relationship to the senses.