The majority of the August 2019 was spent in the Irelands, but I decided that I wanted to spend a few days in Paris on the way. You can’t really fly direct from the US to Dublin (without forking over a fortune). Connecting flights go through Heathrow or CDG. Any excuse to visit Paris. I know it’s very stereo-typical, but apparently I’m more basic than I want to admit: I love Pumpkin Spice Lattes and Paris is one of my favorite cities on Earth.
Where All Good Food Goes When It Dies
Pardon my mangling of Oscar Wilde’s famous quote, but this was the thought I had the first time I had a meal in France (not actually Paris yet, since I was on a road trip from Prague and my first stop was in Metz: photo album). I have not had any disappointing food experiences in France at all. I have been trying to figure out how to afford to live and work in France doing nearly anything just so I could have daily access to the food. Since I haven’t yet figured that out, I am having to make do with an annual pilgrimage to see my favorite art and food stops.
I was only able to spend a few days in Paris this time around, so it was mostly a food oriented excursion. I wanted to get a full range of food experiences from fine dining to street food. The first dinner was at a beautiful souffle-centric restaurant called Le Souffle which serves a three course menu of entirely souffles. I was a bit apprehensive that it might be textually monotonous, but they serve each course with some sides like salad or croquette, and the main course was a mild cheese souffle with the beef bourguignon in a side dish so you could pour the meat and sauce into the souffle, breaking up the taste and texture. For dessert, I was torn between chocolate and creme brulee… I love both, but the idea of a creme brulee souffle was too intriguing to pass up. My only regret was an inability to finish everything.
I got to have just “regular” (amazing) French food in a nice neighborhood bistro. I got to have breakfast at my favorite chocolaterie: Angelina’s. This place has arguably the best hot chocolate, and the breakfast pastries were exquisite. I got some “fast food” at Paul’s, and a picnic lunch from the Marche d’Aligre which included this fantastic “blue” cheese. It’s actually a Tomme duBerry a la lavande. It’s a mild, uncooked, pressed cow’s milk cheese that’s colored blue and flavored with lavender and rosemary. With some lemon olives, fresh bread, ripe apricots, and a lemon tart for dessert it was a magical meal in the park.
I could go on and on about the food in Paris. Many people have. I was going to say I have, but it turns out that for some reason I never actually wrote about my first time in Paris, and when I wrote about the second trip, I wasn’t very food focused because of the extreme heat wave going on at the time ruining my appetite. Perhaps the next time I go, I’ll actually dedicate myself to taking good food photos and notes so I can do a proper foodie write up of all my favorite places.
Let’s Go For a Walk
Since I never actually wrote about my trip in 2015, all the main Paris attractions that I did on the first trip never actually made it into the blog: Eiffel Tower, Père Lachaise cemetery, Sacré-Cœur, the Champs-Élysées with Arc de Triomphe, the Place de la Concorde and the beautiful Tuileries Garden.
If you happen to be in Paris when the weather is nice, these are all wonderful places to go. In 2018, I went on a cycling tour and I have almost no photos and less memory about what we saw because it was 37°C and I didn’t bring enough water. The moral here is, don’t force yourself to see the beautiful outdoor attractions if you aren’t going to be able to enjoy them. There’s plenty of museums and indoor / covered activities like street markets. I made it to the March d’Aligre on this last visit which not only had plenty of wonderful fresh food on offer, but also had a rambling rummage sale of old and lost things.
I personally think that places like the Eiffel Tower (photo album), the Champs-Élysées, the Arc de Triomphe (photo album), and the Place de la Concorde are all things you could go and see one time for a few minutes and check that off the Paris bucket list. They just aren’t that exciting… Although, it was fun to realize that I’ve now seen the matched set of obelisks that reside in Paris and Luxor respectively. The one in Paris was given to France by Muhammad Ali Pasha, Ruler of Ottoman Egypt in exchange for a French mechanical clock in 1832. It’s twin still stands outside the temple of Luxor.
Notre Dame (photo album) is a place that I would have recommended as a one and done, however, since the fire, I’m not sure this stands true any more. I personally will be interested to see how it looks in a few years. Regardless, unless gothic architecture is your jam, it’s not worth more than a couple hours one time. It is totally worth that, because it’s a very beautiful structure, but it can be very crowded and I think it’s a little overhyped since there are a few hundred (thousand?) churches around Europe that are very very similar. But you’re in Paris, so you might as well.
The Père Lachaise (photo album) could easily be several days of wandering through a stunning gothic mausoleum laden park taking endless photos of the natural and the macabre. Plus, lots of famous graves like Oscar Wilde and Jim Morrison. If you’re really into the dead, I think the Catacombs are a great indoor option, although I highly recommend a skip the line ticket because when we went, people were waiting 3+ hours for a tour. Also, while the above ground cemetery is definitely good for repeat meandering visits, I think that the catacombs are a single visit attraction unless you REALLY love bones.
The Sacré-Cœur (photo album) as a church is on my “one and done” list, but as a beautiful part of Paris is on the repeat visit list. The views from the top of the hill are absolutely stunning, and the culture around Sacré-Cœur is fascinating: from the roving “vendors” selling anything and everything on the steps to the famous Place du Tertre where local artist are painting and selling beautiful original works of art direct to the public.
Last but not least, the Tuileries Garden is a large green space between the Louvre and the Musée de l’Orangerie. It’s a beautiful place to have a stroll any time of year. There’s wide open green spaces, chairs placed freely around the fountains, shady tree lined pathways, little bistros and of course a bit of a fun park at one end with a giant ferris wheel. I love to come here when I need a break between sights to enjoy the day and people watch.
Paris Art & Feminism
I wrote a broader piece about my experiences in these two museums (d’Orsay & l’Orangerie) from my visit in 2017. In this essay, I’m going to focus on a temporary exhibition in the l’Orangerie about cubism and the unexpected feminist moment I found there.
In case it was never obvious before, I do consider myself a feminist (no I don’t hate men, no I won’t use the term “equalist”, yes I have lots of reasons. This Bustle article sums them up nicely if you want to read more). I’m constantly frustrated by the way in which all the historical artists, musicians, scientists, writers, politicians, philosophers… everything … of any note or record are almost always men. White men. Old. White. Men.
It’s not because old white men are better at these things. It is because the women who did them were suppressed. They were put down in their own lifetimes. Their work was stolen by men who took the credit. Their work was copied by men who took the credit. They were just written out of history. By the men who write history books.
Women are supposed to cook for the family, but only men can be great chefs? Women have historically been expected to spin, weave and sew yet fashion is a man’s business? Art forms that men can’t steal are just demeaned, like embroidery or textile crafting. It’s nice this is finally starting to break down in the 21st century, but we still don’t have enough of a balance in the way we teach and promote artists in mainstream culture. Adding women artists to the public consciousness doesn’t mean removing male artists, and it’s high time we start.
Many of the artists and composers and even authors on my “love it” list are dudes. I’m not going to stop enjoying their work just because I’m adding female artists to my worldview. I don’t know if I would have identified with any female artist growing up simply because I wasn’t ever exposed to any. I don’t think we have room for a limited number of artists in our lives. I think the more art the better. While we’re at it, maybe start adding non-eurocentric art and POC artists too, like Robert S. Duncanson (1821–1872) who was an African-American man who escaped to Canada during the Civil War and taught himself to paint.
The museums in Paris, in particular the l’Orangerie, have been trying to have more women artists on display. Last time I was there in 2018 it was Helen Frankenthaler. I wasn’t that into her art because I am not a fan of abstract impressionism, but I was really happy to see her in an installation that included Rothko and Pollock. The museum talked a lot about her life and the challenges she faced being a woman in the highly sexist art scene. She was talented, dedicated and prolific yet she’s not discussed when most people talk about this period of art history.
This time, the featured woman artist was much more personally to my liking and I became much more invested in her art and identity. I am only human, and tend to spend more time and energy on the things that personally interest / impact me. If you’ve never seen her work before, then it is my distinct pleasure to introduce you to the art of Marie Laurencin.
“Marie Laurencin (1883-1956) initially studied porcelain painting, before going on to study drawing at a school in Paris and at the Academie Humbert. She was part of the circle of friends at the Bateau-Lavoir known as the “Picasso gang”, and it was here that she met the poet Guillaume Apollinaire with whom she had a passionate and stormy affair.
Attracted to Fauvism for a time, Marie Laurencin, the “Cubist Muse”, simplified and idealized her forms under their influence. From 1910, she preferred a palette of pastel tones, particularly grays and pinks. She went on to discover the painting of Goya in Spain.
In 1920, she began to paint the willowy, ethereal female figures that she would return to later in paintings with pastel tones, evoking a magical world. She painted portraits of famous Parisian figures, and designed stage sets, for the Ballet Russes in particular. Through this, she became interested in metamorphosis, bringing together two of her favorite themes: young women and animals.”
— Informative sign at l’Orangerie
It’s not that Laurencin or Frankenthaler have been erased. They have (short) Wikipedia pages and it’s not hard to find their paintings online. Before the internet, however, they were virtually invisible to anyone who was not an art history student. Artists like Pollok and Picasso have had hundreds of books, movies, and t-shirts made about their lives and art. They’re referenced frequently in pop culture and have been made to stand as the premier examples of their art eras.
Picasso was a womanizer, an abuser, a narcissist and highly misogynistic. This isn’t just my opinion. It’s well documented. Yet we treat him and his work as sacrosanct as though it is the ONLY example of cubism in all of history. I’m not suggesting we bury the male artists just because they’re jerks, however I think it’s time we start taking a look around and who else might be worthy of historical preservation and artistic praise.
Honestly looking around the museum that day, there was plenty of Picasso on display. It isn’t that impressive.. OK cubism did all this great stuff for “art” and the advancement of creativity, but he wasn’t the only one. I found his works that day to be coarse and overly focused on women as sexual objects. I’ve had a chance to go back through a photo collection of his body of work and I think that whoever curated that particular display may have been selecting for contrast, and I acknowledge that wasn’t a universal trait. However, that day, it was jumping out at me that he was painting women as breasts with a body and maybe a face attached.
Even though Picasso insisted on referring to her as a Cubist Muse or “Our Lady of Cubism” Laurencin didn’t think of her art as cubist, but rather more impressionist. She’s still classed as a cubist artist to this day because art historians would rather listen to how the men defined her rather than how she defined herself.
Despite all this feminism, Laurencin didn’t paint women for empowerment. She also thought they were beautiful. “Why should I paint dead fish, onions and beer glasses? Girls are so much prettier,” she once said.
To me it seemed that she focused on their beauty rather than their ability to please a male gaze/touch. Her paintings reached out and grabbed me despite their pastel colors and watery images. The idea that a women could paint women because they are pretty the way flowers or rainbows are pretty rather than because they stir the passions of men. There have been a few queer male artists in the well documented side of history that painted beautiful women in an absence of sexual desire, but mostly you get people like Raphael who literally made up non-existent sex goddesses to paint out of the most attractive parts of the hundreds of ladies he seduced. Really early photo-shopping of models, I guess?
It isn’t to say that Laurencin didn’t sexualize women at all. Apparently she was known for attending sapphic parties “comprised of lesbian and bisexual women socialized and discussed links between female desire and creative production”. If anything she was likely bi- or asexual since her long term relationship with Guillaume Apollinaire is well documented. However, if she did sexualize women in her paintings, it serves to highlight the extreme difference in what a male and female sexual gaze focuses on.
Regardless of Laurencin’s sexual orientation, the sapphic parties weren’t lesbian orgies. The hostess and participants of those parties were early first wave feminists seeking to own their desire and creative power at a time that most women were expected to stay home and raise a family. For context, the suffragette movement in France was happening at the same time (1909-1945).
It doesn’t surprise me to learn in retrospect that she was a feminist and (probably) queer. I didn’t really know any of this while I was standing agape in the museum wondering how it was that Picasso had been shoved down my throat my whole life while I had never once seen these ethereal and graceful monuments of feminine self-celebration. All I knew was that they were beautiful and yet strong. They were made by a woman for women (Coco Channel, above, was one of her more famous clients) and that they showed beauty within a wholly feminine framework.
For a longer and more comprehensive story of her life, I recommend this website:
https://www.theartstory.org/artist/laurencin-marie/life-and-legacy/
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Around 630, the last of the Merovingians established a small abbey using the stone walls left by the Romans to enclose the grounds.
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Here we were given “interactive flashlights” that we could use not only to see, but also to trigger the audio tour in our headsets. I like headset audio tours much better than trying to listen to a single guide, so I admire the choice, however, this was maybe a little too interactive. We had to find these tiny little RF chips tucked in amid the displays and aim the light at them to trigger the audio file to play. The chips weren’t labeled and there was no way to know if I got them all or missed any since a single display could have 1-3 chips in it. It was a little like playing hidden picture in real life. Here you can see one nestled among some old Roman artillery.
Although I had accidentally meandered through the gardens at St. Martin’s between the bus stop and my tour start, once I finished the tour I was eager to have a closer look at both the cathedral and the tower. The tower is the tallest church tower in the Netherlands, and I think the tallest building in Utrecht. It stands 112m tall and if you want to see the view from the top it’s 465 stairs (no lift). I admired it greatly… from the ground.
It took me ages to find the Metro station that was meant to be a 5 minute walk from my hostel in part because Google, and in other part because the Metro stations in Moscow don’t have any helpful signs with pictures or symbols to identify them. Maybe they say the name of the station on the outside, but I was looking for a big “M” or an icon of a subway train which has been a constant in every other metro system I’ve used. This is actually the logo for the Moscow metro and it was not on any of the buildings or any signs nearby.
Sadly, I still don’t know what Red Square looks like, since there were about a million white tents set up and a large area blocked off and converted into a stadium for an upcoming festival. I walked slowly and perused the kiosks selling a narrow but colorful array of Russian souvenirs. I didn’t stop to buy, however because it looked mostly mass produced.
It’s possible to go inside for a fee, but online reviews all agreed that the cool part is on the outside. Bonus, there was a marching band practicing in the temporary stadium field nearby, so I got to watch a little bit of counter-marching through the fence and experience some serious cognitive dissonance as they played the 1812 Overture (for non-Americans, that’s because it’s a staple of our own Independence Day celebrations).
The guide explained a bit about the history of early self playing music starting with bells and pipes. Bells were the first and “easiest”, if that can be applied to such complex machinery. A metal cylinder like that in a music box was used to orchestrate a series of springs and levers to tap small bells of different tones. There was only one length of note and it resulted in some very un-nuanced music, but the Victorians loved gadgets sooo much that owning such a marvel in one’s home was a real status symbol. They were incredibly expensive and very fine. The only way to change the song was to change the cylinder inside.
While the musical clock and player piano might find their way into any reasonably affluent household, the larger organs and orchestral players were reserved for the ultra wealthy and of course, the dance halls. During their height (again an incredibly brief time ending abruptly in 1930) these orchestrions were the darling of the day, drawing large crowds to dance halls to cut a rug to the mechanical orchestras and marvel at the wonders of modern technology. Because of the limited amount of musical numbers available to each machine, and because of the stunning but stationary artwork on the outside, audiences became bored with a single orchestrion quite quickly. (no, our attention spans weren’t any better a century ago no matter what your grandmother says) To keep the crowds coming, these huge machines were often built to be easily disassembled and moved to play a new dance hall every week. Early 20th century DJs played the precursor to EDM– MDM: Mechanical Dance Music.
The walls, columns, arches, and decorative carvings are painted a crisp clean white except a few places where the original church artwork has been preserved and painted around. The whitewashing isn’t a result of secularism, however, but rather the work of the Protestant reformation which took over the church in 1586 and just hated all that ostentatious Catholic art. Buurkirk was actively used as a church until 1975 and it became the Speelklok Museum in 1984. Wandering among the displays and whitewashed arches, my mind was occupied with the impending massive shift in my perception of humans, time, and technology.
She took up a nearby lamp and shone it into the depths so that I could see the water below.
There is very little sign of damage on the exterior. This is not because the damage was minimal, but because the effort has been great. There was a before and after photo out front as well, showing what the damage looked like just after the quake and it’s much closer to what Loboc Church still looks like. I wandered around the exterior taking more photos and found several more blocks with that organic sea-life look that I now know to be coral stone. It seemed that the sanctuary proper was still under construction, but it is scheduled to re-open this year.
To be honest, I wouldn’t have even noticed this town, let alone spent two days there if I was travelling just to sight see. My friend however had gone to see the river Moselle because it is her family name, and so I found myslf across from the Cathedral of St. Etienne in a tiny little studio apartment overlooking the Moselle river.
Part of me just wants to tell you how terrible this place is, oh awful, don’t go, just so I can keep this little jewel all to myself. But, really, I think it may have been my favorite place in France and I’m strongly looking at how to get an EU work visa for next year just so I can live close enough to visit Metz more often. After settling in with my “luggage” (a backpack), we set off in search of dinner. Restaurants in France don’t typically open for dinner until 7 or 730, and it was Sunday, so even fewer were open. Eventually we found a little Canadian themed restaurant and decided to eat there.
The building looked like it might have undergone a fire at some point because the stone walls were blackened in places. The stained glass windows also looked like they might have been replaced at various points in history because there seemed to be medieval, renaissance and post modern styles in the window art. There were very few other people in the massive structure, so it was very easy to feel the scale of the building. We walked all around admiring the art in glass, stone and wood. There was a birdsnest organ as well as the main organ, and for a while I just had to sit down and reflect on the sheer number of centuries that this building had been standing and been used as an active place of worship. Seeing this cathedral made me even more excited at the thought of going to Notre Dame in Paris in a few days.
We passed by the Rue Taison, which is supposed to be a kind of Taiwan town, but other than the large plaster dragon hanging over the street and a few dragonesque signs around, I wasn’t really sure why. The shops are more French than anything else, and I didn’t see a strong presence of Taiwanese food or goods. It was still nice to walk through the little streets and see all the different architecture. Some buildings as old as the cathedral had been re-purposed into shops or hotels next to “newer” buildings that were a mere 200-300 years old. We stopped at a street vendor selling soft serve ice cream, let me just say that nutella-pistachio swirl is a magical idea.
By this point in the day it was becoming apparent that I did not merely have some desert to temperate climate adjustment issues going on in my sinuses, but actually a full-blown travel flu. The downside to so many flights in a row is the enormous exposure to other people’s germs. So we headed back to the flat so I could get some rest while Vixen went to view the river of her family. Somewhat sadly, I slept firmly until the following morning and missed out on the river island and what I am sure was another amazing dinner. Travelling while sick is really no fun since it takes a lot of your get up and go right out. I was feeling a bit less insanely flu-like after a good shower, so determined to keep on with my adventures through France.
Our guide told us about the champagne process, how they use the natural yeast in the fruit for the first fermentation, but add yeast and sugar later on to create the champagne from the still wine. I learned that most champagnes are actually a mixture of chardonnay, pinot noir and pinot meunier grapes. Since the later two are black grapes, they must be picked gently by hand to make sure that none of the pigment leakes from the skins to change the color of the juice. The process takes a long time and involves several stages of fermentation, resting, turning and rebottling. I think the most fascinating stage to me was the removal of the sediment from the bubbly. The still wine is bottled with extra sugar and yeast, but it is corked to keep the gas that is released during fermentation in the bottle (making it sparkling).
She showed us all the sizes of bottles that they distribute in, including a really giant one for extra special occasions. She talked about the different types of champagnes that Tattinger makes, and how they measured the quality of each year’s grapes, still wines and champagne blends to see if they deserved to be marked as vintage or not. I really just expected the structure and tasting to be the cool parts of this tour, but it turns out the whole process of champagne making is way more interesting than I thought it would be. Definitely a worthwhile stop over.
After the tour, we headed up to the tasting room. Vixen and I had bought the three glass tasting. Everyone got to try the Brut Reserve which is their most popular. I was pleasantly surprised at how light it was. I am so used to Brut sparkling wines in the US being very dry and kind of aggressive. This was far from sweet, but it was mellow and bright. Very enjoyable with a sort of amber warmth. The second glass was the Grand Crus, mixed from Chardonay and Pinot Noir in equal measure. It was just as mellow as the Brut, but I felt that it had more notes of fresh green. The third glass was extra special, the Blanc de Blancs which was made entirely from chardonnay grapes (unlike the others which are blended). It isn’t produced every year, but only when the grapes are deemed exceptional at the harvest. It’s only from the first press, and 5% of the wine used to make it are aged in oak barrels before they go into the champagne fermentation. The 
We lingered a long time over our tastings and eventually the very nice folks there had to remind us that they closed up at 5:30. Half of our goal for the day was well and happily completed, so all that remained was to find a nice meal. I gotta say, in many ways Reims was a serious let down from Metz. I mean, I understand it’s a small town, but I would think with so many tourists coming through on wine tours that it might have been a little nicer. The traffic was prodigious, so once we made it back to our room, we didn’t want to move the car again until we left the next day, so we set out to find a restaurant we could walk to. Unlike Metz where walking seemed to be the main form of locomotion, Reims almost seemed designed for cars.
Gallivantrix 