Art, Food, and Parks in Paris

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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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“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.

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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).

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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/

A Day of Art in Paris

It was with deep sadness that I had to forgo the museums on my first trip to Paris. I didn’t know enough about buying advance tickets, and since I only had one day in the city on that trip, I wanted to make the most of it with free and quick events. This time, I put three museums on my must-do list. You’ve already read about the Arts Forains, but my other two museum forays were more typical. Not the Louvre, but the less well known and therefore less crowded Musée d’Orsay and L’Orangerie. I managed to get a discount buying a combo ticket and WOW was it ever worth it!


I was using City Mapper to find my way around Paris and the route from my Airbnb to the museum didn’t involve the nearest metro station, but rather a bus stop across the river. It’s a beautiful walk through the gardens and over the bridge. Although it is not the famous lock bridge, the sides are still lined with padlocks in many colors and street vendors hang out selling more locks as well as balloons and ice cream.

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My first impression on entering the Musée d’Orsay was that even the building was a work of art. The central arena looks like a beautiful baroque train station, and there are many floors and side rooms filled with some of the most amazing art you’ll ever see.

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During my visit, there was a temporary exhibit of Baltic artists. I slid from these rooms into halls and halls of displayed paintings. The main floor is covered in white marble and bronze statues. I saw more Rodin than I ever thought I would and realized that other than his famous sculpture of “The Thinker” and the larger work from which it derives, “The Gates of Hell” (below), I don’t actually care for his work. I also can’t find any reasonable discussion of why he felt the need to use fig leaves this late into the modern art movement.

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I discovered some artists I didn’t even know about like Gustave Moreau who’s painting Galatée (below) completely captivated me.

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Many of the classical artists in the ground floor created stunning details to the point where one could spend a long time finding each hidden treasure. Room sized paintings with dozens of people had near photo realism on each face. Getting up close to these just unfolded more and more details to delight the eye. I got lost in Paul Chenavard’s Divine Tragedy (below) for a long while. It’s 4m high and 5 across (13x16ft more or less) and is chock full of tiny little details and insane imagery. Apparently people hated it when it came out, but I loved it. Reading more about the symbolism just made me love it more.

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I was so entranced by the main floor that I almost forgot the reason I came, to see the impressionists!

My First Impression?

I went on a quest following the signs and found Renoir (not pictured) and Monet (below) then stumbled across the museum restaurant. It wasn’t yet time for a snack, so I paused just long enough to take a photo from the back side of the clock before moving on.

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Finally, I found it. Impressionism and neo-impressionism.  I love impressionism. I knew I thought fondly of Monet, but somehow I forgot how much I really enjoy it. Books and online photos cannot live up to seeing these beautiful works in person.

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Neo-impressionism was a real delight as well.  While the paintings on the first floor captured even the tiniest details in the smallest focus, impressionist paintings just become meaningless blobs of color the closer you get, and it’s only when you step away there is a picture. The picture is made in your mind as a way to make sense of these random dots. Not only do I love the colors and the movement implied by the direction of the bush strokes, but I love the idea that these images only exist in my brain and not in the canvas.

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I took pictures mainly of things that stood out to me at the time or that I want to read more about later. I think I found some new favorite artists too: Georges Seurat, Henri-Edmond Cross (above 2), and Paul Signac (below) were all featured but Signac stole my heart! I actually returned to these paintings for a second look before leaving for the day. I spent a tremendous amount of time with them, changing my perspective by moving closer and farther and side to side. The texture of the paint alone is captivating, but the effect of the whole is pure magic.

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Chat Noir

Still searching for van Gogh I stumbled into a display about the Chat Noir Theater. I am sure you, like I, have seen the Chat Noir poster on t-shirts, hip bags and other products without realizing where it came from. The Cabaret was quite eccentric, filled with art works and strange objects of interest. Musicians like Debussy and Satie would come and play the piano sometimes. The main attraction, however, was the shadow theater.

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Cut out figures made first from cardboard and later from zinc were back-lit to create silhouettes. The host would tell the story as the figures moved on set, often improvising commentary to include current political and social witticisms. The mechanism for the productions became extremely complex over time, and the Cabaret was famous for these elaborate, and above all entertaining shadow plays. The museum tells the whole story of the art form and displays some of the more interesting figures used in the performances.

Vincent at Last

20180706_124406I finally found my way to the van Gogh. I have loved him since I first saw his distinctive style, and came to love him more when I learned we shared a bit of atypical neurology. I planned on going to his museum in Amsterdam, but I couldn’t pass up the chance to see his works in Paris, too.

Seeing the van Gogh up close was amazing. The paintings are roped off, but they are not hidden behind glass and the “stand behind this line” marker is less than a foot from the painting. It’s possible to stand at the edge and see the detail of texture and brush stroke. I felt only slightly bad doing so as everyone wanted to take pictures of the whole painting and being up close put me in the way. The museum rope was much closer that the camera ideal range and so while I tried not to walk in front of anyone about to shoot, I was not about to give up my chance to see the details so people could take photos that look the same as any print. Yes of course I took photos too, but I also took up close detail photos.

I don’t know if other people feel the way about the color blue that Vincent and I do. I can’t get enough of his blue blue skies, most especially when combined with the golden hay of a late summer field. One that particularly struck me was a simple painting of farmer’s napping called “La Meridienne” (below).

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The blue and gold are so stunning that the simplicity of the subject matter is almost irrelevant. I looked it up when I got home and discovered that van Gogh copied it from a pastel work by Jean Francis Millet (below). It’s obvious that it is an homage, but the difference in the style is amazing.

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Van Gogh created it while he was in the asylum. He often copied artists he admired while he was learning to paint (although in the beginning he tried to copy their style as well). While incarcerated he went through another phase of copying, but more frequently by adding his own unique colors and brush style. I think he copied more from Millet than any other artist.

Polychromatic Rainbow

Another seasonal exhibit at the museum was a display on polychromatic statues. While most statues from history have come to us as plain white marble or unadorned bronze castings (this turns out to be wrong, but the perception remains), there was a brief but vibrant period in three dimensional art to include more color. By the 18th and 19th centuries, the high-brow art scholars all considered color in statues to be very low-brow. Imagine how you feel about cheap porcelain dolls mass produced and badly painted being displayed as art? They felt that way about any statue or sculpture that did not maintain monochromatic purity. Of course color in sculpture existed, but it was just crass popular entertainment for the uncultured lower classes.

Then in the 19th century, some artists got the notion to challenge this rigid class system and began to explore the world of polychromatic statues with renewed fervor. The two styles were natural, made by combining natural materials of different colors such as colored stones or differently hued metals, and artificial, made by painting or lacquering the finished product. The results were absolutely amazing. I was possibly more entranced by these rooms than anything else in the museum.

While the painted statues were beautifully executed, I was more interested in the natural style. The amount of effort and planning it must have taken to combine various types of stones, and then blend those with cast metals! Artists had to collaborate to make such works as very few could work the stones and metal with equal skill.

I was struck by the fact that this was also the only place in the museum I encountered African faces. Some incredible works in the polychrome display were of a man from Sudan (not pictured) and a woman from Algeria (above). They were depicted in poses of joy and power with clothing styles that reflected wealth.

Two of my favorite pieces include a miniature of a woman at her embroidery frame which used stained glass as the tapestry she was creating:

And a larger than life statue of a woman that combined a wide range of colored stones including a richly marbled agate to make the pattern of her dress, as well as lapis lazuli and malachite to make her belt.

As the movement of mixed media and 3-D color persisted, it moved away from a mimic of classical and renaissance styles and began to explore symbolism.

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Ceramics became more popular, allowing for colorful glazes. There was even a brief flirtation with incorporating this polychromatic art into building exteriors in the form of architectural ceramics.

Finally, the display drew to a close with the most dramatic end result of the movement by setting Degas’ “Little Dancer Aged Fourteen” and Hans Bellmer’s “The Doll”. Both incorporate materials in an unusual and even extreme way. Degas statue is primarily bronze, but includes real horse hair, a real corset, wax coated ballet shoes, and a cotton skirt. At the time it was considered to be quite the edge of the envelope in terms of modern art.

While the dancer is no longer unsettling to modern viewers, I think “The Doll” will always be creepy. It’s also mixed media: wood, papier mâché, real socks, shoes and hair. Degas was an impressionist, but Bellmer was firmly surrealist, and his disturbingly erotic imagery was an act of defiance against the Nazis in 1931 Berlin when he created this work.

Lunch

After three or four hours of museum, I was both tired and hungry. Art may be a feast for the eyes but it does not fill the stomach. There aren’t a lot of lunch choices near the museum so I decided to go ahead and try the 5th floor restaurant. It is a bit pricey as expected for a tourist attraction eatery, but the food was excellent, living up to the standard of French cuisine I cherish. I had a ricotta and spinach ravioli with Gorgonzola sauce, walnuts and chives. Heavenly. Plus a glass of my favorite French wine: viognier, and a lovely cafe creme for afters. Like most French food, I thought the portion looked small when it arrived, but it turned out to be quite generous and incredibly rich. I think the meal was about 24€, so not bank breaking, but definitely a luxury.

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I got distracted on the way back down from the restaurant, checked in on Signac again as well as discovering a whole set of rooms I missed on my first trip through which had yet more paintings of enormous size as well as some furniture on display for it’s elegant design. I stared rather longingly at the beds on display, and didn’t leave until 3:30 I spent a total of five and half hours in the museum and no more than one hour at the restaurant. I still didn’t see everything on display.

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Lilies at L’Orangierie

The heat wave that gripped Europe during the summer was in full force by the time I stepped outside, and the simple walk from d’Orsay to l’Orangerie was a far more hot and sweaty affair than I would have hoped. Even with the climate control needed to protect the paintings, the museums were struggling to keep up with the combination of extreme summer weather and high season crowds. Nonetheless, it was a pleasant relief to step inside once more.

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L’Orangerie is famous for being the permanent home of Monet’s “Water Lilies”, a series of paintings that I have enjoyed as long as I can remember. It’s one of my mother’s favorites and we’ve had small versions around, or I’ve had replicas pointed out to me whenever we passed one by for my whole life. They are beautiful, but I did not understand the true scale of the work until I stepped into the first of the two viewing rooms that afternoon.

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The Water Lilies are huge! Two giant rooms of huge panels. It’s like drowning in Monet. The panels look a bit like the backdrop for a play in community theater where you just want to suggest a like pond and Willow trees in the moonlight but don’t care about details. I know Monet was making some statements about the nature of realism and symbolism in art, but … it still reminds me of a theater set.20180706_174842

I did the stereotypical museum thing and just sat with the art. In part, I was grateful for a rest after all the walking I’d done that day, but mostly, I just wanted to bask. There is no way photos or even films can capture the feeling of raw art, especially when it’s that big. The rooms were packed with people, some sitting as I was to take in the art, some taking photos and selfies, some just taking a break.

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It’s easy to be judgy when we see people at famous landmarks or museums just sitting on the phone, but I can tell you that it can be overwhelming. Sometimes it’s nice to just narrow your focus back to a screen or a page. I also used my phone to take notes about my experiences and feelings, and to share those feelings with my friends on Facebook or Instagram. I don’t feel like having the phone detracted from my experience at the museum. Sure, I could have used a notebook for notes, a regular camera for photos, and a book to decompress, and a music player, and… you get the idea?

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When the sheer amazing wonder shock started to fade a little, I got up and began to examine the canvases up close. Like all impressionism, the closer you get, the less it looks like anything but blobs of color. It’s still fascinating to me to see the texture and shapes at work and watch the optical illusion as you move from the close to the far and the blobs resolve into the magical dance of light on water and floating flowers.

More than Monet

Although the Water Lilies are the star of the museum, they are not it’s only occupants, and after a good long while, I headed on to the other rooms where I encountered a plethora of abstract art. I respect art, even the art I don’t understand because I think it’s all part of the process of learning and exploring what it means to be a sentient, self aware being in an infinite universe. I don’t like abstract art.

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Abstract impressionism is no exception. I love impressionism and neo-impressionism and just hours before I had that love reaffirmed in the d’Orsay. L’Orangerie hosted the next stage of abstract impressionism. While impressionism seeks to deconstruct the notion of reality by using color and shapes to suggest forms, abstraction casts aside all pretense of shapes or images in favor of “feelings”. It just does not speak to me. Impressionism is an illusion. It looks like a familiar or real image, but is actually nothing. Abstract… is actually nothing and looks like nothing. I can stare at a Mark Rothko (above) or a Jackson Pollock (below) all day and not “feel” anything, but one glance at Paul Signac will steal my heart.

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The good news is, this was a temporary exhibition at the museum, and it’s already gone. The non-Monet portion of the building changes. I lucked out at d’Orsay with a temporary exhibition I found enchanting, so I can’t be too upset the summer show at l’Orangerie was not to my taste. I did look around and read several of the informative panels, and I found one of the rare women artists of the time was featured, Helen Frankenthaler (below). I read about how influential she was on the art movement and wanted so much to like her work, but abstract expressionism still makes no sense to me… even knowing that’s kind of the point.

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Closing Up

I was trying to time my departure to get a few minutes in the Monet rooms right before closing time, hoping to get a few wide shots that weren’t full of sweaty tourists, but I discovered that they take closing time very very seriously. A good 15 minutes before the end of business, the museum security started shooing everyone out of the rooms, and would not let me into the second Monet room at all! I could have easily taken photos and been out in 5, but I was barred from entering. I am glad that I spent a goodly amount of time in each room before I went to the abstract exhibit, or I would have been very sad indeed. As it was, I only missed out on photo ops and I’ve already noted photos cannot do it justice. Be warned, however, the museum starts booting people out 15 minutes before “closing” so if you haven’t seen it all, or like me you want that last photo, get in a little earlier than you think is necessary.

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The Best Hot Chocolate

Angelina’s isn’t a museum, but they are artists. Chocolate artists. I wasn’t sure about the idea of drinking hot chocolate in the summer, but I read so much about this little cafe, and it was close to the museum, so I decided to stop in on my way out to the metro. I had a hard time deciding because the reviews for everything were so good, but in the end, my chocoholic side won out. It was so entirely worth it. Probably the most expensive hot cocoa I’ve ever had, but it was rich, thick, delicious, choco-gasm inducing and very generous. I could have shared this pot with another person. I could not have had a whole pot and any kind of dessert without exploding.

No mere “cocoa”, this beverage is mostly melted chocolate with milk and cream and more whipped cream on the side, you know, in case it isn’t creamy enough. It pours more like syrup than milk. I sat in the shade and welcome air conditioning sipping my chocolate bliss, mixing cup after cup with various amounts of cream for effect. Despite the fact that I hadn’t eaten since lunch, I left Angelina’s full and happy.


The weather in Korea is turning cool. It’s even gotten below freezing a few nights this week! It’s almost hard to remember hating the hot weather so much when I’m curling up with my heated mattress pad and fluffy blankie. The hot chocolate here isn’t a patch on Angelina’s but my memories will keep me warm. I hope you enjoyed this foray into the art world with me. For those who can’t make it to the museums, a little walk thru tour. For those who have never thought of going before, I hope I’ve given you cause to reconsider. As always, thanks for reading!