petit palais

parapluies dans le bain

Despite my SO working long hours we try to make time to get out and sightsee.. and it’s easier to accomplish when I show up at work for a three course lunch and afternoon husbandnapping. We finally managed to get French SIM cards, which means cell usage is now local rates instead of international so it’s easier to meet up while out and about. That being said I still forget what its like to live without data so we inevitably forget to look up the hours for things before we go.. like the Orangerie and Grand Palais. Hint : both closed on Tuesdays.

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We still managed to get some more mileage on the vélos before this realization. We instead went to the Petit Palais, and though the collection is somewhat small and Courbet-y its still a ridiculously nice building (Palace) complete with amazing chandelier.. well really, everything is nice. The more time we spend in France the more I foresee a courtyard in our future.

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They also have a little collection of non-Courbet realism, which is very nice. The dichotomy of the subject matter with their grand size and detail, hung in the glimmering halls of a palace is interesting. The way the subject is treated inherently gives you information about how you should feel about the painting. Two paintings really caught my eye, both by Fernand Pelez.

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Sans Asile“, 1883, gives you a scene firmly grounded in the stone foundation of Paris, the stark wall behind the figures not giving you any way around the figures, no where else to look except to notice the remnants of posters on the wall advertising fancy parties for the aristocracy. The woman is not engaged in chores nor is she distracted by anything else. She directly faces you, her gaze fixated on you, demanding attention. The children sleep around her and the baby suckles at her breast, participating in things that all children do. However the older boy has become more aware of their situation, aware that they are in a different situation to other children. He is growing up in this painting, coming to realize the disparity of it all and begins to emulate the same actions of his Mother. The mirroring of mother and child here also gives the impression that their poverty is cyclical, their impoverishment passed down and continuing through the generations.

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By contrast, Géricault created a series of portraits of beggars and insane people, some of these are at the Louvre. The figures are those who are normally hidden and marginalized by society but Géricault elevates them to a stature worthy of having your portrait painted, normally reserved for the rich and important. But the information that’s given in the works is much different than Sans Asile in the relatively small scale and quickness of the application. The figures are not carefully painted appearing looking away and fidgety as if they are constantly distracted by their malady. They are fully consumed by it. The blackness of the background gives the impression they are enveloped in a world of uncertainty. The figures are not given names, only identified by their condition. Criticisms of early psychiatry argue that “classifying, containing and observing people was effective only in silencing the voices of the mentally ill, rendering them invisible and therefore subject to abuse”1. But giving them recognition and exploration into their personal lives provides an air of empathy and dignity. Géricault is believed to have had a mental breakdown after completing his psychologically taxing masterpiece the “Raft of the Medusa” and as a Romantic painter is devoted to portraying intuition and emotion over reason, exploring the wild and aweful turmoil of the natural world, as well as a revolt against order and idealization, and rationality. “What perhaps strikes one most about the portraits is the extraordinary empathy we are made to feel for these poor souls, who might not strike us immediately as insane, but who certainly exhibit outward signs of inward suffering”2.

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There is another Pelez painting right beside entitled “au lavoir”, 1880. The scene is of washerwomen perpetually engaged in their labour. There are some items around but none that aren’t washing-related indicating the is no reprieve or separate identity for these women. Similarly, they are in a darkened room with no reference of time of day to determine beginning or end to their chore. The woman rings out the garment, her arms muscular from practice, her legs apart and anchored firmly. She represents the hardworking and resilient woman, the labourer. She embodies both the typical role of a woman but at the same time, the antithesis of typical feminine appearance and demeanour.

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Another nice painting in that room is Les Halles” (Léon Lhermitte), 1895. I really like the bustling composition and the snippets of folks in their market-day actions. I also like that you can still go to Les Halles well over 100 years later and walk around the open air shops and stalls that run down the same streets. Though these days there are less chickens.

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We also biked to Église de la Madeleine, situated just north of Place de la Concorde: the giant roundabout complete with Egyptian obelisk and crazy fountains. Église de la Madeleine’s design is based on the Roman temple Maison Carrée. Interesting side note : Frederick Chopin requested Mozart’s requiem be sung during his funeral but the church did not permit women it its choir. Eventually, the funeral was allowed to proceed only if the female singers remained hidden by a curtain.

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klaxonner

After checking out the church we walked down rue Réaumur to ogle the copper pans in the highfalutin chef stores and wander down some tiny restaurant-filled alleys just ducking into the subway before the rain started. Though we did manage to encounter our first subway delay in two months and ended up walking the four remaining subway stops in the rain, stopping for bread and chouquettes, which are little puffed clouds of deliciousness. I seriously need to learn to make these because they are so delicious, plus they’re the closest thing to timbits here.

0290017105961502-c2-photo-oYToyOntzOjE6InciO2k6NjU2O3M6NToiY29sb3IiO3M6NzoiI0ZGRkZGRiI7fQ==-recette-pas-a-pas-de-la-pate-a-chouquettesCrédit : © AlexQ – Fotolia.com

1, 2 http://smarthistory.khanacademy.org/gericaults-portraits-of-the-insane.html

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mon tuyau de plomb fait un peu mal

If you guys remember two posts ago I was talking about Millet’s Gleaners and so on, so I wanted to mention the guy who paved the way for this sort of stuff, Gustave Courbet. He is considered to be the head of the Realist movement, and was influenced early on by a trip to the Netherlands to see Dutch masterpieces depicting every day life. There are some very famous examples of Courbet’s work at the musée d’Orsay, such as “Burial at Ornans” (1850) and “The Artist’s Studio”(1855). His style looks quite different than Millet’s, aesthetically, but at the heart of the matter, they are Realists; which means they are concerning themselves with painting real, modern people doing accurately real things. They are concerning themselves with shedding light on the average peoples of France (read: lower class) instead of giving attention to subjects which previously were committed to paint such as royalty or religion. A major difference in aesthetics can be attributed to the fact that Millet was a Barbizon School artist, which is a group of artists that traveled to the French countryside in search of rural subject matter (mainly in Barbizon). The movement was coming out of Romanticism so the subjects are somewhat Idealized, but at the same time moving towards Realism in subject matter. Unfortunately, Courbet’s works have always been somewhat rejected by my personal tastes because I consider his execution of ideas to be offensively heavy-handed and vulgar. None the less his works are quite celebrated.

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Burial at Ornans

Ornans is significant because it depicts an event that happened during his lifetime, and the figures were posed by the people themselves. It is important to remember that previously the only people important enough to pose for their own portraits were generally royalty, or ancient greek or biblical figures were often posed for by poor students or prostitutes from lack of finances. In addition, this work is unbelievably enormous: 10 x 22 ft, a size normally reserved for biblical scenes. As the fantastical and decadent style of Romanticism was losing public interest, Courbet’s Ornans offered an every-day realistic view of life, and more importantly death, as the ordinary funeral procession is splayed out in huge scale before us. “The rigorous frieze-like composition and the gaping grave strewn with bones invite us to think about the human condition” 1.

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L’Atelier du peintre. Allégorie réelle déterminant une phase de
sept années de ma vie artistique et morale

In the same room at musée d’Orsay, there is the Artist’s Studio which features Courbet in the centre and allegorical figures depicting the turmoil and reality of his life. On his right, he is flanked by his supporters, contemporaries and friends such as Alfred Bruyas, Proudhon, Champfleury and Baudelaire. On his left are his contenders, the wretched, the exploited and the twisted. He also added in a man with hunting dogs much later, supposed to be an allegory for Napoleon III, depicting him as a criminal. “The unemployed worker and a beggar girl symbolis[e] poverty. We can also see the guitar, the dagger and the hat, which, together with the male model, condemn traditional academic art. […]  When faced with the rejection of his painting, intended for the 1855 Universal Exhibition, Courbet built a “Pavilion of Realism” at his own expense. Here, outside the official event, he organized his own exhibition, which also included A Burial at Ornans” 2. A great amount of viewership were people who only came to belittle the artist, offended at his audaciousness and lack of tact.

Young Ladies on the Banks of the Seine (Summer)

The self-proclaimed “proudest and most arrogant man in France” 3

Courbet secured some financial success by flanking his controversial paintings with long standing favorite views, such as hunting scenes. He furthered his work of female nudes and erotic art depicting such scenes as women in bed, prostitutes napping with their undergarments showing, or just extreme vagina close ups, some of which attracted attention from the authorities. Two examples are the “Le Sommeil”(1866), and “Ces demoiselles des bords de la Seine”(1857), both at the Petit Palais. Ces demoiselles aimed to portray the “realism of the scene, with a frank sensuality” […] Courbet deliberately provoked critique, sparking a scandal by exposing Ces Demoiselles at the Salon of 1857” 4. Le Sommeil was never shown, instead immediately went into a private collection. There is a long history of erotic artworks and of France in particular there is a long history of the eroticised female nude painted by men for the appreciation of men. So while I can appreciate Courbet’s desire to bend the rules and question authority I find his treatment of his subjects crude and ugly, and his works make every attempt to bash his ideology over our heads like a lead pipe.

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Stonebreakers

One of his most celebrated works, which has a more realistic and less sensualised feel, is the “Stonebreakers” (1850). The work is no longer viewable as it was destroyed during allied bombing in WWII. It depicts the lower-class people of abject poverty, two men whose only means of survival is breaking rocks to make way for a road. Courbet witnessed this scene and hired the two to come to his studio to pose for the painting. This painting, created a year after the Communist Manifesto was published, aims to shed light on class structure and the reality of the low class in France. The fact that we can’t see the end of the road, and the nondescript ambient lighting gives no indication that the work will be completed on any discernible timeline. Instead, the stonebreakers are engaged in perpetual labour. They are enslaved by the land they must work, and the only peep of any light on the horizon almost imperceptibly out of reach.

Courbet participated in the Paris Commune (French socialist uprising) and upon his suggestion, the Vendôme column was demolished. Following the fall of the brief reign of the commune, Courbet was sentenced to six months in prison and a five hundred Franc fine for his involvement. However when the Republic elected a new president it was decided that the Vendôme should be rebuilt, entirely financed by Courbet (323 091 Francs). Courbet went into exile to avoid bankruptcy. He was then told he could pay in installments of 10 000 francs per year until the age of 91, but he died the day before the first installment was due from the effects of heavy drinking.

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A group of artists coined the “bande noire” working later in the 1800s, were inspired by Courbet who employed dark colours and whose compositions held a turbulent feel, especially his self portraits. They rejected the bright and colourful light of the Impressionists and Barbizon school in favour of dark and violent colour to express melancholy, the precision and realism of everyday life. The group included Charles Cottet , Emile-Rene Menard, Dauchez André, Rene Prinet Xavier, Lucien Simon, and associated non-members Edmond Aman-Jean and George Desvallières.

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l’ascention du poilu, (1931)

Desvallières work made use of dark and turbulent subjects, eventually becoming more twisted and expressive as his life and work progressed.  Desvallières met Gustave Moreau at the Académie Julian who influenced his work significantly, drawing  Desvallières away from making traditional copies and influencing his personal style and independence. “Devallières devoted himself to the creation of the Salon d’Automne […] “whose role is to be excessive because the role of the other salons is to be quite the opposite”, for forgotten masters and for talented artists that were currently excluded from official exhibitions” 5. Desvallières aimed to give attention and public exhibition to Salon-rejected artists and to give support to those dedicated to their cause even if unpopular eg) Fauves. Upon the outbreak of WWI he voluntarily enlisted at the age of 53, and “it was on the occasion of one of these sallies, when he had passed close to death, that he vowed to paint only religious subjects in the future: a vow that he kept scrupulously until the end of his life” 6. His style mixes the dark and furious aesthetic of Courbet with the same turmoil felt during wartime France. The subject matter is in a modern setting, but expressive and inventive in its execution. Devallières began mixing religious images with violent military battle scenes, expressing his pain and horror of the war in which he lost his son Daniel (aged 17) in his own battalion, with the grace and comfort he found in religion.

1 http://www.musee-orsay.fr/index.php?id=851&L=1&tx_commentaire_pi1%5BshowUid%5D=130

2 http://www.musee-orsay.fr/index.php?id=851&L=1&tx_commentaire_pi1%5BshowUid%5D=7146&no_cache=1

3 http://www.metmuseum.org/toah/hd/gust/hd_gust.htm

4 http://www.petitpalais.paris.fr/fr/collections/les-demoiselles-des-bords-de-la-seine-ete

5, 6 http://www.georgedesvallieres.com/index_en.html

le chant interrompu

Usually, long after my SO has gone to bed, I’m up late blogging or editing photos or working working on some kindof arty thing. Unfortunately the little time we have to share together gets minimized when I sleep in and miss breakfast. So after staying up past 4am I woke up around 7:30 with my SO to try and adjust my schedule. Yeah. So to keep myself from lounging around and being sleepy I decided it would be a good idea to go out and see the sights!

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After passing by a few vélib stations that only had seriously broken-down bikes I finally found a mostly usable vélo and made my way downtown. I’m kindof getting the hang of the street layout, but I have to make a serious effort to bear right more than I think I should have to. Otherwise I always end up in the west end. Alas, as they say; All roads lead to.. the Bastille.

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giant lampost-baby mocks your pathetic sense of direction! muhaha!

Oh well. I ditched my vélo and tried to find a landmark that I knew was nearby : Place des Vosges. I had read about it that morning, but didn’t really look into it because I didn’t think I would be in that end of town. After a little searching, we found each other. Places des Vosges is the oldest planned square in Paris, built in 1612 by Henri IV. There is a fine statue of Louis XIII, erected in 1818 to replace the original which was melted down during the Revolution. The surrounding buildings are all the same, made of red brick with white stone stripes and vaulted arches.

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look at the trees! they match the square’s perfect squareness!

The garden’s weren’t really that impressive, they were tidy but very modest, and all of the fountains were turned off. Even so there were still hordes of art students sitting in the grass drawing the fountain fixtures and possibly the maintenance workers. On my way out I passed a number of expensive restaurants and small art galleries, one of which featured the same kind of optical illusion I saw in the Escher museum in Amsterdam. I love those!!

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Making my way through the fifth, I ended up on Rue Étienne Marcel and biked around for a while looking for a vélib station that had a free spot. My next stop was the Jardin des Tuileries, the much hyped-up 70 acre palace gardens originally created by Catherine de Medici in 1564. The gardens here are absolutely massive and highly manicured. All trees are clipped to a certain size, the flowers are grown in neat rows deposited smack in the middle of neatly trimmed perfectly carpeted grass.. and of course there’s a little fence around anything growing so you cant ever go near it.

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This place is so perfectly organized  I find it a bit stressful rather than relaxing. However the locals seem to love it and there’s no lack of green chair to sit and relax. I don’t know if today was fountain cleaning day or what, but there weren’t any fountains on, except for one you could smell a mile away. It was one of those boring ones where a jet just shoots some water straight into the air, so of course there are lots of tiny particles of water misting around the area. Normally, this would be kindof nice but this was the most disgusting fountain I have ever seen. I believe it was originally some type of koi pond because there were almost imperceptible orange blobs swimming around in the brown muck. It smelled like a stagnant pool /hobo bath house.

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That being said, if you can find a tiny building to duck into on the west end of the garden, it contains a nice garden-related bookstore! I managed to find a book written by a rosa-horticultural genius David Austin discussing the various types of heirloom roses and their history! Awesome! David Austin roses are my favourite and someday… someday I will grow my own!

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you’re welcome for not taking a picture of the hobo bath house

For a garden there was very little beauty of nature. However, there were some nice statues, and the Louvre peeking out at the end of the garden isn’t a bad thing to look at. Also, I really like all the street crossings nearby because you can tell who has been walking around the Tuileries due to the dusty white footprints they leave on the pavement.

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My favourite new saying is “c’est parfait!”. I usually say it as a nicety when people do things for me, like put together my order at the boulangerie, bag my purchases at the magasin, or help me mail things at the post office. I’ve been saying it so much, I even say it when bad things happen, like when the strap on my purse gets caught around a barrier-post and I nearly go flying, or when I get wedged in some inescapable bike lane between trucks and some douche has parked his motorbike directly across the whole lane. C’est parfait! Granted I’ve been known to be a little insincere.

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 Moving on, I then biked down the eastern part of Ave. Champs-Élysées, checking out some nice canal views, while trying to bike as rule-abidingly as I could infront of the massive amounts of police for some reason, and eventually found my way to the Petit Palais. It’s exactly what you might think. It’s a little palace. It’s across the street from a bigger palace. But down the road from the even bigger palace. I don’t know what in Paris wasn’t once a palace.

IMG_6972wait, thats the petit palace? ok don’t look across the street then.

Everything in that neighborhood is just enormous grand architecture built by some king-or-another and probably has some cool history with the revolution(s). I don’t know if you’re meant to tour Paris this long.. because eventually it all just mashes itself into one big fancy building and I’m not impressed anymore. Well, not entirely. If you get tired of looking at nice buildings from the outside, just head on in because damn it’s nice inside too!

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The Petit Palais is now an art gallery and admission is free. Always. There was lots of Courbet, whom I never liked, but I got to spend some time in the courtyard imagining what it might be like to live in a place like this, and in the basement found some really nice paintings made by people I’ve never heard of.

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The first painting that really caught my eye was “Jean Carriès dans son atelier” (Louise Breslau), 1887. Breslau was a German-Swiss painter who achieved much success in Paris until the First World War, and afterwards in Switzerland. She won the World Fairs gold medal in 1900 and in 1901 became a Knight of the Legion of Honor, the third woman and first foreign woman to do so. The subject of her painting was a young artist, Carriès whose imaginative and often horrific sculptures captivated much attention. Carriès’ work is said to be a “junction between tradition and modernity [… and that he] spent his life pursuing an artistic ideal that the plastic covers genuine metaphysical event” 1. The thing that struck me most about this painting is the light and lively treatment of the subject matter, and the depiction of the artist’s process. I don’t know how you can depict creativity, but she’s done it!

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Another lovely work is “Ophélie” (Paul Albert Steck), 1894. The story of Ophelia (Hamlet) is romantic and tragic, and is one depicted frequently in paintings. The majority of these paintings show the drowned (or drowning) Ophelia from above the waterline, however Steck’s depiction is completely submerged, allowing the viewer to be more involved in the experience. The treatment of the underwater scene is gentle and flowing, the tendrils of aquatic plants mimicking her long hair as if to indicate her impending anchoring to the bottom of the lake. The attention paid to the texture of the bubbles, fabric and flower petals is really as lovely as it is haunting.

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man, I didn’t know santa was a dutch woman

Farther on down the basement corridor there is a small chamber adorned with plenty of nice Dutch paintings including “The interrupted song” (Frans van Mieris “the younger”), 1671. The small painting depicts a young woman who previously was preoccupied with singing a song (as indicated by the sheet music in her lap) but is interrupted by a man offering her a drink. There are a number of fine elements in this painting painted in delicate and loving detail, such as the vase of flowers, the sleeping dog on the cushion, the twinkle of light on the glass, and the satiny texture of her gown. The inclusion of a dog in Dutch paintings often is meant to indicate fidelity, and the husband offers his wife a symbolically full glass. Indeed, the entire work is very finely crafted with much love and devotion. “This style of painting has undertones of gallantry, with the association of music and love so common in Dutch painting of the 17th century representing the artist and his wife Cunera van der Cock (1629/1630 – 1700). It also illustrates the theme of the five senses” 2.

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After my palais excursion I decided it would be a good idea to start heading back towards downtown, while following the Seine of course. There are a number of nice parks and greenspace surrounding the petit and grand palais to check out. Included was a nice bas relief with (non smelly) koi pond.. and birds!

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I also managed to find a bagel shop that has fantastically amazing bagels. They also have humerous photos on the wall and signed pictures of celebrities, which I think are jokes because the majority of them just has a funny caption written on. They also say they’ve been in business since 1789 and if you check that out on their website they have a hilarious family tree of “bagelsteins” with photos ranging from astronauts to folks in straight jackets.. and enviably many “paninis” and “sandweeches” married in to the family. Awesome atmosphere, even awesomer food… I managed to get mine just before the queue exploded.

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Oh, and I also managed to find a very cool floral archway. The florists were busy not only creating it but taking pictures for people who wanted to pose with it. I opted for an OP-less photo.

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1 http://www.latribunedelart.com/jean-carries-la-matiere-de-l-etrange

2 http://www.petitpalais.paris.fr/en/collections/interrupted-song