One our way home we found one of the best sculptures of the day:
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| Centaur by César |
Going “home” to our neighborhood is one of the best reasons for renting an apartment. You have your stores, your beggars, and you feel regrounded.
Monday is always a tricky day when you want to see Art, but we found there were a few museums open, Year’s we went to the
Parc de Bercy, right bank, upriver from
Gare de Lyon. We searched for the
Musée Maurice Saint-Denis, but learned that it was in a town outside of the city, but we enjoyed our walk through the park.
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| scullpture by Oscar Niemeyer, 2007 |
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| La Demeure 10 by Étiene Martin, 1968 |
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| My Little Paradise by Miwa Nishimura |
The
Musée des Arts Forains (beyond the extreme far end of the park) was open for the holidays. In addition to a collection of old carousel animals and other memorabilia from old carnivals and circuses, there was live shows and real carousels for the kids, and adults to enjoy.
Our next stop was the
Musée Luxembourg. They were having a show about
Paul Durant-Ruel, a man very responsible for the eventual success of the Impressionists. He was an innovative art dealer with flair, bold tastes, and the stomach to take risks. His apartment was considered “one of the most stunning museums of modern painting in France.”
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| For the Student Resistors by Gaston Watkin, 1956 |
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| L'Effort by Pierre Roche,1898 |
The museum was mobbed; a long line for those of us without tickets. We stood in front of a woman who turned out to be from Italy (or French and living there) who was speaking in English to the two women behind her who were from Turkey. The show was very nice.
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| Petites paysannes se lavant a la mer, vers le soir by Edgar Degas, 1869-75 |
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| Les Filles de Paul Durand-Ruel, Marie-Therese et Jeanne by Pierre Renoir, 1882 |
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| Le Galettes by Claude Monet, 1882 |
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| Le Foyer de la danse by Edgar Degas, 1880-81 |
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| Le Defile by Edgar Degas, 1866-68 |
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| Aux courses avant le depart by Edgar Degas, 1878-90 |
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| Danse a la ville by PA Renoir, 1883 |
Note that the model for above painting was
Suzanne Valadon.
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| Jeane fille endormie by PA Renoir, 1880 |
Marie found a route that would take us to the house where
Edith Wharton lived on
rue de Varenne. There was a plaque on #53, which is where she moved after staying at her cousin’s (Vanderbilt) apartment at #58. I didn’t take a picture of the later, as there were a couple of gendarmes with rifles patrolling the entry. Wharton came to Paris in 1907.
Short walk to the Seine where we walked along, taking in the sights.
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| by Eric Fonteneau, 1995 |
Including these sculptures in front of the
Orsay that were done for Expo 1878 decoration at Trocadero:
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| Rhinoceeros by Alfred Jacquemart, 1877 |
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| Cheval a la herse by Pierre Louis Rouillard, 1877 |
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| South America by Aime Millet, 1877 |
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| L'Oceanie by Mathurin Morreau, 1877 |
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| L'Afrique by Eugene Delaplanche, 1877 |
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| L'Asie by Alexandre Falguiere, 1877 |
Crossed the Seine on a pedestrian bridge,
and walked through the
Tuilleries,
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| L'Arbre des Voyelles by Giuseppe Penone, 1999 |
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| Standing Woman by Gaston Lachaise, 1932 |
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| Personnage III by Étiene Martin, 1967 |
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| Jeannette and Apollon by Paul Belmondo |
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| Monument to Charles Perrault by Gabriel Pech, 1908 |
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| L'Echiquier, Grand-Le Roi by Germaine Richier, 1959 |
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| Le Cavalier |
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| Le Fou |
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| La Foule by Raymond Mason, 1963-65 |
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| Le Bel Costume by Jean Dubuffet, 1973 |
then on to the
Champs Élysée.
Lots of fancy stores to gawk at. Too many people everywhere. We stopped for hot chocolate at
Jeff Bruges. It had hazelnuts. Mmmm. Best ever. When we reached the
Arc de Triomphe it was time to call it a day.
We finally realized that that mobs at the museums were going to be with us until it is time to leave, so we couldn’t schedule around them. The
Niki de Saint-Phalle show at the
Grand Palais was one we wanted to see, so we started there. The expected wait of two and a half hours was a bit much, so I spoke to a young woman who suggested getting there at 9 am or 8 pm, as the museum is open until 10. So we got out of line and walked across the street to the
Petit Palais. Since there is no admission charge I was surprised by another long line.
We waited a few minutes until I got out of line again to find out the cue was for the special
Baccarat exhibition. The permanent collection was available through another door that had no line at all. The PP is a lovely building, very much smaller than its neighbor. Both were built for the 1900 Exposition. Many of the pieces inside were from various parts of that event and they have a wide range of art finishing, appropriately, at 1900.
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| Le Fruit by Antoine Bourdelle, 1906 |
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| Bretonne au bouquet by Paul Sérusier, 1893 |
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| Jeunes filles a la mouette by Pierre Bonnard, 1917 |
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| Portrait de Madame de Senonnes by J.A.D. Ingres, 1814 |
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| La femme au singe by Camille Alaphilippe, 1908 |
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| Joseph-Jérôme Lefrancois de Lalande by Jean-HonoréFragonard, 1769 |
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| Le Bain by Mary Cassatt, 1910 |
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| La Ronde des enfants by Andre Metthey and Mary Casatt, 1903 |
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| Les Pelicans by Rembrandt Bugatti, 1906 |
(Younger brother of Italian auto manufacturer Ettore Bugatti.)
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| 14 juillet by Théophile Alexandre Steinlen, 1889 |
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| Chandelier with 250 lights, Baccarat crystal |
CLICK HERE TO SEE MORE PICS.
Then we went out in search of sculpture. When we went through the
Tuilleries the other day, we missed a few so went back. The crowds that engulfed us the other evening from the
Louve to the
Champs Élysée were gone.
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| Reclining Figure by Henry Moore, 1951 |
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| La Musicienne by Henri Laurens, 1937 |
There were lots of sculptures by
Aristide Maillol at the
Carrousel Gardens in front of the Louve.
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| Monument to Cezanne by Ariste Maillol, 1925 |
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| Air by Aristide Maillol, 1932 |
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| Les Trois Graces by Aristide Maillol, 1938 |
It was still early, so we crossed over on the
Pont Neuf and went down river to the
Pont Invalides where there was a sculpture by
Ossip Zadkine. A wonderful piece he called
The Messenger. He’s so good.
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| Le Messager by Ossip Zadkine, 1937 |
Then we cut back into the
Latin Quarter to find a few things we couldn’t before. Such as Picasso’s bust of
Guillaume Apollinaire, which we found in the little churchyard outside
St. Germaine des Pres.
Amazing that they can leave a Picasso just out there without security. Walked through an old part of the quarter and out to the river. We saw a line of people outside a shoe store as well as at the
Shakespeare & Co. bookstore.
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| Ange de l'Esperance de Saint Symphonen by Bruce de Jaham, 2014 |
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| Clock by Salvadore Dali |
On the way home we walked through the open air sculpture park on the left bank, overlooking the Seine. A bit worn, but still fun to walk through.
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| by Liuba |
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| Fiesole by Sorel Etrol, 1965-67 |
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| Le Grand Signe by Marta Colvin, 1970 |
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| Demeurre I by Étienne-Martin, 1954-58 |
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| sculpture by Marta Pan, 1969 |
CLICK HERE FOR MORE.
For New Year’s Day we went on another sculpture-finding fling. We started back in
Montmartre:
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| Dalida by Aslan, 1987 |
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| Marcel Ayme by Jean Marais, 1989 |
Then to the northeast and the
Parc de la Vilette, just inside the city limits. An enormous park, we were delighted that we found what we were looking for. A sculpture by
Claes Oldenburg and
Coosje van Bruggen:
Bicyclette Ensevelie (Buried Bicycle).
On the way, we passed these artworks:
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| Tu me fais tourner la tet by Pierre Ardouvin, 2012 |
From there we headed south across the Seine to
Place d’Italie where, in front of the local mayor’s office (each arrondissement has it’s own mayor) we found an
Ossip Zadkine:
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| The return of the prodigal son by Ossip Zadkine, 1964 |
On the west side of
Gare de Montparnasse, in the midst of a non-touristy neighborhood, we found a busy little park where men and women were playing boules, and a mother and son were hitting a badminton birdie back and forth. Right behind them was this big sculpture by
Joan Miró:
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| L'Oiseau Lunaire by Joan Miró |
Here are a few more sculptures we found: And, of course, one last
Zadkine in the
Luxembourg Garden.
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| Le poete ou Hommage a Paul Éluard by Ossip Zadkine, 1954 |
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| Chaim Soutine by Arbit Blatas |
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| Hommage au Capitain Dreyfus by Louis Mitelberg |
Originally placed in the courtyard of the École militarie by President Mitterrand, the military threw a fit so the sculpture was moved to
Le Square Pierre-Lafue
The
Grand Palais was open on New Year’s Day, so when it got dark we got in line for the
Niki de Saint-Phalle show.
The line went quickly and before you know it, we were in. And what a show. Since the publicity featured Niki shooting a rifle while wearing a tight jacket with lace cuffs, I didn’t know what to expect.
But they presented the whole range of this remarkable woman, who, before becoming an artist, was a successful model, gracing the covers of magazines such as
Elle and
Life:
The show covered her whole range.
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| autoportrait by Niki de Saint-Phalle, 1938-39 |
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| The Three Graces by Niki de Saint-Phalle,1995-2003 |
CLICK HERE FOR MORE PICS.
The day after New Years our plan to hit the
Orangerie first thing turned out to be a good one. We walked right in. (On our way out the long lines had already formed.) They were coming for the show of work by
Emile Bernard. But we began with
Les Nymphéas – two large elliptically shaped rooms with murals painted specifically for these rooms by
Monet.
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| Les Nymphéas by Monet |
We saw them ten years ago, but Marie liked them better this time. She always had a thing against Impressionists, but lately we have learned to appreciate the revolutionary nature of what they had done.
Downstairs the Bernard show began with many of the works we enjoyed most. Bernard was a compatriot of Van Gogh, who used to go to Auvers-sur-Oise where Bernard’s parents lived. Then he got into Symbolism and wrecked the style we liked; reverting to a realistic path. It was a very big show and we enjoyed seeing the whole of Bernard’s career. (Photos not allowed.)
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| Madeleine in the Bois d'Amour by Emile Bernard, 1888 |
The permanent collection is supposed to be that of
Paul Guillame and his wife, but I saw a great many pieces that were acquired after the original bequest. There were whole roomfuls of
Soutine and
Derain, and walls of
Renoir,
Monet,
Gaugin, and
Matisse. Plus lots of
Picasso,
Marie Laurencin, and
Henri Rousseau:
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| L'enfant a la poupee by Henri Rousseau, 1904-05 |
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| Le Navire dans la tempete by Henri Rousseau, 1899 |
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| La Carriole du Pere Junier by Henri Rousseau, 1908 |
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| Les Biches by Marie Laurencin, 1923 |
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| Portrait de Mademoiselle Chanel by Marie Laurencin, 1923 |
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| Portrait de Madame Paul Guillaume by Marie Laurencin, 1924 |
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| Blonde a la rose by PA Renoir, 1915-17 |
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| Portrait de Madame Paul Guillaume au grand chapeau by André Derain |
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| Portrait de Paul Guillaume by Kees van Dongen |
CLICK HERE FOR MORE.
Another rainy day, but that didn’t stop us. We began at the
Tokyo Palace which houses the
Paris Musée d’Art Moderne. Overlooking the Seine, just up-river from the
Eiffel Tower, this remnant of the 1937 Exposition is one of our favorites. And we were very excited that they were having a show of art by
Robert Delaunay’s wife,
Sonia Delaunay.
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| Door handles by Max Ingrand |
We walked right in and began our adoration for all things Sonia. She was a wonderfully diverse artist, with a huge business streak, which served both her and husband very well. Once again, photos were not allowed, but because this show will go to the Tate in London, the excellent book that they were selling had an English edition.
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| Flamenco Singers by Sonia Delaunay, 1915-16 |
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| Finnish Woman by Sonia Delaunay, 1907-08 |
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| Composition for Jazz by Sonia Delaunay, 1952 |
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| box by Sonia Delaunay, 1913 |
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| The Prose of the Transsiberian and of Little Jehnne of France by Blaise Cendrars, illustrated by Sonia Delaunay, 1913 |
Then on to the permanent collection. Lots of
Kees van Dongen (resident of Bateaux-Lavoir),
Picabia,
Derain, a couple of
Zadkines,
Robert Delaunay, tons of
Raoul Dufy, and so much more.
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| La Vasque fleurie by Kees van Dongen, 1917 |
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| Les Amoureux (apres la pluie) by Francis Picabia, 1924-25 |
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| Nature morte a la table by André Derain, 1910 |
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| Orphée by Ossip Zadkine, 1930 |
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| Hippodrome à Ascott by Raoul Dufy, 1937-38 |
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| Courses à Epsom by Raoul Dufy, 1934 |
We finished with a room that was painted by Dufy for the 1937 Exposition for Electricity Pavillion -
La Fée Électricité (The Electricity Fairy). Spectacular.
CLICK HERE FOR MORE.
Outside, the plaza is dominated by this statue called
France by
Antoine Bourdelle:
Plus friezes and statues by
Alfred Janniot:
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| La joie de vivre by Leon Drivier, 1937 |
You might recognize Janniot's work facing Fifth Avenue at
Rockefeller Center.
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| Paris and New York Joining Hands Above Figures of Poetry, Beauty and Elegance by Alfred Janniot |
Our last day in Paris and the last chance for
Musée d’Orsay.
We had visited here ten years ago, but when we got our ticket at the Orangerie, we were able to add just a few more euros for Orsay admission. And now we knew that those with tickets get in faster. Little did we realize how much faster when we were whisked past a long line of people without tickets, as well as lines of people who had tickets for another time. Literally walked right in. Began with the New Acquisitions. Nothing exciting there. Proceeded to the Impressionist rooms which were so full of gawkers, people on audiophones, and others taking photos (against the rules), that it was really impossible to enjoy the art.
There were galleries filled with famous
Renoirs,
Monets,
Sissley. I don’t remember all and we couldn’t take pics to help remind me. They have the largest collection of Impressionists and Post-Impressionists in the world. What more can be said?
Symbolist
Odilon Redon, who is one of my favorites, completed around fifteen panels in 1900-01 for the château of Baron Robert de Domecy. Most are hanging in the Orsay. I cheated and took this shot:
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| Marguerites by Odilon Redon, 1901 |
And this one:
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| Eve by Odilon Redon, 1904 |
And I couldn't help but take this one...
.JPG) |
| Charmeuse de serpents by Henri Rousseau, 1907 |
Because it was commissioned by Robert Delaunay's mother, The Countess Berthe Félicie de Rose
/
There are twenty-four Van Goghs at the Orsay, including the iconic self-portrait with the swirling turquoise background, the
Church at Auvers,
Starry Night over the Rhone, one of the
Portrait of Dr. Gachet and one of the
Bedroom in Arles paintings. As you can imagine, those galleries were madness, but as I stood in one spot and looked around the gallery seeing those paintings, I had a surreal thrill. Here is just one:
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| Starry Night Over the Rhone by Vincent Van Gogh, 1888 |
Before leaving Paris, here are a few pics I wanted to include.
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| by Isabelle Le Poul Noubissie, 2002 |
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| An Accumulation by Arman, 1985 |
The next morning, bright and early, we boarded a bus for an all-day trip to Amsterdam. We were staying near the airport in the office-park town of
Hoopddorf. It was already dark when we got to the hotel, but quickly dropped our bags and headed downtown. We had one more night in Amsterdam. It didn’t take long to notice that there were a lot less people on the streets than we have been seeing. Often we were the only ones walking along the canals. The only ones in the restaurant. It was a night of looking at windows and strolling in leisure. A nice change from the past three weeks. I realized that the Monday after New Year’s may be the deadest night of the year.
Like
Jean Dubuffet said in 1948, “True Art is always where we least expect it.”
And always remember to “Keep calm and Take a Mustache.”
