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Hope in Paris: FE Statue Honoree de Balzac

Rodin as an artist was not as classically trained as others of his time, rather after being rejected from the main academy; he then went on to complete an arduous apprenticeship. Due to his varied and untraditional training in the bringing of his artistic carrier, the forms that Rodin created did not follow the normal creation of forms. This lack of traditional form is seen in the statue of Honoree de Balzac. Rather than a traditional depiction of this writer, such as being shown with an armchair and quill, Rodin instead decided to show instead the spirit of the writer.

This bronze cast statue has oxidized over the years and now is a beautiful green color. Standing as a pillar this rough-hewn statue stands in a middle of a busy intersection. Most individuals to not even notice this statue as they walk by, however once one stops to truly look at this work there are a myriad of emotions. I myself get a sense of reigned in creative spirit waiting to escape the statues metal form. I believe that Rodin really did capture the restless spirit of an artist as he moves through his life with his creativity trying to escape form his human body.

 Sources: The Met Musuem

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Hope in Paris: FE, The Drunken Boat

Hidden in a little pocket off of the place De Saint Sulpice, on one wall is a poets dream display of their work. Spanning the entire wall, this poem is a dream way for a poets work to be displayed. While I cannot read French (surprise, surprise) I looked up a translation of this poem written by Arthur Rimbaud, the translation being done by Wallace Fowlie. Reading this poem I get the sense of a lost wander, who left his home town, or was pushed from his home town and is now trying to put a brave face during his floundering through uncharted and unfamiliar waters. To me this poem focuses more on this journey from a home territory, and then this inability for the writer to return to his home. The desire to return remains, but either the author does not think he is able to return, or has lost his own self-worth, and does not feel adequate enough to return.

I think it would be fascinating to read this poem in its native language (if I could understand it) for the rhythm and pacing is a tiny bit off in English. I am curious as to how much of this poem is a literal translation or if it is more of a translation of a general concept, with allowances made to adapt for better poetic flow.  I have noticed while reading transltions of French plays especially those written by Molier that the translator if trying to stay in verse will take a greater creative license. And since theatre done in verse is practically extended poetry it would make sense that these two forms would be treated in the same fashion.

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Hope in Paris: Au-Dela des etoiles temporary exhibit in the Musee D’Orsay

Entering into this exhibit i did not know what to expect. Looking at it from the outside the exhibit looked tiny so my hopes were not that high. However once I was in the exhibit I was completely blown away by not only the amazing art, but by the layout of the exhibit. Focusing more on the connection between impressionist art and not only religion but on time/space/nature this exhibit was probably one of the most beautiful things I have ever seen. There were multiple works in this exhibit that simply took my breath away. I took issue however with the fact that visitors were simply power walking through the exhibit to see the “important” works that they were able to recognize. This passing by effect was seen with one of my favorite works ever.

I found in this exhibit one work that I think may be my new favorite piece, done by Giuseppe Pellizza Da Volpedo the work is titled Le Miroir de La Vie. This work is situated in one of the first few rooms there was this work, from a distance it is rather pleasant, a bunch of beautiful sheep glazed by the setting sun. most people were simply giving this work a cursory glance and then walking away. For some reason I was drawn to the work. As I got closer to this piece I realized that instead of clean blended strokes, the color of this work was made up of the tiniest cross hatching of pure color that I have ever seen. This painting was/is phenomenal and almost no one was stopping to really look at it.

This brings into question the debate of what is art. Does art solely exist within this predicted realm of what is good, or can art be classified simply by skill? A lot of the patrons in this exhibit were doing a brisk stroll through the first half of the exhibit, and then fighting through the crowd so that they could get a glimpse of one of Van Gogh’s starry night paintings (not the starry night but one of the lesser known ones). This was the same issue that we saw in the Louvre with the Mona Lisa. To me it seems that these people who do not know art, just want a bragging right, so they simply fight to see the works they know of and almost ignore everything else. While I have thought about ways in which we could change this, nothing as of yet has come to mind.

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Hope in Paris: Palais Royal Purpose Today

Still functioning today, the Palais Royal has drastically changed in purpose since its creation beginning in 1629. Originally created as the Cardinal's palace, today the Palais Royal functions as the house of the Ministry of Culture, as well as housing the Constitutional council. While the building is great for the people who work there, the main function of the Palais Royal in context of its community is as a garden and park for people to hang out in. With little cafe’s and restaurants surrounding the garden, this is a beautiful place to wish away an afternoon. The gardens are peaceful clean and quiet, and many will come simply to be restored in mind and body.

Located directly across from the Louvre, it is very easy for people who go to the visit the Louvre, and get overwhelmed by not only art (it happens) but by the people, and the feeling of being almost shepherded through the exhibits, to walk across the street and be restored by the calming effect of the Palais Royal. Though I think not too many people know that this garden and courtyard exists. With the entrance located on the back side of the building, it would be very easy for a casual passerby to not even notice that it is there.

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Hope in Paris: Palais Royal visit

Personally I thought my visits to the Palais Royal were met with mixed success. The first time I went I accidently went into the wrong entrance, and then was politely told that the entrance I had gone into was only for businessmen and that I needed to exit the building and go around to the back entrance. Being unable to actually get into the building, I just enjoyed hanging out in the courtyard and rose garden. Within the courtyard there is an interesting art installation, with various heighted columns done in white and black. These columns are used by people as seats, tables, and as a pretty amazing base for cool photos.

Visiting the gardens was a cool experience. They had either just recently finished, or were in the process of ending their festival of roses (similar I believe to tulip time, in the sense that it is held when the flowers are supposed to be blooming, but without all the crazy dutch dancers and parades). I was able to see quite a few roses still in bloom, and the pure rose scent of this garden was amazingly overwhelming to the senses.

The rest of the garden was set up in a very similar fashion to other gardens. Two rows of trees cut into box shapes ringed the edge of the garden. There were multiple fountains set up with benches and chairs surrounding them so that people could sit. And there was a large number of strolling couples acting all mushy and walking around. I do not know if there was a higher number of couples walking around this garden specifically, or if I was just more aware of them due to the pure romantic nature of the garden.

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Hope in Paris: Jardin des Plantes and Ménagerie

Going to the Jardin des Plantes I was reminded of this time last year when I was in the Bahamas and I went to the Leon Levy Native Plant preserve. I thought it is fascinating to compare different types of gardens from different parts of the world and to see how they function differently. Both gardens were divided up into different sections, with like plants placed by each other based on historical relevance as well as by botanical similarities. I thought like other gardens and places that we have been to on this trip, that the Jardin des Plantes was very mathematical and formulaic in its design. This design is a direct call back to the gardens at Versaille.

Connected to the Jardin was the Menagerie. Made famously historically for providing the Elephants that the Parisians had to eat during the Franco-Prussian war, it was cool to see a zoo in a different country. This zoo had a different selection of animals than I am used to seeing in a zoo. Since it is a smaller zoo, it made sense that the animals that were housed there were smaller in nature, but there seemed to be a bigger emphasis on animals that were short, fuzzy and horned (sheep, goats, and others). I also had never thought about the fact that animals that I take as common and everyday are animals that would be placed in a zoo. My favorite part was the fact that there were exhibits for squirrels and racoons.

On a slightly sadder note, I noticed that there seems to be less regulation about the care of, and space that animals require. The upkeep of this zoo seemed to be less of a priority. There were enclosures that were no longer in use, but had rather been allowed to be over run by surrounding foliage, and almost in a sense reclaimed by the land.

However I was able to appreciate this monument of history that saved Paris from starvation, and it was a beautiful place to walk away an afternoon.

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Hope in Paris: Atelier Brancusi

This tiny museum was an experience. More artists should have these little “pocket” museums from which they can arrange and showcase their works in the fashion that the artist intended. Born in Romania, Constantin Brancusi received a traditional arts training in 1876. He continued his work up until 1956, and upon his death he bequeathed his entire studio to the French State on the condition that it would be reconstructed exactly as it stood on the day of his death. I think that setting up museums like this or visiting other that exist would be a fascinating case study into the mind of the artist. One can tell a lot about a person from the way they organize their personal lives, and artists being the infinitely complicated beings that they are, display even more personality through their day to day organization. It stated that Brancusi had found the perfect balance from which his work could be displayed and showcased in perfect harmony.

Being a viewer who was not familiar with his work, and not knowing too much about the museum before I went in, I felt that this exhibition was less about the work itself, but more importantly about the man behind the work, and how he existed in this world. I wish that we had something similar to this with some of the other great artists, like David. While I was able to see into the life of Vincent Van Gogh with his bedroom scene exhibition that came to the UICA last year, that exhibit was more of a recreation, and less of an actual space touched by the artist.

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Hope in Paris: Conciergerie

Visiting the conciergerie was somehow different than I expected. Maybe my mind had over imagined the fact that this building was used as a prison during the Revolution. I was expecting to enter into a dark and musty realm where the walls were slimy and rats skittered across the floor with an overpowering stench of human terror permeating the air. This building however was open and airy and rather beautiful in its clean lines and high vaulted stone ceilings.

Remodeled in the 14th Century, the Conciergerie has played a role in France’s politics up until the French revolution. Functioning as a Palace, a seat of Parliament, and as a Prison, the conciergerie played its most important role during the French Revolution. Most famous for being the place where Marie Antoinette was imprisoned before her eventual beheading, this building housed many more political prisoners during the reign of terror.

Walking through this space today there is a sense of a hushed breath, as if the walls themselves know what horrors they have seen in the past. The entire building gives off the same sublime vibe off watching a clip of a car crash, or a burning building. There is a beauty in the horror that happened, but an even greater beauty in knowing that as simply a visitor one is safe from the horrors of this building’s past.

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Hope in Paris: Musee Marmottan Monet

I full out loved going to this museum. The upper levels were set up within a historic house, so the works on the walls were exhibited alongside furniture and other decorations that would have existed in this house. However once I went through the visiting Pissarro exhibit (a very cool exhibit if you like Pissaro) I was lead to some stairs that took me to the basement. The basement of this museum is everything that one could hope for.

Donated in entirety by Monet’s grandson with the instruction that the works must remain together, this exhibit is a display of Monet’s work that is different but similar to the works shown at the Musee de l’Orangerie. Comparing the two, the l’Orangerie was an display created specifically by Monet to show his works in a manner of his choosing. The Musee Marmottan Monet was instead created by his grandson as a way to ensure that his works would remain together as a collective set.

The feel between these two spaces is easily definable, in l’Orangerie the viewer feels transported into the world of Monet, where one could easily imagine themselves at Giverny. In the Marmottan Monet the viewer is transported into the emotional space of Monet, as you can see the slow degradation of Monet’s eyesight as he ages and his works get more colorful and jarring, and his brushstrokes get more violent and wild. I feel like both these museums paired with the d’Orsay, allow a better insight into the world of Monet than can be achieved anywhere else. I had the startling realization, that within 48 hours I had viewed more works by Monet that I will ever be able to view again in my lifetime. However I think that these two museums need to be viewed in pairing with each other to be able to fully appreciate Monet’s works.

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Hope in Paris: Place de Vosges

At first glance I did not really understand the big deal about “Place” culture and why they would play an important in the common parisians life. However after a few days in Paris I found myself in a state of urban overwhelmed. Upon visiting a Place this overwhelmed feeling vanished. Around this city are this little pocket of transporting portals, that allow one to escape from the hustle and bustle and to simply exist in a more real fashion. While I understand that each “place” is not set up to be a garden or courtyard, these “place’s” allow for a sense of community to exist amongst the hustle and bustle of everyday Parisian life. Place des Vosges was a combination of surrounding courtyard with cafes lining the street, with a park in the center. The park had various pathways, benches, statues, fountains and even a playground.

I loved the community sense that was present in this place. Couples sat together and ate picnics, women and men walked their dogs, and played with their children. Being in these places made me wonder about why there is not the same sense of community in America. There seems to be this preconceived notion or prejudice that the French people are rude or off putting, however this has not been my experience at all. Instead everyone at the place was simply at peace with their own lives and happy to exist in an individual fashion. I believe that this individual sense of peace is something that we as americans could benefit from finding more often, or even making a priority.

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Hope in Paris: Arc de Triomphe

Situated on the on the Champs-Elysees the Arc de Triomphe is a classic symbol of French Military power and might. While this monument is a classic spot for tourists to visit while in Paris,  many individuals are ignorant of the reasoning behind its importance. 

My personal experience while visiting the Arc de Triomphe was mixed. On the day that I went to see the Arc there was a ceremony being held at the grave of the unknown soldier. During this ceremony there were various veterans from different wars present. These veterans were a mix of ages, races and even genders. My own personal experiences was tinting my emotional state, but when looking at these veterans, most of them in the end stages of their lives, all I could think of was my own grandpa who was a WWII navy vet who recently passed away. Every memorial day when the other vets would pass in our hometown parade he would become more somber as there were fewer and fewer vets each year. Seeing these veterans standing together made me ache for them, as they remember those friends that they would have personally lost during the wars, or those that have slipped away in the years since. Nothing is more heart wrenching than seeing the numbers dwindling, for as the numbers dwindle then those who are left have no one left to relate to.

But this may be the whole reason of the Arc. While it is a symbol of military might, it is also a place where people can go to remember those they have lost and understand that their sacrifice was not in vain.

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Hope in Paris: Les Arts Décoratifs

I must say that visiting this museum was a tad disappointing. When looking at it online and hearing about it from my classmates presentations I was excited to delve into this world of fashion and textiles from different historical periods. As a customer this would have been one of the highlights of my trip, and a great source of inspiration for future design endeavours. But after wandering around the Musee and talking to various guards and docents, we learned that the fashion floors were closed for renovation and reconstruction. The fact that I had such hopes for this portion of the Musee and then seeing them dashed then affected the rest of my exploration through the other collections.

 While this sense of disappointment permeated my experience as I viewed the other works, the furniture and other decorations were indeed fascinating. Looking at these works through a historical scenic design perspective I was impressed with the room recreations and loved the touch screen set ups that allowed the visitors to choose different objects in the room to read a more detailed description on each work. One frustrating thing though was the fact that this Musee existed with only French descriptions. I am sure that the audio guide that visitors could rent would have had an english option, however without that it was hard to understand the origin of the various works. In the visiting exhibition on gold embellishments and creation, they did have an english option. On the subject of the gold exhibit while the objects were an interest to see, the exhibit design was presented with fairly dim lighting, which made focusing while wandering through a bit more difficult (and it put a docent to sleep).

I think if the entire museum had been open while I was visiting this would have been the highlight of my trip. However since it was not I will simply have to come back again sometime to view all of the textiles and costumes that I was unable to see.

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Hope in Paris: a look at diversity

Looking at Paris through a multicultural lens there are many aspects to take in. Coming from first my little “Midland Bubble” and then from my “Holland Bubble” with only my short excursion out to Boston for a year as real living experience in a diverse community. I am happily shocked when traveling around Paris to see all of the different cultures that have fused together. My perception of this seemingly easy fusion may be tinged with the fact that I am unable to understand the conversations that are happening, but from what I can visually tell there is a greater acceptance between the cultures. When I was in Boston if a woman in a Hijab were to get on the metro, sadly she would be avoided and people would not even make eye contact with her. In Paris I feel as if everywhere I look there are visual cues to indicate different cultures, and people do not seem to ignore these other cultures, but rather they embrace them.

One additional thing that I have noticed in regards to other cultures in Paris, many if not most of the homeless population that I see on the street seem to be of Middle Eastern, if not Syrian, descent. While intellectually this makes sense with the Syrian refugee crisis, this is the first time I myself have seen refugees at this large of a scale.

Image sources: urban rail, alamy.com

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Hope in Paris: First Impressions

Getting to Paris was an overwhelming experience, from delayed planes to bus rides that just took longer than I wanted. But once I was here (and at least semi caught up on sleep) I was amazed by how at home I felt in this city. For someone who speaks no French, by day 3 I had managed to order 2 meals in French, and be able to walk down to the metro and know without a map how to get home.

These first few days have made me certain that I chose the right field of study in Art history. Walking around this city that is saturated in culture, art, and amazing architecture, I am continuously swept away by the fact that the people who live here are able to function on a regular basis while being surrounded by these wonders. And even the most “touristy” geared activities that we have participated in, I have learned more through doing them than I could have while in a classroom setting.

 I have especially loved the quiet moments (so not the 12 mile bike ride) where I am able to sit and experience this city in its purist form. Sitting through the mass at Notre Dam even with my lack of knowledge of French and Catholicism I could feel the sacredness of this site.

In all seriousness I am just excited to see what this next week will bring, and how I will be further changed by my experiences to come.

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Hope in Paris: Palais Royal Visual Analysis

Created with a tan architectural facade, this strong building displays a call back to classical design. This large and imposing structure dominates the surrounding landscape. The front has rows of columns and on the left and the right there are tympanums carved with semi classical figures. The windows and door ways on the ground floor have a curved arch above them with a decorative round window set into the center of the arches. The front of the building opens up into a large courtyard which can be glimpsed from the street view while looking into the door ways. The roof is done with a slate grey, and dotted with many chimneys.

Looking inside the courtyard of this structure, there is a long covered walkway that comes from the middle of the building supported by evenly spaced pillars done in the same manner as the front of the building. To the right of the walkway there is an open area, with decorative fountains and a lovely patterned brick floor. To the left of the walkway is an interesting design choice. Placed evenly as if on a grid, there are a multitude of various heighted white and black striped pillar bases. These bases range in height from what appears to be around 6 inches to over 4 feet high.

With a building this size there are many more architectural details, however this will be saved for once I am able to see it in person.

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Hope in Paris: Palais Royal History

Originally constructed for the use of the Cardinal Richelieu in the 1630’s, this building designed by Jacques Lemercier has had a vast and varied history and use. Used by the Cardinal until his death in 1643, it was then given as a gift to Louis XIII. Next the palace became the property of the Queen Mother Anne of Austria where Louis the XIV was raised. After this Philippe d’Orleans, Louis XIV’s brother, gained control, and then his son.

The building itself has not only changed owners over time, but has changed in physical appearance. After a Fire in 1763 the building had to be remodeled. The remodel was done by Victor Louis, who not only designed the remodel, but also built the surrounding town houses. This Palace was partly burnt down again during the many revolutions of France. A final reconstruction was completed by Charbol in 1876.

The use  of this building was not always as a palace, but there were many things that happened within. It provided housing for people, it also provided a venue for Galleries, shops, arcades, and theatres. One value of this Palace was that the Police were not allowed within. Today this building remains as a monument of historical design and character.

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Hope in Paris part 5

vWhen Baudelaire stated

“By ‘modernity’ I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and immutable…This transitory, fugitive element, whose metamorphoses are so rapid, must on no account be despised or dispensed with. By neglecting it, you cannot fail to tumble into the abyss of an abstract and indeterminate beauty, like that of the time the first woman before the fall of man.”

in his 1860 publication The Painter of Modern Life, it causes the reader to really wonder about how art impacts them on an individual level, as well as on a grander scale. My interpretation of this passage is that if one neglects art and does not pay it the proper attention, then they are lost as surely as Adam was lost after the sin of Eve. Art is a part of this world that must be touched and accessed. And yet it in a constant state of change and evolution. This is not to say that the most current art is not dependant on what came before, just as evolution is one species building and changing on a single form “artvolution” works in the same manner. Everything in art is dependant on what came before it.

It would have been fascinating to see how Baudelaire would have reacted to art in our more modern world, where everything moves at such a faster pace due to technology. With the fast paced changes that occurred in contemporary art, I personally would have loved to see how he reacted.

Video property of likefilms.org