Honeymoon

– – – – – – – . (the bathroom is very nice here)

January 28, 2009 by krisis

okay. in short:

Packed up our charming Paris flat last night after one of our best days in the city, including a beautiful stroll through Montmartre at sunset and accompanying dessert courtesy of our dear friends Dante and Jennifer. I suddenly got really good at French and yammered to anyone available.

This morning made 2nd best eggs ever and called a cab while we slowly advanced our luggage into the courtyard of our flat. Cab never came. Manually hauled luggage (mine now weighing over half of my body weight) up the street and flagged a cab to take us to Gare du Nord.

Wandered back and forth, lost, in Gare du Nord just long enough that by the time we got through customs and UK border we had thoroughly missed our Eurostar. The gentleman at the gate kindly and wordlessly moved us on to the next train and waved us through.

(aside: they have tiny bottles of wine in the dining car.)

Arrived in St. Pancras and immediately found ourselves in a taxi queue with the first rude people we’ve met in Europe – they wouldn’t let a very nice non-English-speaking family by to get to the street. I mentioned it to the steward at the front of the queue and he chewed them out before putting us in an awesome cab with enough room in the back to play Twister.

Best introduction to a country, ever.

Arrived at our guest house. Neighborhood, charming, but the weird, unintelligible lady at the desk made us wary. In three words from my wife, the room was “clean, outrageously modest,” which is very kind. Apparently, British guest houses aren’t at all like American bed and breakfasts. They are more like private-room hostels with shared mess hall breakfast in the morning, which is to say that I didn’t like that using our shower WOULD HAVE GOT THE BED WET, especially because the bed may have been made of cardboard or something else especially biodegradable and might have just dissolved into the natty rug.

Also, no internet, where all of our notes, reservations, and information live. Are you feeling me on this one?

A plan was hatched. We walked down the block to a Starbucks, got properly weak American caffeinated beverages, and used the internet to find the four-star hotel closest to the middle of London that had a concierge and wireless internet.

We then were faced with the matter of getting out of our guest house reservations, and for those of you familiar with my spectrum of creative problem-solving I’m sure you can imagine the creative scenario and accompanying major fit that I invented for the situation.

Afterward, we netted a hired taxi driver who had seriously no idea where our hotel was, even when we told him it was effectively across from the British Museum, and then we met a nice lady at the front desk who upgraded us to a deluxe room with a bathroom twice as big as my cubical, and here we are.

Since we didn’t really mention once to anyone in Paris that we were on our honeymoon we are starting every sentence here with, “well, we’re on our honeymoon, and…,” which in about three minutes should net us some fantastic dinner reservations from the concierge.

More, later.

… – – – …

January 28, 2009 by krisis

left paris stop chunnel was uneventful but bags very heavy stop guest house in london frightening dreadful gets t for troll refuse to sleep there stop am current ly throwing money at problem will next write from four star hotel full stop

how the Musee d’Orsay is like an unexpected vagina, and other adventures

January 24, 2009 by krisis

I know I’m still down about three Louvre posts as well as the Eiffel and Latin quarter, but if I don’t keep up with the new stuff none of it will ever get written.

So, today.

After our amazing day yesterday, which ended in giggles and me seeing how much crepe I could fit into my mouth at one time, Elise and I concur that today has been our one crappy day of the honeymoon thus far.

We woke up early and I made the best scrambled eggs ever made, with gouda, brie, chevre, and maybe manchego? It was really cheese with eggs as connective tissue. Best ever.

Afterwards, perhaps as a result of the 3000% increase in my dairy intake over the last few days, I fell back into a deep slumber from which I could not be roused. Even after I was finally dragged back out of bed at noon I was in a complete haze, and kept drifting off on the couch while Elise counted out our coins for the ticket machine. My grump had mostly lifted by the time we were off the Metro, but I was still sluggish.

Today’s big adventure was Musee d’Orsay, which is the modern art museum. With apologies to my sister-in-law and our dear friend Francesca, d’Orsay blew. In a word, Elise describes it as “ungratifying.”

Rather than a word, I choose to describe it in an illustrative allegory:

In the ground floor gallery I was looking from one room into the next, and I thought I spotted a Munch. It was pretty far away, but it was in the general shape of a Munch I recalled.

I approached the gallery, and as I neared the painting it became apparent it was not the Munch in question, but a massive, close study of a disembodied vagina.

That captures my feelings on Musee d’Orsay exactly: not the thing you thought it was, but actually some other thing, which in other settings is an awesome thing, but in this instance not awesome in the manner in which it is presented.

The main sculpture hall is magnificent to look at from afar, but the actual rooms were claustrophobic, especially on the fifth level. I realized as we jostled our way through (and on a Saturday – without any groups!) how much I really appreciated that Louvre had seating in every gallery.

Also, the collections were simply overwhelming – like, not in the sense of “the Louvre is so large; it’s overwhelming,” but in the sense of, “there is too much Degas in this room to focus on any one of them; it’s overwhelming.”

D’orsay features a lot of impressionism, including pre- and post-, and it’s not really my favorite period. There’s only so many times I can appreciate that something looks like its subject in a subjective way before it all just comes off like a torturous, never-ending labyrinth of Magic Eye (which is not meant as a dig on pointillism, which I actually do appreciate).

I was excited for Room 60, which included a Munch and a Klimt, who are two of my top artists in general, and especially from this period. All through the impressionists I was like, “it’s okay, I’m going to get to see a Munch, it will be so cool.” Lo, we arrived in 60 to find that neither painting was on display. (Thus, the vagina incident is revealed to be even more painful.)

Also, the major special exhibit at the moment is basically just about how Picasso was a twisted psychotic and spent two years copying Manet’s Le déjeuner sur l’herbe over and over again in increasingly abstract ways until he was literally creating cardboard cutouts of the deconstructed characters.

There were a few high points.

Even though the volume of Degas was tiring, I enjoyed watching the evolution of his work. I was endlessly fascinated by The Pedicure, because it has a very specific, photographic depth of field. It’s quite fascinating – Elise and I had a lengthy discussion about how he might have conceived of the technique, as it’s not something easily observed with the naked eye.

I’m sure Jenny can explain it to us.

I also loved the dance class, which has a similar specific focus along the shoulders of the girls (plus, the tutus are incredible).

I also delighted in my discoveries of Gustave Caillebotte, and I say “discoveries” because three times I found paintings that I loved and subsequently realized they were by him.

I’ll definitely be buying a book as soon as we can find one (D’orsay puzzlingly, had nothing to speak of, even though they have two of his major works on display).

The upper restaurant was fantastic, and may merit its own post. There was also an appropriately-sized section of beautiful art nouveau furnishings that I would have killed to have Francesca guide me through.

Finally, there was one room of “symbolism,” a period/style that neither of us were especially familiar with. From what I could discern on a brief pass it’s an allegorical style that casts modern situations with clear historic or mythological analogues. I loved the entire room, but my favorite was a painting that claimed to be about some sort of pastoral school yard, but that I have retitled, (and all the apostles sang) Rock Me, Sexy Jesus, for obvious reasons. Behold:

(I implore you to click through for a closer look. The allegorical only begotten son homoeroticism is unparalleled.)

Okay, one last point of suckitude: d’Orsay claims to be open until six, but shortly before five thirty they rope off many of the individual exhibits and start shooing you towards the exits.

Like I said, it blew. I’m thankful for being introduced to Caillebotte and symbolism, but otherwise would have preferred a second day in Louvre.

Afterwards we walked along the river for a bit, terminating in my ideal shot of Eiffel (it’s on Elise’s camera, so you’ll have to wait), and then we detoured past Grand & Petit Palais (which will have Warhol from March to Bastille) to get to Champs-Élysées.

Champs-Élysées was a bit of a paradox. We were expecting faire du shopping to net some of the wonderful fashions we’ve been encountering on the Metro all week. However, despite a few browses in both French and international stores, we didn’t settle on anything. I felt like we kept seeing the designer versions of indie trends, which I suppose is entirely the point of Champs-Élysées? I’m certainly happy to have walked the street, especially since I finally got to see Arc de Triomphe up close, and it was definitely a sight to be seen. I just thought I’d buy more stuff.

By the end Elise was barely standing, and we rode an assortment of Metros to get back home.

Maybe we were just predisposed to grumpiness, but today just didn’t bring the awesome of yesterday, despite a similar slate of activities. I hold out hope that we’re heading back out for a late night jaunt to the Moulin Rouge, but Elise may be down for the count – and she has all of our money.

Tuileries to Eiffel

January 23, 2009 by krisis

My six best of the day, out of hundreds.

I just saw this – like, this picture. It’s not something I really know how to do. Elise wound up being a little impressed that I saw it, I think.

I wish I had taken this at a slower shutter speed, but I would have lost the awesome dynamic clouds. I’ll probably take up the contrast of the wall a bit – it’s actually quite a vibrant red.

This was my first shot of this imposing guardian, which I love, but…

…this is maybe my favorite picture I’ve ever taken.

Elise teases me because I like my photos to be very symmetrical.

Elise’s camera was too high-end to accurately reproduce these twinkling lights – it completely freaked out.

Le Louvre embrace les bandes dessinees et leur auteurs

January 23, 2009 by krisis

The two exhibitions we’ve enjoyed the most both just opened this week – what luck on our part! Both played to our specific interests, which made them even more fascinating.

Today’s at Jeu de Paume was a phenomenal Robert Frank photography exhibit that perhaps I can get Elise to write up for you, as she would do it better justice than I could.

Yesterday’s deserves its own post not only for the conversation it inspired between the two of us, but also because it’s newsworthy – it just had just opened that morning!

Louvre initiated a groundbreaking partnership with a collection of famed French creators of bandes dessinees – comic books, though in this instance it refers to graphic novels – for the new exhibition Le Louvre invite la bande dessinée.

Just the idea of the exhibit is groundbreaking. Louvre is a classical institution, and it has heretofore neglected to recognize bandes dessinees as fine art worthy of mention. Yet, it isn’t just its inclusion that broke ground, but it’s execution. The exhibition is not just a static display of the work of famous comic artists. Instead, Louvre engaged a panel of artists to write and illustrate a series graphic novels set in Louvre, each centering on one of its specific works.

The result was a set of imaginative, fantastical, diverse graphic novels by authors Nicolas de Crécy, Marc-Antoine Mathieu, Éric Liberge and Bernard Yslaire – each with their own style and identity.

The exhibit features bios of each artist in French, English, and Japanese alongside of original plates of their work. Additionally, a series of video screens display the steps of digital illustration that went in to some of the books (said Elise: “Oh my god, Lindsay would love this.”).

One of our favorite genres of art in Louvre was paintings of the halls of the Louvre, because their artists had to painstakingly reproduce other artists’ works as seen at oblique angles and lighting conditions. The graphic novels do just that … arbitrarily, and on each page, all while imagining a narrative playing against that classical backdrop.

While many of the novels predictably featured the Mona Lisa, we were drawn in specific to Eric Liberge’s Odd Hours – partially because it is about Nike of Samothrace deciding to fly away from her moorings, but mostly because his illustrations are stunning. The plate of Liberge’s work literally stopped us in our tracks, which only a few other pieces in the entire museum managed to do.

This was a temporary exhibition, so we were prohibited from taking photos – and the comics are so new that I can’t even find any images online! I’ll try to shoot a page of Liberge’s stunning book to show you, as there’s no way I will be smooshing it onto my scanner at home.