Parisian Potpourri: Paintings and Patisseries

Newsletter 07.14.2024

Joyeux Quatorze Juillet! Happy Bastille Day! And bienvenue and welcome back to Musée Musings, your idiosyncratic guide to Paris and art. This week, an overview of some of the exhibitions I’ve been seeing and some of sweets I’ve been eating.

As you trip through the last week of June with me and stumble into the first weeks of July, you will note that a few of my days are unaccounted for. Rest assured, I was not idle! For most of those days, I was happily reading and writing about an exhibition that I have already shared with you.

For the past two Sundays, as French citizens cast their votes, non French citizens wondered if we’d be kicked out of France. I worried that the Extreme Right might consider my country of origin, in Donald Trump’s elegant phrase, one of those “shithole countries.” Since the United States is definitely not Norway.

In the midst of all this angst, I was attacked by an urge to bake! On June 30, the Sunday of the first ballot, I found comfort in recipes from two of my favorite chefs/writers - Melissa Clark and Alison Roman. With a couple bananas patiently turning brown on my countertop, Melissa Clark’s recipe for ‘Banana Snacking Cake’ was a shoo-in. (Fig 1) Described as being a bit like banana bread but richer, it called for making a sticky caramel frosting. Which I certainly did not make! As I waited for the banana cake to cool, I began grating carrots, since the second cake I made that day was Alison Roman’s carrot cake. (Fig 2) Which she insists is better cold. Who am I to argue, especially since it has cream cheese frosting. And I had cream cheese in my refrigerator, having brought some home from Bob’s Bake Shop where I had eaten with Barb a few days earlier.

Figure 1. Banana Cake, Melissa Clark, NYT - I just said NO to sticky caramel frosting

Figure 2. Cold Carrot Cake, with dates just before adding a schmear of cream cheese frosting, Alison Roman

When the the cakes were sufficiently cool, I cut each in quarters and promptly put 3 of those quarters into my minuscule freezer. Freezing is probably the best portion control ever invented, except for ice cream of course. In that case you are on your own!

This past Sunday, with the Extreme Right set to win a majority, I needed more than fruit or vegetable based cakes to calm me down. David Lebovitz to the rescue! With a brownie recipe adapted from one by the queen of chocolate, Alice Medrich. I had all the ingredients to hand: a huge bar of 72% bittersweet chocolate from Trader Joe’s, butter that I picked up at 30% off from my local supermarket which was closing for a week while ownership changed and eggs from the crèmerie at the marché. Once cooled, I cut the brownie into 20 squares and froze them individually. I’ll take them out of the freezer one at a time to savor after dinner. (Fig 3) Portion control.

Figure 3. David Lebovitz’s brownies - cut into 20 rather than suggested 16 squares, because you know ...

Also helping me stay calm as I awaited the election results - reading! About 25 years ago, I met a very well read real estate agent (sounds like an oxymoron, I know but it’s true. Apologies to any real estate agents who might be reading this). His reading strategy was as follows. He began each day with the newspaper. At lunch, it was a magazine article. Only after dinner, did he reach for a book. For many years I followed his lead - the New York Times with breakfast, the New Yorker with lunch, books after the dishes were done and the kids were asleep. It brought discipline to my life since I could easily get lost in a lengthy New Yorker article at breakfast and opening a book at lunchtime was always risky!

Since my obsession with Proust began in earnest a couple years ago, my mornings begin with a café creme and À la recherche du temps perdu. I am now on Book 5, The Captive (La Prisonnière). Just a few days ago, I finally reached the section in which the narrator describes, in gorgeous detail, the various chants of the itinerant merchants. Those same vendors immortalized in Eugene Atget’s photographs. (Fig 4) The first lecturer I heard at the Mairie of the 11th arrondissement, whose topic was Proust and Food, sang some of these chants. Her voice was beautiful and clear.

Alas, the book I have just finished, The Hare with the Amber Eyes by Edmund de Waal, (Fig 5) did not calm me. The first section, because of Charles Ephrussi’s connection with Proust, was mostly a pleasure to read. The second section, when the collection of netsuke move to Vienna, was hard going as everything fell apart in 1938. Maybe it’s because I’ve recently returned from Berlin. Maybe it’s because of the U.S. Supreme Court’s recent decisions. One can’t help but remember Mitch McConnell’s maneuvering, which prevented Merrick Garland from becoming a Supreme Court judge. And how Ruth Bader Ginsberg’s refusal to retire meant that her replacement is someone whose beliefs are antithetical to her own.

Figure 5. The Hare with the Amber Eyes, Edmund de Waal

Okay, enough. It’s the 22nd of June. I’m in Montmartre at the Musée de la vie Romantique. For an exhibition called Les Chevaux de Gericault (until 15 September). (Fig 6) If you know Gericault, it is probably because of his painting,The Raft of the Medusa, which records in gruesome detail, the dead and dying sailors aboard a hastily constructed raft. (Fig 7)

Figure 6. Les Chevaux de Géricault exhibition poster

Figure 7. Raft of the Medusa, Théodore Géricault

This exhibition is about Géricault’s horse paintings. Which is a much broader and deeper subject than you might first imagine. While I was there, young people, mostly women, wandered about asking visitors if they wanted to learn more about the exhibition. Their badges identified them as art history students from the Louvre. Nobody asked me. Disappointed, I tried to make myself look receptive when I made my way to the first floor. It worked! A young woman approached and asked if I wanted her to explain the exhibition. (Fig 8) Sure I did! We talked about Géricault and horses for 15 minutes. I’ll tell you more about the exhibition soon, in conjunction with the exhibition I saw this past Friday, at the Chateau de Versailles, also about horses.

Figure 8. My guide at the Chevaux des Géricault from the Ecole du Louvre

After a refreshing drink in the museum’s courtyard, Rose’s Cafe, I decided to walk home. Which was, happily enough, downhill. When I got to Grand Boulevard, instead of following my GPS and turning left, I walked straight ahead, through the passage that was in front of me, and then the next one and then the one after that. All the way to Passage Panorama. (Figs 9, 10) A delightful walk home.

Figure 10. Hotel Chopin in Passage Jouffroy

On Sunday, 23 June, I did something that I have done three times as an adult (in Sydney, Australia, which was fantastic, in San Francisco, for one of Nicolas’ birthday parties, and in Rome, where it was horrible). What did I do? I went to the zoo! The Menagerie at the Jardin des Plantes. And except for the Orangutans, whose space is now being enlarged, I felt less like a voyeur and more like a fellow traveler. As I read the texts, I began thinking that maybe I should have become a biologist! (Figs. 11-13)

Figure 11. Kangaroos at the Menagerie, Jardin des Plantes

Figure 12. These are NOT garden ornaments, these are REAL flamingos! Menagerie, Jardin des Plantes

Figure 13. This guy’s antlers / horns are amazing

On Monday 24 June, after lunch with a friend at a place not worth talking about, I rushed to the Louvre to see the exhibition, “L’Olympisme, a modern invention, an ancient heritage.” (until September 16) I knew that because Paris had hosted the 1924 Olympics, the current mayor of Paris wanted the city to host the games this year. This exhibition shows how essential a few Frenchmen were in establishing the modern Olympics which started in Athens in 1896 and were held four years later in Paris. Those Frenchmen included an aristocrat who was fascinated with the ancient Olympic Games, a museum curator, who studied ancient Greek pottery, and an artist who created ephemera for the Olympic Games - brochures and medallions; plaques and trophies. And images of wrestlers, discus throwers and weight lifters for special-edition stamps. All are on display. (Figs 14-17)

Figure 15. After Discobolus by Myron (460-450 B.C.E) with postage stamps behind

Figure 17. Copy of Roman Wrestlers after a copy of lost Greek Wrestlers, with postage stamps behind

As is a film from 1924, which shows, in slow motion, how a discus is thrown. And photographs, like those by Muybridge, depicting movement sequentially. This being 2024, the exhibition considers the role of women at the Olympics. For many years, there wasn’t one. It wasn’t until the 2012 Olympics in London that every participating country was required to send women to the Games. This summer, quotas have been set to ensure an equal number of female and male participants.

On Thursday 27 June, I was at the Fondation Louis Vuitton to see the Matisse and Ellsworth Kelly exhibitions, which filled most of the museum. There was, however, a tiny space with paintings and sculptures marginally devoted to the Olympics. A panel by Andy Warhol and Basquiat transforms the Olympic discs into chains, self portraits by Omar Victor Diop conflate history and sports, also hanging kayaks. (Figs 18-20)

Figure 18. Olympic Rings Andy Warhol and Jean-Michel Basquiat, 1985

Figure 19. African Diaspora Series, Victor Omar Diop, 2015 (look closely for sports accoutrements

Figure 20. Kayaks (hanging in air rather than racing through water), Roman Signor, 2003

On Saturday 29 June, I walked to Bon Marché to see Daniel Buren, Aux Beaux Carre, Part II. (until August 18) Fun but not as spectacular as January’s Part 1. Summer sales had just started in Paris, so there was that. I wasn’t tempted, I am not a fan of price reductions less than 50%. I’m patient. (Figs 21 - 23) On the way home, I stopped at the boulangerie of the Tour d’Argent for a tarte au citron. (Fig 24) I am disappointed to tell you that the tart looked better than it tasted - I am definitely not a fan of gelatin.

Figure 21. Beaux Carrés, Daniel Buren, Bon Marché

Figure 22. Beau Carrées, Daniel Buren, Bon Marché

Figure 23. Beaux Carrées, Daniel Buren, Le Bon Marché Restaurant ceiling

Figure 24. Tarte au Citron, Tour d’Argent, looks can be deceiving….

On Wednesday morning, 3 July, I went to the Musée Picasso for the new exhibition, ‘Picasso Iconophage’ (Picasso Consuming Images). (until September 15) Four themes are presented - the Hero, the Minotaur, the Voyeur and the Musketeer. Paintings and sketches by Picasso contextualized with paintings, sculptures and objects by a host of artists. We learn that Picasso’s response to the bombing of Guernica wasn’t a ‘one off.’ One painting, reminiscent of Jacques Louis David’s ‘Intervention of the Sabine Women,’ is called, ‘Massacre en Corée (Korea).’ In response to the 1962 Cuban missile crisis, Picasso looked once again to David's painting of the Sabine women and also to Nicolas Poussin’s ‘Rape of the Sabines.’ (Figs 25-29)

Figure 26. Masacre en Corée (Korea) Picasso

Figure 27. The Rape of the Sabine Women, (reference to Cuban Missile Crisis) Picasso, 1962

Figure 28. Intervention of the Sabine Women, Jacques Louis David

Figure 29. Rape of the Sabine Women, Nicolas Poussin

In one small room, there are postcards and picture books; sketches and photographs, all stuffed into display cases. These were Picasso’s library of images. (Fig 30) It reminded me of the Ph.D. oral exam a friend of mine took at the University of Pennsylvania. A group of professors (all men of course, in was the late 1970s) and my friend sat around a table, passing around Italian postage stamps with Italian Renaissance paintings on them. She had to identify the paintings. But as she confided to me afterwards, completely overwhelmed by the stupidity of those lazy men, all the paintings were identified on the stamps. As I looked at these postcards, I thought this library of images would make a legitimate oral exam.

Next, I was off to the Musée Carnavalet to see the temporary exhibition on the Fontaine des Innocents, (until August 25) which I mentioned a few weeks ago. It considers the Renaissance sculptor who created the statues and the 18th century sculptor who added figures to the fountain when it went from two sides to four. (Figs 31-33) It’s a history of the statue’s influence on later artists. (Fig 34) And it’s a history of the fountain itself. The significant events that happened at it - from the entry of Henri II in 1549 to Louis XVI signing the constitution in 1791. And its everyday life from a 1822 painting of vendors selling their wares to early 20th C photos by Henri Cartier-Bresson and Robert Doisneau. (Figs 35- 37) The fountain’s scaffolding is gone, go see it now.

Figure 31. Drawing of the Fountaine des Innocents, elevation (1787)

Figure 32. Nymph, Fontaine des Innocents, Jean Goujon

Figure 33. Nymph with water jug on shoulder, Fontaine des Innocents, Jean Goujon

Figure 35. The Marché and the Fontaine, Louis Chalon, 1822

Figure 36. Fontaine des Innocents, Robert Doisneau

Figure 37. Fontaine des Innocents, Henri Cartier-Bresson

To celebrate the Fourth of July, I headed over to Le Food Market on Boulevard de Belleville, a 20 minute walk from my flat. An email from the Mairie of the 11ieme had alerted me to this monthly event. About 15 restaurants participated, with chefs at portable stoves, cooking a range of ‘American’ delicacies, from hamburgers, corndogs and barbecue ribs to Reubens, macaroni and cheese and chicken and waffles. There was beer and wine to drink; cookies, s’mores and sundaes for dessert. (Figs 38, 39) It was very crowded and very congenial. As I sat at one of the communal tables I thought about how assiduously I try to avoid crowds and wondered at my choices.

Figure 38. My pseudo Reubens - bun no rye, cheddar no Swiss, and they forgot the sauerkraut !!

Figure 39. As close as you can get to a s’more in a country without graham crackers!

The next day, Friday 5 July, I was up early to take the metro and RER for the one hour trip to Versailles. To see two exhibitions, one of which was Le Cheval en majesté - au coeur d’une civilisation’ (Horse in Majesty: At the heart of a Civilization) (until November 3) in the Chateau. (Fig 40) It coincides with the Olympic equestrian events which will be held at Versailles. There were horse paintings by Gericault, of course. I’m looking forward to telling you about the two horse exhibitions, soon. This exhibition was especially fabulous because it wound its way around the chateau. (Figs 41, 42)

Figure 40. Cheval in Majesté, Chateau de Versailles

Figure 41. The exhibition wandered through the chateau

Figure 42. And here too, with Lady Godiva

Before tackling Eva Jospin’s exhibition in the Orangerie, (until September 29) I took a quick lunch break at Angelina’s in the Chateau. My chicken club sandwich was elegant and hearty. It had much more mayonnaise than I normally eat, but it provided enough fuel to keep me going the entire day. Assisted by an exquisite lemon tart which, unlike the one from Le Tour d’Argent, (Fig 43) was as delicious to eat as it was beautiful to look at.

Figure 43. Tarte au citron, Angelina - every flavor was distinct and delicious, including the cookie base

The Orangerie at the Chateau is usually closed - empty in the summer, filled with citrus trees in the winter. Jospin’s embroidery is huge. It began as the backdrop for one of Dior’s fashion shows and was augmented to become this. I was reminded of the Bayeux tapestry and David Hockney’s scrolls. (Figs 44-47) Strolling around the gardens afterwards, on that cool and sunny day, I admired the fountain statues, so many of which, newly cleaned, now sparkle. (Fig 48)

Figure 44. Tapestry, Eva Jospin, Orangerie, Chateau de Versailles

Figure 45. Some of the amazing details, Jospin, Orangerie, Versailles

Figure 46. Another detail, Jospin, Orangerie, Versailles

Figure 47, Closer detail, Jospin, Orangerie, Versailles

Figure 48. One of the many statues that are more beautiful than ever

Finally, on Saturday, at Liz’s suggestion, I went to see ‘We Are Here, an exploration of street art at the Petit Palais’ (until November 17). It was fantastic - both as a premise and as an exhibition. (Figs 49-53) It reminded me of, but was a lot cooler than, the annual Bouquets to Art exhibition at the de Young Museum where florists create ‘riffs’ on selected paintings. The final room was filled with works by all the participating street artists. The wall text compared this room to the Salon des Refusés, when Impressionist painters, whose works were rejected by the regular salon, held their own exhibition, the Salon of the Refused. (Fig 54) After an immersion into this wonderful exhibition and a quick walk around the museum, to see the massive Othoniel chandelier (Fig 55) and the four Vuillard panels, I relaxed at a table in the garden café, contentedly munching on a chocolate covered orange scented Madeleine.

Figure 49. Petit Palais exterior - greeted by a tongue

Figure 50. The Tour of Babel, Seth, 2018-22

Figure 52. Benjamin Franklin with Beethoven with wings and tongue

Figure 54. Salon of the Street Artists, Petit Palais, Paris

Figure 55. Nadeau from Jean-MIchel Othoniel to Petit Palais

On my walk home from the Petit Palais, I crossed a bridge and found myself in front of the National Assembly. I could see, first hand, the statues in front, each holding a different sports related object - ball, surfboard, etc. (Figs 56, 57)

Figure 56. Exterior of National Assembly with statues holding different sports equipment

Figure 57. National Assembly, detail - Tennis & Surfing

Oh, and one last thing. As I walked home, I started craving ice cream. So I decided to try a shop I just read about which is, conveniently, only 15 minutes from my apartment - Reÿs-Glaces Eternelle. I bought two scoops to go - Indian wedding (pistachio and cardamon with a hint of rose water) and Le Bon Chocolat, reminiscent of hot chocolate, very cold hot chocolate. Definitely worth a detour! (Fig 58)

Figure 58. Ice cream from Reÿs-Glaces Eternelle.

That’s some of what I was up to as all of France waited to see in what direction the country might turn. For the moment the center has held. But the Extreme Left’s unconditional support of Palestine with its underlying antisemitism and the Extreme Right’s platform that calls for expelling immigrants, which is definitely anti-Arab, keeps the country ungovernable. President Macron has no choice but to work with the Left. The Extreme Right may not have won but it now holds 50 more seats than it did before this snap election was called. And so it goes. Thanks to everyone who sent Comments, they are very much appreciated. Gros bisous, Dr. B.

New comments on Red Hot!:

Dear Beverly, The articles of your museum visits and your various life adventures never disappoint. I am sorry you run out of space too. Love your reviews. Carolyn

Loved this article. I think I actually saw a version of this exhibit in 2022 at the MOMA. I will have to check my photos. Nothing compare’s to what the Supreme court has done for Trump this week. He is now sanctioned to be a full dictator if he wins in November. Life is scary!! Deedee

Your current Musings about Red Hots take me back to the Chicago of my youth, where that phrase inspired thoughts of the storied Vienna Hot Dogs, sold at Wrigley Field baseball games as well as at Jewish delicatessens throughout town.Moral: You may find your Red Hots in Matisse, but I find mine in Chicago! Mark K

Dr. B. My French political explainer has gone back to France permanently so the entire current maneuvers are so confusing. I do agree about your comment on qualifications for House of Representatives here is the US! The loudest ones are absolutely not able to make any sense. Running a bar or a gym does not give one a background in how to run the country! What are voters thinking? Thank you, Dianne

Dear Reader, I hope you enjoyed reading this article. Please sign up below to receive more articles plus other original content from me, Dr. B. Merci!

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Parisian Potpourri: Paintings and Patisseries

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