Paris

Le Musée des Arts Décoratifs Paris, Jacob Potter

August 8, 2020 By Allison

Nearly every tourist in Paris plans to visit the Louvre. The Louvre is seen as one of the quintessential French experiences, even though most of the art pieces it contains hail from other nations. Yet, when approaching the Louvre, tourists seem to be focused solely on the looming glass pyramid over the neatly cut treetops of the Jardin des Tuileries, completely missing the structure to their left. This imposing yet unassuming wing of the Louvre Palace houses le Musée des Arts Décoratifs, or MAD, one of the premier museums of Paris. The Musée des Arts Décoratifs is itself historical. Opening on May 29^th, 1905, MAD has seen two World Wars, the end of the Cold War, and the establishment of the European Union by the time it was renovated between 1996 to 2006.

Physically attached to the Louvre, MAD houses an impressive collection of art, objects, and furniture that rival its conjoined neighbor. According to the Figaro, the Louvre holds pieces recognized as the absolute best examples of fine art in the world while MAD houses art people would have actually owned and used. That does not mean that MAD’s collections are any less artistic. Rather, they are tangibly linked to France’s history and the lives of French people. Take the Soupière made by Jean-Baptiste-Claude Odiot in Paris in 1819. It serves a functional purpose by holding soup before it is served, yet the beautifully crafted silver angels, swans, and ornaments turn the structural components of the Soupière into artistic design elements.

These collections are exhibited in five departments based on the time period of the objects. The first department features pieces from the Middle Ages and the Renaissance in France, where authentic bedrooms, friezes, and altarpieces are re-created using objects from the collection. This department is followed by a collection of 17^th and 18^th century pieces, during the Ancien Régime. Within the 17^th and 18^th century displays, you will notice the proliferation of porcelain and the increasing ornateness of everyday objects in themed salons. The Ancien Régime section ends with the Revolution, starting a department of 19^th century pieces. Here, gold accents dazzle your eyes alongside powerful, opulent color schemes. chair

After entering the Republic era, the time ranges of the departments become more condensed. The first of these temporally condensed section features objects in the Art Nouveau and Art Deco styles of the early 20^th century, where human-made objects seek to imitate natural forms. These styles were heavily influential in France, and many of the pieces in this exhibit hail directly from various world’s fairs in the 1920s and 1930s. The fifth and final department houses contemporary or modern pieces and seeks to explore the very limit of modern design and fabrication. Many of the pieces in these final displays seek to blend aesthetics with increased functionality. The Bibliothèque des Chaises is a great example of this. This library of chairs is a repository of our modern attempt to make the sitting experience more comfortable, yet visually pleasing.

Within these five departments, the collections are further subdivided. Textiles, jewelry, paintings, toys, furniture, graphic arts, glassware, and advertisements can be found throughout all five departments, creating very diverse and holistic exhibitions. With these diverse collections, MAD aims to be as alive as its contemporary and modern department. Through exploring the history of everyday art, MAD seeks to follow the continuous breath of French taste from the middle ages to today. By exploring MAD’s dynamic exhibitions, you might just feel a hint of this breath, pushing you to design the next object for MAD’s modern department.

References

« Departments. » Musée des Arts Décoratifs Paris : n. pag. Web. 2 March 2020. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements/

Fauteuil « Œuf 3317 » et repose-pied « 3127 ». By Arne Jacobsen – Photo by Jean Tholance, Musée des Arts Décoratifs de Paris. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements /#&gid=1&pid=70

« Les 5 musées de mode à voir à Paris » Vogue 20 Février 2020 : n. pag. Web. 2 March 2020. https://www.vogue.fr/culture/article/5-musees-de-mode-a-voir-a-paris

Prat, Véronique. « Réouverture : le musée des Arts décoratifs retrace l’histoire du goût. » Le Figaro 4 Septembre 2006 : n. pag. Web. 2 March 2020. https://www.lefigaro.fr/lefigaromagazine/2006/09/04/01006-20060904ARTWWW90415-reouverture_le_musee_des_arts_decoratifs_retrace_l_histoire_du_got.php

Soupière. By Jean-Baptiste-Claude Odiot – Photo by Jean Tholance, Musée des Arts Décoratifs de Paris. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements /#&gid=1&pid=39

The Oldest Home in Paris, Joshua Hay

August 2, 2020 By Allison

auberge Nicolas Flamel Today, Nicolas Flamel may be best known as the supposedly immortal philosopher who plays a key role in the Harry Potter franchise. In real life, his house at 51 rue de Montmorency – la maison de Nicolas Flamel – has gained an immortality of its own as the oldest still-standing house in Paris.

The façade of the building is made up of several doors and windows interspersed with beautifully carved columns. In 1407, when the house was first constructed, one would have been able to see a carving of Nicolas Flamel himself standing next to Jesus Christ. Today, this image has faded away. One can still see ornate images of saints and angels as well as the initials “N.F.”

As for why Nicolas Flamel built the house, the large Middle French inscription running the length of the building’s face provides an answer: We working men and women who live on the porch of this house constructed in the year of our lord 1407 are required by law to say each day one Our Father and one Hail Mary in prayer to our God whose grace pardons our trespasses. Deeply religious and with a bevy of wealth, Nicolas Flamel and his wife Pernelle constructed homes free for use by the city’s poor, with the only requirement being that these people pray to God each day.

The house has lived many lives in the centuries after. At the start of the 20^th century, a restoration project was given blessing to repair the building and bring the surviving carvings on the outside walls back to life. The home was named a historical site in 1911. During World War 2, it briefly served as a brothel. In the 80s, it spent time as a disco. Today, one can visit the house of Nicolas Flamel for a delicious meal from the restaurant which operates out of its ground floor.

Beginning in the 17^th century, rumors caused by faked manuscripts about Nicolas Flamel would give him a reputation as an alchemist who created the immortality-giving Elixir of Life and was able to create the philosopher’s stone which turns lead to gold. This is certainly the impression the great novelist Victor Hugo had of Flamel, as Hugo became convinced Flamel had visited him in a séance and described what life on Mercury looked like – he also incorporated the alchemist as a worldly detail in his monumental Notre Dame de Paris. This Flamel is unknowable and greedy, always lusting for more gold and more life, yet in the house of Nicolas Flamel, one sees a man of deep selflessness who found a better sort of immortality by reaching out and helping the poor of his city.

References

« La plus vieille maison de Paris » Paris ZigZag : n. pag. Web. 2 Mars 2020. https://www.pariszigzag.fr/secret/histoire –insolite –paris/la –plus –vieille –maison –de –paris

« Histoire de la plus vieille maison de Paris. » Vivre Paris 21 Février 2019 : n. pag. Web. 2 Mars 2020. https://vivreparis.fr/histoire-de-la-plus-vieille-maison-de-paris/

“Victor Huge and Nicolas Flamel.” Victor Hugo Central. n. pag. Web. 11 March 2020. http://www.gavroche.org/vhugo/flamel.shtml

Image Attribution

Guilhem Vellut from Paris, France / CC BY (https://creativecommons.org/licenses/by/2.0). 11 March 2020. https://commons.wikimedia.org/wiki/File:Auberge_Nicolas_Flamel,_Paris_11_February_2017.jpg

Unlocking Versailles

September 1, 2018 By Allison

Photo Courtesy Yann Prigent

With so much to see in Paris, it’s easy to shortchange Versailles. Over the years, I made a number of half-day trips to Versailles, dreading the lines I’d face waiting to visit the Château and bracing myself for the crowds of fellow tourists.

Recently, though, I’ve come to embrace Versailles as a destination unto itself rather than a simple daytrip from Paris. The more time I spend in Versailles, the more I grow to appreciate its splendor, history, and dynamism.

Every year, millions of people visit Versailles’ Château, gardens, and Trianon Palaces, and each year the crowds grow! I have learned how to navigate the swelling crowds of Versailles, and I am setting out to create a guide to the Château, its grounds, and the city of Versailles. My French co-authors are Art Historian Stéphane Ceccaldi and Professor Yann Prigent. As we research, write, and photograph, I will share some of my Versailles secrets with you on Creative Sanctuary. Collected in the My Versailles category of the blog, the brief posts “unlock” Versailles with personal tips and tricks for avoiding long lines at the Château. I’ll share favorite restaurants at all price points and highlight local hotspots often overlooked by tourists. Please send questions and inquiries to unlockingversailles@gmail.com.

Madeline on Our Mind

April 7, 2018 By Allison

In an old house in Paris that was covered with vines
lived twelve little girls in two straight lines

My four year-old niece Sylvie Rose is intrigued by the story of a little girl in Paris named Madeline. Her father bought the storybook for Sylvie before she was even born, and I imagine they have spent many hours reading and rereading about Miss Clavel’s sense that something was not right... about Madeline’s subsequent surgery…the crank on the hospital bed… the dollhouse from Papa…her friends’ hospital visit.

I suspect that some of Sylvie’s devotion to Madeline is due to the fact that she lives in Paris. Sylvie Rose knows that Aunt Allison is a French teacher who makes occasional visits to Paris. Her questions give me glimpses of her four-year old mind: Madeline is a real kid, right? Where is her house? And during my most recent trip to France she called to ask, Did you find her?

I love her intensity and admire her persistence in her search for Madeline. These FaceTime conversations strengthen my bond with my niece, but they have also served as a surprising throwback to my own childhood. When I was seven or eight, I was infatuated with Madeline. My little sister had a pop-up version of the book, and I loved it so! I think I found beauty in the order of the twelve little girls in two straight lines. In two straight lines they broke their bread, and brushed their teeth, and went to bed. These words are etched in my mind.

Madeline was probably my first exposure to Paris, or at least to the idea of Paris. Each monument pictured in the story is now familiar to me—Notre Dame, les Invalides, les Jardins de Luxembourg. Paris is home to me. As a little girl in Iowa, these places would have seemed otherworldly. I believe that I chose to study French, in part, thanks to my affinity for Madeline and my curiosity about the vision of France I discovered in her story.

Many years later, Sylvie Rose is weaving her own literary landscape, and Madeline is part of it. Watching her, the story of the little girl in Paris reemerges, expands, and intersects with my niece’s quest.

Inspirations

Ludwig Bemelmans’ Madeline, published in 1939

Reading with kids

The joy of summer reading

Our Imperative

October 6, 2017 By Allison

During my last visit to Paris, I spied a few of these messages of love, all sprayed by the same hand. They delighted me. Moving about Paris can be stressful, especially given the security measures of recent years—more soldiers, more police vehicles, more security checks. In short, more fear.

The unexpected love signs were an antidote to the tensions. They brought a pause, a smile, and a reminder of loving kindness. This week, in the wake of mind-numbing violence in my own country, people are grasping for words. I have not pieced together my own thoughts, and I don’t know that I will. Yet the Paris love graffiti wells up in me. Its clear, direct message resonates. Love is an imperative. Love is our duty, our privilege, and our pleasure. And this week, it is our balm.

My Madeleines de Proust

September 2, 2017 By Allison

“…I brought to my lips a spoonful of tea in which I had softened a piece of madeleine. But at the exact moment when the mouthful mixed with cake crumbs touched my palate, I shivered, attentive to this extraordinary thing that was taking place in me. A delicious pleasure had invaded me, isolated, no notion of its cause. It had instantly made me indifferent to the vicissitudes of life, made its disasters harmless, its brevity illusory, in the same way that love operates, filling me with a precious essence: or more accurately this essence wasn’t in me, it was me.” –Marcel Proust, Du côté de chez Swann

Shell-shaped madeleine cakes were a part of my life before I ever knew about Marcel Proust and the memory-inducing power of his petites madeleines. When I was a student in Paris, a bakery close to my school sold five madeleines for five francs—a deal! At lunchtime, I’d often make my way down the rue Notre-Dame-des-Champs to pick up one of the tidy white bags holding five portable cakes. Sometimes they were still warm. Madeleines were my ideal student snack—simple, toothsome, and shareable. A chocolate éclair or strawberry tartelette would have been more impressive, but the dainty butter cakes comforted me. I imprinted my own madeleine experience well before encountering Proust.

Later, I would discover that Proust, too, found comfort in madeleines. In the first volume of his 3,000 page novel Remembrance of Things Past, tasting a madeleine dipped in tea unleashes the narrator’s memory of taking tea and cake with Aunt Léonie. In French culture, a madeleine de Proust refers to a heart-warming, evocative culinary experience that joins past and present. Madeleine cakes are one of my madeleines de Proust. They bring me back to the sweet, exhilarating sadness of being so far from home. Other sweets unleash my involuntary memory, allowing me a delicious, temporary dance between past and present: Grandma Rose Mary’s orange cookies, Grandma Mary Ellen’s sticky rolls, and the frosted graham crackers Mom served me as a toddler. The frosting was always homemade, and she always served them on a rectangular, strawberry-patterned tray that is still in her kitchen.

What foods bring your past into the present? Tell me about your madeleines de Proust in the comment section.

…