Prague Tuesday March 29
The train from Amsterdam was half an hour late so we active at Prague Central at 10am. I immediately got a new city map and quickly picked up that they prefer their own money in stead of euro. Many places take euros.
Got 1000 Kcs at the atm and was off to find the hostel. AS there in 15 minutes. It was called Hostel Elf and yes all the walls were various hues of pink and there were selfish drawings everywhere. It turned at to be a very nice hostel.
Put my pack in my 'private' room (Prague is less than half the cost so I splurged) and headed off to the Prague Castle.
Bus to the bridge across the Vltava river and then up the hill (with at least 1000 tourists). I brought a 'seniors' ticket to do the full tour and I was off running.
Summary
Old royal palace
The story of the Prague castle
St George Basilica
picture gallery
Then it was 4pm and everything suddenly shut. I was sure I had to 6pm but it seems that it is still winter and in April they will open to 6pm I was told. Major change of plans! I decided that as I had 2 hours of daylight I would walk back to the hostel though the city and get a good idea as to what I should do for the next few days.
I headed down the hill again to the Church of St Nicholas to find it also shut at 4pm. Do on to the famous Charles bridge. The narrow windy streets were packed with tourists and most were teenage school children. So I had to be a little assertive at times.
Charles Bridge was very impressive and every vertical bridge post had a huge statue on it so if look like an outdoor art gallery. The bridge was packed with tourist and there were a large number of street artists plying their wares. Quick sketch portrait artists were everywhere.
I followed a narrow street called Karlova street. A nice little restaurant decorated with planter boxes filled flowers took up half the width. Little tourist shops selling crystal wares, amber jewellery, toys and Russian fur hats were doing a great trade. I passed many amazing buildings and churches and I photographed them as the lighting was favourable.
I could see where I would have to spend most of my next few days.
I made my way back to the hostel and went straight to a restaurant recommended by the hostel. I ordered chicken breast with saurcraut and a beer. All came to 8 euros. Hardly worthwhile cooking my own meals.
The Castle ticket was for 2 days and I will pick up where I left off tomorrow.
Tuesday, March 29, 2011
Sunday, March 27, 2011
Understanding Van Gogh
VAN GOGH MUSEUM z
Sunday March 27
Photography was forbidden so I had to take notes. So this will be of no interest to anyone else but me.
Van Gogh - Influences
Leon Lhermitte
'Haymaking' 1887
Well drafted group of figures in a sweeping S composition. Following 3 generations. very good 3D and loose brushstrokes.
Jean-Francis Millet of the Barbizon school
Dupe - landscapes
Antonio Mauve. 1838-88
'Woodcutters'
(Note: Very similar to a Tom Roberts painting )
Theodule Ribot 1823-91
'A kitchen boy' (also similar to the Tom Roberts painting
'Gold panning').
Jules Breton of the Barbizon school.
'Young peasant girl with a hoe'
A very nice composition - the diagonal of the hoe - the face - the bare foot.
At this point there was an announcement that an English language free guide was to start for the "Picasso in Paris" special exhibition. I was there in a flash.
I knew this Picasso exhibition was on and I was keen to do it. In my study of Picasso in Barcelona I learnt that he was a very good representational portrait painter and it was his time in Paris that moved him towards abstraction. This special exhibition followed his development. It was very instructional.
At the end I had a chat to the guide and she was of the opinion that Picasso should have stopped his move to the abstract earlier. In other words he went too far. Interesting eh! A painting Picasso did called 'De Moulin de la Galette' (remember Renoir!) Was the time he should have stopped and consolidated his move towards abstraction.
Again, back in Barcelona, Joan Miro refused all invitations to join the Spanish abstractionist group as he believed very strongly that a link to representation was necessary to have strong and powerful meaning in a painting.
Back to VG's time at Nuenen
'Head of a woman with head hanging down' 1885
'Head of an old woman's 1885
'Portrait of an old man' 1885
Very good! Clear brush stoke colour & tone, strong statement .
'The potato eaters' 1885
'Head of an old woman' 1885
PARIS 1886-7
'Square at St Pierre'
Influenced by Serat's pointalism.
ARLES 1888-9
'The pink orchard' 1888
'Sunflower'
'The harvest' very nice!
'A pair of leather shoes'
ST REMI 1889
'The garden of St Paul's hospital'
VG copied the paintings of Millet.
After Millet:
'Shearing sheep' (After Millet 'The sheep shearer')
'peasant woman binding sheaves'
'The night' 1889
AUVERS 1890
'Undergrowth' 1889
'Landscape at twilight'
Very subtle colours & dramatic lighting with NO shadows.
LEVEL 1 - MONTMARTRE
Posters, menus & small publications.
Toulouse-Laurel
Steinler
Henry Riviere
George Auroi
Edourard Vuillard
Pierre Bonnard
DAUBIGNY & MONET
Daubigny is of the Barbizon school.
Monet
'View of Prince Hendrickbade Amsterdam'
Painted in one short session on a canvas prepared with the background blue colour.
Daubigny
'Sunset near Villenelle' 2 paintings.
LEVEL 2 - WATERCOLOURS
Louis Anquetin
'Conversation time'
Toulouse-Lautrec
Steinlon
Maris Denis 1870-1945
George Lemmen 1865-1945
PREDECESSORS & CONTEMPORARIES
Anton Mauve
'Self portrait'
Jean Millet. 1847-9
'Study of the head its bearded man'
'Le depart pour le travail' 1850-1
'Woman carding wool' 1855
SYMBOLISME
Emile Bernard
Maurice Davis
'Two sisters' 1891
THE YELLOW HUT
Vittorio Matteo Coreos
'Contemplation' 1889
Face is very good, background & chair lighting good as compositional support.
Emile Bernard
'Boy sitting on grass'
'Grandmother'
View of pont Aven'
Gauguin 1888
'Portrait of van Gogh'
Camille Pissario
Manet
Monet
Cezanne
Renoir
'Young woman sitting in a garden'
Sisley
Pierre Bonnard
Van Gogh
'The Zouoaf' (De Zowave)
Sunday March 27
Photography was forbidden so I had to take notes. So this will be of no interest to anyone else but me.
Van Gogh - Influences
Leon Lhermitte
'Haymaking' 1887
Well drafted group of figures in a sweeping S composition. Following 3 generations. very good 3D and loose brushstrokes.
Jean-Francis Millet of the Barbizon school
Dupe - landscapes
Antonio Mauve. 1838-88
'Woodcutters'
(Note: Very similar to a Tom Roberts painting )
Theodule Ribot 1823-91
'A kitchen boy' (also similar to the Tom Roberts painting
'Gold panning').
Jules Breton of the Barbizon school.
'Young peasant girl with a hoe'
A very nice composition - the diagonal of the hoe - the face - the bare foot.
At this point there was an announcement that an English language free guide was to start for the "Picasso in Paris" special exhibition. I was there in a flash.
I knew this Picasso exhibition was on and I was keen to do it. In my study of Picasso in Barcelona I learnt that he was a very good representational portrait painter and it was his time in Paris that moved him towards abstraction. This special exhibition followed his development. It was very instructional.
At the end I had a chat to the guide and she was of the opinion that Picasso should have stopped his move to the abstract earlier. In other words he went too far. Interesting eh! A painting Picasso did called 'De Moulin de la Galette' (remember Renoir!) Was the time he should have stopped and consolidated his move towards abstraction.
Again, back in Barcelona, Joan Miro refused all invitations to join the Spanish abstractionist group as he believed very strongly that a link to representation was necessary to have strong and powerful meaning in a painting.
Back to VG's time at Nuenen
'Head of a woman with head hanging down' 1885
'Head of an old woman's 1885
'Portrait of an old man' 1885
Very good! Clear brush stoke colour & tone, strong statement .
'The potato eaters' 1885
'Head of an old woman' 1885
PARIS 1886-7
'Square at St Pierre'
Influenced by Serat's pointalism.
ARLES 1888-9
'The pink orchard' 1888
'Sunflower'
'The harvest' very nice!
'A pair of leather shoes'
ST REMI 1889
'The garden of St Paul's hospital'
VG copied the paintings of Millet.
After Millet:
'Shearing sheep' (After Millet 'The sheep shearer')
'peasant woman binding sheaves'
'The night' 1889
AUVERS 1890
'Undergrowth' 1889
'Landscape at twilight'
Very subtle colours & dramatic lighting with NO shadows.
LEVEL 1 - MONTMARTRE
Posters, menus & small publications.
Toulouse-Laurel
Steinler
Henry Riviere
George Auroi
Edourard Vuillard
Pierre Bonnard
DAUBIGNY & MONET
Daubigny is of the Barbizon school.
Monet
'View of Prince Hendrickbade Amsterdam'
Painted in one short session on a canvas prepared with the background blue colour.
Daubigny
'Sunset near Villenelle' 2 paintings.
LEVEL 2 - WATERCOLOURS
Louis Anquetin
'Conversation time'
Toulouse-Lautrec
Steinlon
Maris Denis 1870-1945
George Lemmen 1865-1945
PREDECESSORS & CONTEMPORARIES
Anton Mauve
'Self portrait'
Jean Millet. 1847-9
'Study of the head its bearded man'
'Le depart pour le travail' 1850-1
'Woman carding wool' 1855
SYMBOLISME
Emile Bernard
Maurice Davis
'Two sisters' 1891
THE YELLOW HUT
Vittorio Matteo Coreos
'Contemplation' 1889
Face is very good, background & chair lighting good as compositional support.
Emile Bernard
'Boy sitting on grass'
'Grandmother'
View of pont Aven'
Gauguin 1888
'Portrait of van Gogh'
Camille Pissario
Manet
Monet
Cezanne
Renoir
'Young woman sitting in a garden'
Sisley
Pierre Bonnard
Van Gogh
'The Zouoaf' (De Zowave)
Saturday, March 26, 2011
Rijkmuseum Saturday March 26
Saturday March 26
Got up early and headed straight to the RIJKSMUSEUM. Walked passed the other 2 museums on the way. It will be very important to get to the Van Gogh museum early on Sunday as the lines are long.
The first thing that you notice in Amsterdam is the huge number of cyclists. When I cross the road I first have to check the cycle track both directions, then I have to check for cars on the left, then there are the tram tracks to check in both directions. Then there are cars again,this time on the right. Finally there are the bikes again, both directions of course. Now you're safely on the other foot path. Make sure you keep to the right ok and don't stray onto the bike track!
The Rijkmuseum is also a history museum and there was very interesting displays on the Dutch East India company. The Asian influence in woodwork and the Chinese influence in the development of the dutch pottery industry.
The enormous wealth sucked out of their Asian colonies funded all this opulence.
Each 'suburb' of Amsterdam were separate states and each had its own militia. When I went the the painting section these militias would pay artist to paint huge paintings of them all. Each individual paying the artist to be included in the large painting.
I was not allowed to take photos in the gallery do I took notes.
Hendrick Overcame 1609
'Winter landscape with shadows'
Gerald von Hontmorst 1623
'The Merry Fiddler'
(inspired by Caravagio)
Ferdinand van Dyck
'Still life with cheese'
textures with lighting.
Willem Claesz Heda
'Still life with gilded goblet' 1635
Textures and lightin - glass.
Frsnz Hals 1632
'Portrait of a man Nick Haaelar'
Loose style -
'Wedding portrait of Isaac Abrahamsz' 1622
interesting.
Compare Hals to Varsponck 1644.
'Portrait of van Adrian Cross'
Precise details
Room 8 Early Rembrandt
'Jeremia'
Use of scraching off paint for edges of cloth and hair - lighting & strong contrast.
'Self portrait' 1628
tone, scratched hair mood.
'Portrait of van Maria Trip'
Transparent lace and skin colour. Pearls & shadows, gold thread.
Much of this painting would have been done by students as of is not in Rembrandt's loose style.
'self Portraits' 1633
College, thick paint without detail. Hands.
Very subtle tones in black cloth & cuffs to define sleaves.
detail in eyes, particularly the red dots in the lower lids.
Rembrandt vs Lievens
R was influenced by Hercules Seagar's landscapes
R
"The store bridge" 1638
Landscape good light & textures
R vs Bar. van der Helst.
Red colouring was made from crushed lice in South America. Lice live in cactus and 1 hectare can produce 3-400 liquid base. The Indigo plant produced the colours black & dark blue.
Helst 1642
"Portrait of Gerard Becker".
Use of charcoal and the lacework.
Plus Morcelse 1630
"A shepherdess"
Cloth edges, lips & expression.
Aert van der Neer
"River view by moonlight"
Wonderful lighting & shadows on the road with horse & cart.
ROOM 9
Jacob van Ruisdael
"Landscape with waterfall"
Highlight on turbulent water distant light under the trees in the hillside.
Philips Konich
"Distant view with cottage lining road"
Loose painting style achieving reflection & tone.
R
"Isaac & Rebecca" 1645
The best!
A very loose painting with large 'globes' of yellow highlighting the brocade gold sleeve. The form of the hand & reflected colour. This painting has been damaged & has been changed. The man's hat was painted on in 1930? Part of the background are missing as it was a larger format.
R
"Titus van Ruin" (son)
Face & fabric.
Geldon (R's pupil)
"King David"
Shows R's loose style.
R
"Amsterdam drapes guild"
3D table & book.
Jan van de Capelle
"The home fleet salutes the state barg"
Reflection tone & clouds
Jan Davidsz de Heen
"Festoon of fruit & flowers"
Ferdinand Bols 1669
"Self portrait"
ROOM 10 VERMEER.
Steen - many very good.
Peter van de Hooch
"Woman with chili in pantry"
Lighting of view through door and low window. Portrait of after looking on scene.
Vermeer
"Kitchen maid"
Reflected light.
"The little street"
3D distance - camera obcurera used
Gerald Don
"Painter with lips & book"
"Night school"
Lighting & candle.
ROOM 11 STEEN
Willem van de Velte II
Ship scenery.
ROOM 12
"Nightwatch"
Loose style, 3D forearm & hand. Thumbs & hands.
left side of painting cut off!
Got up early and headed straight to the RIJKSMUSEUM. Walked passed the other 2 museums on the way. It will be very important to get to the Van Gogh museum early on Sunday as the lines are long.
The first thing that you notice in Amsterdam is the huge number of cyclists. When I cross the road I first have to check the cycle track both directions, then I have to check for cars on the left, then there are the tram tracks to check in both directions. Then there are cars again,this time on the right. Finally there are the bikes again, both directions of course. Now you're safely on the other foot path. Make sure you keep to the right ok and don't stray onto the bike track!
The Rijkmuseum is also a history museum and there was very interesting displays on the Dutch East India company. The Asian influence in woodwork and the Chinese influence in the development of the dutch pottery industry.
The enormous wealth sucked out of their Asian colonies funded all this opulence.
Each 'suburb' of Amsterdam were separate states and each had its own militia. When I went the the painting section these militias would pay artist to paint huge paintings of them all. Each individual paying the artist to be included in the large painting.
I was not allowed to take photos in the gallery do I took notes.
Hendrick Overcame 1609
'Winter landscape with shadows'
Gerald von Hontmorst 1623
'The Merry Fiddler'
(inspired by Caravagio)
Ferdinand van Dyck
'Still life with cheese'
textures with lighting.
Willem Claesz Heda
'Still life with gilded goblet' 1635
Textures and lightin - glass.
Frsnz Hals 1632
'Portrait of a man Nick Haaelar'
Loose style -
'Wedding portrait of Isaac Abrahamsz' 1622
interesting.
Compare Hals to Varsponck 1644.
'Portrait of van Adrian Cross'
Precise details
Room 8 Early Rembrandt
'Jeremia'
Use of scraching off paint for edges of cloth and hair - lighting & strong contrast.
'Self portrait' 1628
tone, scratched hair mood.
'Portrait of van Maria Trip'
Transparent lace and skin colour. Pearls & shadows, gold thread.
Much of this painting would have been done by students as of is not in Rembrandt's loose style.
'self Portraits' 1633
College, thick paint without detail. Hands.
Very subtle tones in black cloth & cuffs to define sleaves.
detail in eyes, particularly the red dots in the lower lids.
Rembrandt vs Lievens
R was influenced by Hercules Seagar's landscapes
R
"The store bridge" 1638
Landscape good light & textures
R vs Bar. van der Helst.
Red colouring was made from crushed lice in South America. Lice live in cactus and 1 hectare can produce 3-400 liquid base. The Indigo plant produced the colours black & dark blue.
Helst 1642
"Portrait of Gerard Becker".
Use of charcoal and the lacework.
Plus Morcelse 1630
"A shepherdess"
Cloth edges, lips & expression.
Aert van der Neer
"River view by moonlight"
Wonderful lighting & shadows on the road with horse & cart.
ROOM 9
Jacob van Ruisdael
"Landscape with waterfall"
Highlight on turbulent water distant light under the trees in the hillside.
Philips Konich
"Distant view with cottage lining road"
Loose painting style achieving reflection & tone.
R
"Isaac & Rebecca" 1645
The best!
A very loose painting with large 'globes' of yellow highlighting the brocade gold sleeve. The form of the hand & reflected colour. This painting has been damaged & has been changed. The man's hat was painted on in 1930? Part of the background are missing as it was a larger format.
R
"Titus van Ruin" (son)
Face & fabric.
Geldon (R's pupil)
"King David"
Shows R's loose style.
R
"Amsterdam drapes guild"
3D table & book.
Jan van de Capelle
"The home fleet salutes the state barg"
Reflection tone & clouds
Jan Davidsz de Heen
"Festoon of fruit & flowers"
Ferdinand Bols 1669
"Self portrait"
ROOM 10 VERMEER.
Steen - many very good.
Peter van de Hooch
"Woman with chili in pantry"
Lighting of view through door and low window. Portrait of after looking on scene.
Vermeer
"Kitchen maid"
Reflected light.
"The little street"
3D distance - camera obcurera used
Gerald Don
"Painter with lips & book"
"Night school"
Lighting & candle.
ROOM 11 STEEN
Willem van de Velte II
Ship scenery.
ROOM 12
"Nightwatch"
Loose style, 3D forearm & hand. Thumbs & hands.
left side of painting cut off!
Friday, March 25, 2011
Den Haag art galleries
Saturday March 26
Got up early and headed straight to the RIJKSMUSEUM. Walked passed the other 2 museums on the way. It will be very important to get to the Van Gogh museum early on Sunday as the lines are long.
The Rijkmuseum is also a history museum and there was very interesting displays on the Dutch East India company. The Asian influence in woodwork and the Chinese influence in the development of the dutch pottery industry.
Got up early and headed straight to the RIJKSMUSEUM. Walked passed the other 2 museums on the way. It will be very important to get to the Van Gogh museum early on Sunday as the lines are long.
The Rijkmuseum is also a history museum and there was very interesting displays on the Dutch East India company. The Asian influence in woodwork and the Chinese influence in the development of the dutch pottery industry.
Saturday, March 19, 2011
Guade's Parc Guell project and the Joan Miro gallery
Saturday March 19
Guade's Parc Guell project and the Joan Miro gallery
Luckily I decided early to take a 4th day in Barcelona as I now was able to fill in the last day with left-over visits. I just could not achieve my plan for each day. I found myself get extremely tired as the end of each day. I walked huge distances.
Patch Guell I found to be best served by bus 24 which had a stop front of my Hostel. Such as convenient place.
This Park is on the low hills a little west of the main city but it is still in the suburbs.
Guade built this park as commissioned work by the Developer Guell and is yet another of his masterful creations. I got off the bus at the high entrance to the park and walked down to the main entrance. I was able to see his design of the walkway bridges and covered ways in full detail.
I descend to great suspended plaza which is surrounded by Guade 's archetype balustrades and ornamentation. His use of brightly coloured broken tile pieces set into the concrete to form a variety of patterns and designs were very stunning.
Moving down the stairways on either side of the plaza you moved under the plaza and into a cavernous area where large columns are supporting the plaza above. These columns are all done in Guade's bio-mimicking style and the column rise into the roof there tree-like branches forming into arches and support for design on the ceilings. Large medallions covered by this broken tile colouring. It was an awesome place.
The steps lead further down to the entrance gate and beside me were large broken tile, concrete and stone statues of lizards and frogs. Their mouths spilling out water into small ponds in front of then as part of a fountain structure descending with the stairway. At the bottom were two entrance buildings which could only be described as "cute" in the context of their surroundings.
Walking back up to the plaza I was passing a number of street vendors, whom I usually avoid by keeping my transfixed on the distant, when colourful plaster cast of Guade's lizards caught my eye. The skilled vendor immediately responded and offered me a handful of other objects. I took no notice and pointer to the lizard an request a price. 10 Euros was the quick response. 4 Euro I said. Pause, I showed disinterest, he claimed impossible price. 7 Euro best price! 6 Euro! Done. So I bought my first souvenir. It should find its place happily amongst the other animals statues beside our front pond. (Must think up some Guadean addition to that pond - mmm).
I left the Park Guell and got the metro all the way across Barcelona to the Miro Gallery. Walk 650 meter to
Vallcarca Metro Station Stop ID: 331 Subway L3 Subway direction: Zona Universitària (12 mins, 9 stops) to Metro stop Paral·lel ID: 322 Walk to Fundaciò Mirò about 16 mins (1.1 km).
I learnt a lot about Miro, in particular that he decided early in his career that he need to learn how to draw (for and abstract painter that is a very significant decision which may who paint abstract would never consider as necessary - I'm convinced it is necessary) and later he refused to join the Spanish abstract society and he insisted that a painting required a connection with reality to make its point. Miro developed a symbolic language of his own which you have to know in order to understand his paintings. It was a worthwhile visit and something I had always wanted to do. It help to clarify my wondering along the line from representational to the abstract.
Saw some buskers on the train on the way back to the hostel and I took their photo assuming I would be committee to pay them. They got of the train before I had time to offer them money???
I did not have to walk back to the metro as i found a cable car close by the gallery which took the metro tickets and went directly to the metro station. An easy end to a long day.
Guade's Parc Guell project and the Joan Miro gallery
Luckily I decided early to take a 4th day in Barcelona as I now was able to fill in the last day with left-over visits. I just could not achieve my plan for each day. I found myself get extremely tired as the end of each day. I walked huge distances.
Patch Guell I found to be best served by bus 24 which had a stop front of my Hostel. Such as convenient place.
This Park is on the low hills a little west of the main city but it is still in the suburbs.
Guade built this park as commissioned work by the Developer Guell and is yet another of his masterful creations. I got off the bus at the high entrance to the park and walked down to the main entrance. I was able to see his design of the walkway bridges and covered ways in full detail.I descend to great suspended plaza which is surrounded by Guade 's archetype balustrades and ornamentation. His use of brightly coloured broken tile pieces set into the concrete to form a variety of patterns and designs were very stunning.
Moving down the stairways on either side of the plaza you moved under the plaza and into a cavernous area where large columns are supporting the plaza above. These columns are all done in Guade's bio-mimicking style and the column rise into the roof there tree-like branches forming into arches and support for design on the ceilings. Large medallions covered by this broken tile colouring. It was an awesome place.The steps lead further down to the entrance gate and beside me were large broken tile, concrete and stone statues of lizards and frogs. Their mouths spilling out water into small ponds in front of then as part of a fountain structure descending with the stairway. At the bottom were two entrance buildings which could only be described as "cute" in the context of their surroundings.
Walking back up to the plaza I was passing a number of street vendors, whom I usually avoid by keeping my transfixed on the distant, when colourful plaster cast of Guade's lizards caught my eye. The skilled vendor immediately responded and offered me a handful of other objects. I took no notice and pointer to the lizard an request a price. 10 Euros was the quick response. 4 Euro I said. Pause, I showed disinterest, he claimed impossible price. 7 Euro best price! 6 Euro! Done. So I bought my first souvenir. It should find its place happily amongst the other animals statues beside our front pond. (Must think up some Guadean addition to that pond - mmm).I left the Park Guell and got the metro all the way across Barcelona to the Miro Gallery. Walk 650 meter to
Vallcarca Metro Station Stop ID: 331 Subway L3 Subway direction: Zona Universitària (12 mins, 9 stops) to Metro stop Paral·lel ID: 322 Walk to Fundaciò Mirò about 16 mins (1.1 km).I learnt a lot about Miro, in particular that he decided early in his career that he need to learn how to draw (for and abstract painter that is a very significant decision which may who paint abstract would never consider as necessary - I'm convinced it is necessary) and later he refused to join the Spanish abstract society and he insisted that a painting required a connection with reality to make its point. Miro developed a symbolic language of his own which you have to know in order to understand his paintings. It was a worthwhile visit and something I had always wanted to do. It help to clarify my wondering along the line from representational to the abstract.
Saw some buskers on the train on the way back to the hostel and I took their photo assuming I would be committee to pay them. They got of the train before I had time to offer them money???I did not have to walk back to the metro as i found a cable car close by the gallery which took the metro tickets and went directly to the metro station. An easy end to a long day.
Friday, March 18, 2011
A day with Guade
Friday March 18
All about Guade.
My plan is getting tight as l keep overestimating my walks. Luckily I moved my train back to Paris to Sunday. Giving me 4 days instead of 3.
Today I planned to do Guade's Sagrade Familia Cathedral and the Parc Guell. Of course I did not make it to the Parc Guell and will have to it on another day.
I got the Metro direct to Sagrade Familia. After I got over the initial shock of actually seeing the structure I became concerned at how long the queue was. I circled the site and the queue was now 50 meters longer. I decided that I could not miss this visit and waited on the queue for 30 minutes. It was really worth the time.
This rates as the most amazing building that I have yet seen.
The outside was impressive enough, the geometry, the size, the textures, the statues and their placing and stories. The inside was absolutely awe inspiring.
The cartenary arches gave an allusion of incredible height. The dendrobic bifracating columns with their large decorated tree nodes gave credibility to their strength. The self-supporting hyperboloid domes above the columns with their decorative medallions were magnificent. As were the vast number of columns with their different colored rock signifying different meanings.
The sanctuary lighting was enhanced by a clever design involving all the stain glass window's graduated colouring and the direction of the sun.
In the centre, above the alter was a modernist statue of the crucified Christ with Mary and Joseph in the naves at the points of a geometric golden triangle.
There was an extensive museum in the crypt/basement containing many of Guade's structural models which I spent much time examining. I bought some books of course.
After leaving the Cathedral I walked up the Avenue of Guade to the Hospital fe Sant Pau, having lunch on the Avenue. The hospital was designed by Montaner. I took some photos and Decided it was too late to go to Parc Guell as I could not find the bus stop (I was given the wrong bus number by a well meaning fellow traveller at the hostel).
A major reshedule meant I got the Metro directly right across the city to the museum of contemporary art (MNAC) and the gallery of Joan Miro. The MNAC was much better than I was expecting so I spent all my time there studying Catalonian art. There were many impressive paintings from early 14th c to modern times. My photo notes will be the only way these can be shown.
I arrived back at the hostel very tired and had a Tapas dinner in The Rambles. Not as good as the previous night.
All about Guade.
My plan is getting tight as l keep overestimating my walks. Luckily I moved my train back to Paris to Sunday. Giving me 4 days instead of 3.
Today I planned to do Guade's Sagrade Familia Cathedral and the Parc Guell. Of course I did not make it to the Parc Guell and will have to it on another day.
I got the Metro direct to Sagrade Familia. After I got over the initial shock of actually seeing the structure I became concerned at how long the queue was. I circled the site and the queue was now 50 meters longer. I decided that I could not miss this visit and waited on the queue for 30 minutes. It was really worth the time. 
This rates as the most amazing building that I have yet seen.
The outside was impressive enough, the geometry, the size, the textures, the statues and their placing and stories. The inside was absolutely awe inspiring. The cartenary arches gave an allusion of incredible height. The dendrobic bifracating columns with their large decorated tree nodes gave credibility to their strength. The self-supporting hyperboloid domes above the columns with their decorative medallions were magnificent. As were the vast number of columns with their different colored rock signifying different meanings.
The sanctuary lighting was enhanced by a clever design involving all the stain glass window's graduated colouring and the direction of the sun.
In the centre, above the alter was a modernist statue of the crucified Christ with Mary and Joseph in the naves at the points of a geometric golden triangle. There was an extensive museum in the crypt/basement containing many of Guade's structural models which I spent much time examining. I bought some books of course.
After leaving the Cathedral I walked up the Avenue of Guade to the Hospital fe Sant Pau, having lunch on the Avenue. The hospital was designed by Montaner. I took some photos and Decided it was too late to go to Parc Guell as I could not find the bus stop (I was given the wrong bus number by a well meaning fellow traveller at the hostel). 
A major reshedule meant I got the Metro directly right across the city to the museum of contemporary art (MNAC) and the gallery of Joan Miro. The MNAC was much better than I was expecting so I spent all my time there studying Catalonian art. There were many impressive paintings from early 14th c to modern times. My photo notes will be the only way these can be shown.I arrived back at the hostel very tired and had a Tapas dinner in The Rambles. Not as good as the previous night.
Thursday, March 17, 2011
Thursday March 17 - In search of the modernist
Thursday 17 March
The plan today was to see as much of the El Ensancha modernist area as possible and my hostel was already in the area. I began by following Fritz's little guide book and set out along the Passage de Garcia to Casa Batilo and was immediately discouraged but the length of the queue and the entry price. I put off this tour until the evening and proceeded on the walk. It is hard to describe the walk but I'll list the places:
Pau Claris street: Permanyer houses
Arago:church of la Concepcio
110 Bruc street: School of music (Folguera 1928)
302 Valencia: Casa Elizalde
Mallorca street: - Roger de Lluria: Casa Montaner (Montaner)
Casa Thomas (Montanier) - This is a shop and I could go inside as it was a very interesting furniture shop and I came out full of new ideas.
Avenue Diagonal 416-420: Casa de Punix (Cadafalch). I got kicked out for taking photos of the stair well.
373: Casa Quadras (Cafafalch)
318 Corsega: Casa Comalat (Valerie) I was able to go inside this building as well. I walked around the first floor and took photos. Then went all the way to the roof.
Passage de Garcia 113, 112, 96
And finally to Gaude's La Petrera. Here I had a art pass and I got an audio guide and went on the long tour.
We started in the attic under the famous cartenary arches, studying Gaude's brilliance. He was a remarkable architect and mathematician. He was so far ahead of his times. I was fascinated how he researched all his designs by building models. His experimentation using inverted cartenary models with little bags of sand to emulate the roof loads was truly amazing. The effect of this design was similar to pole houses. The cartenaries took all the load and all walls, floors and fasards were free to be any where. This construction also explained the steeply sloped roofs. I am wondering if the roofs of buildings in Paris are a simplified cartenary geometry. His biomimicry was everywhere.
I learnt a lot inside this building and was very tired at the end of the day. I forced my self to do one more art gallery and used my art pass to go to the Antonio Tapes exhibition. This was a complete failure as this guy is totally off the planet. I couldn't even begin to understand where he was coming from. I left knowing full well where I don't want to go in my art.
That night had a meal at my local restaurant and later that evening a Spanish band had been arranged is the breakfast room of my hostel. I was a very pleasant and entertaining evening. The singer was very expressive and had the room laughing.
The plan today was to see as much of the El Ensancha modernist area as possible and my hostel was already in the area. I began by following Fritz's little guide book and set out along the Passage de Garcia to Casa Batilo and was immediately discouraged but the length of the queue and the entry price. I put off this tour until the evening and proceeded on the walk. It is hard to describe the walk but I'll list the places:
Pau Claris street: Permanyer houses
Arago:church of la Concepcio
110 Bruc street: School of music (Folguera 1928)
302 Valencia: Casa Elizalde
Mallorca street: - Roger de Lluria: Casa Montaner (Montaner)
Casa Thomas (Montanier) - This is a shop and I could go inside as it was a very interesting furniture shop and I came out full of new ideas.
Avenue Diagonal 416-420: Casa de Punix (Cadafalch). I got kicked out for taking photos of the stair well.
373: Casa Quadras (Cafafalch)
318 Corsega: Casa Comalat (Valerie) I was able to go inside this building as well. I walked around the first floor and took photos. Then went all the way to the roof.
And finally to Gaude's La Petrera. Here I had a art pass and I got an audio guide and went on the long tour.
We started in the attic under the famous cartenary arches, studying Gaude's brilliance. He was a remarkable architect and mathematician. He was so far ahead of his times. I was fascinated how he researched all his designs by building models. His experimentation using inverted cartenary models with little bags of sand to emulate the roof loads was truly amazing. The effect of this design was similar to pole houses. The cartenaries took all the load and all walls, floors and fasards were free to be any where. This construction also explained the steeply sloped roofs. I am wondering if the roofs of buildings in Paris are a simplified cartenary geometry. His biomimicry was everywhere.
I learnt a lot inside this building and was very tired at the end of the day. I forced my self to do one more art gallery and used my art pass to go to the Antonio Tapes exhibition. This was a complete failure as this guy is totally off the planet. I couldn't even begin to understand where he was coming from. I left knowing full well where I don't want to go in my art.That night had a meal at my local restaurant and later that evening a Spanish band had been arranged is the breakfast room of my hostel. I was a very pleasant and entertaining evening. The singer was very expressive and had the room laughing.
Wednesday, March 16, 2011
Barcelona - the old city and some time with Picasso
Wednesday March 16
Today I wanted to start with old city so I headed back to Catalunya Place, bought a new guide book as I didn't want to ruin Fritz's old copy, then proceeded down the notorious The Rambles. There was a tree-line promenade down the centre of the road and hundreds of tourist were making their way down the street. Many large groups and many more groups of school children. The Rambles is full of temporary street stalls as well as permanent shops of high quality and more expensive wares. It was full of life and activity. There were buildings of interest all the way. At Carme st there is a large and thriving food market. At the street Cardinal Cassnas I turned off to the old city. The streets now became very narrow, short and complex. Most would have just taken a car with no room to spare. The street looked very old but the shops were all the big fashion names. I didn't bother to look at prices as I had no intention of buying anything.
The first church I came to was the Esglesia Dr Santa Maria del Pi and this was a surprise as the ancient door hid its wonderful interior. Huge cloistered ceilings with large stained glass gothic windows and a very large pipe organ. There were many high quality chapels for different saints completely surrounding the inside of the church. A huge stained glass rose window dominated the interior. The 54 meter high octagonal bell tower was under repair. The sanctuary was beautiful with panels of gold base relief icons etc completely surounding the alter.
On the street again I had to navigate carefully as there were many turns and no logic to the layout. I was trying to follow the old city wall. At Place Sant Filip Neri I passed a little school, with the children playing in the Placa, and Shoe Museum. I then ran into a wall where there was an impressive portal. I was suddenly inside an enormous 13th century Cathedral.
I found myself at the side of a square garden containing large date palms above whoch I could see a high bell tower. The garden was
surrounded by high cloistered walkways completing the square. I made my way around the square to the Cathederal entrance and received yet another surprise. This Cathedral was huge. I had entered the main sanctuary and was confronted by a high dome with tall stained glass gothic windows and within the dome they were topped by stained glass rosets. All around, as in the previous church, were elaborate chapels for various saints. 1000s of candels were burning and the church was very active.Poor old St Sebastian was featured, still full of arrows and still looking unconcerned. The central congregation area was walled with many gold icon panels. Again there was large organ.
I left the church by its main entrance and onto the Place de la Seu which was full of tourists. A local approached me for a 'chat' while I was eating my lunch and I was quick to tell him where to go. This has been the only incident where I was hassled.
Beside the cathedral was a small Gaude museum built within an archeological site of the old city wall. This started my education on Gauge. I discovered that the drawing instrument set he used was exactly the same as the set my father got for me from very old engineering friend of his. Liam should value this set more now. We will have to get it all together and clean it up.
I now headed south along the narrow streets to Princesa st and on to Montcada st and the Museum of Picasso. I was able to take photos in this museum so I have photo notes of what I liked or deemed significant to my understanding. It was interesting to see the quality of representative art that
Picasso was capable. His move to modernism started when he left his art school. He was very impressed with the impressionist painter Degas and also the earlier Velazquez. I believe that he put a 4th dimension into his paintings by drawing up to 3 different expressions in his faces. Each face (when discovered by the viewer) were showing different feelings and hence a movement in time (like a short movie). This is advanced stuff. I noticed his ability to show alternative moods in his early representative paintings. In particular, 'Primera Communion' in which both the father and mother have their own different doubts about their daughter's first communion. I learnt a lot here.
After leaving the museum I headed for the port area and at the Placa de Santa Maria I came to the famous St Maria del Mar church (thank God it was closed for renovation).
At the port the marina was packed out with crafts ranging from simple wooden sailing boat to large luxury cruisers. I took photos of the old wooden schooners. I walked along the foreshore promenade through road of tall palm trees with only traditional buildings in view. I really felt I was on old Barcelona.
I went to the Maritime Museum. Some nice models of ship and interesting history.
It was getting late and I headed back to the hostel dropping in on the lively food market in the Rambles area. the 10 euro meal won out again and I sat in the crowded hostel lounge to write for a while.
Today I wanted to start with old city so I headed back to Catalunya Place, bought a new guide book as I didn't want to ruin Fritz's old copy, then proceeded down the notorious The Rambles. There was a tree-line promenade down the centre of the road and hundreds of tourist were making their way down the street. Many large groups and many more groups of school children. The Rambles is full of temporary street stalls as well as permanent shops of high quality and more expensive wares. It was full of life and activity. There were buildings of interest all the way. At Carme st there is a large and thriving food market. At the street Cardinal Cassnas I turned off to the old city. The streets now became very narrow, short and complex. Most would have just taken a car with no room to spare. The street looked very old but the shops were all the big fashion names. I didn't bother to look at prices as I had no intention of buying anything.
The first church I came to was the Esglesia Dr Santa Maria del Pi and this was a surprise as the ancient door hid its wonderful interior. Huge cloistered ceilings with large stained glass gothic windows and a very large pipe organ. There were many high quality chapels for different saints completely surrounding the inside of the church. A huge stained glass rose window dominated the interior. The 54 meter high octagonal bell tower was under repair. The sanctuary was beautiful with panels of gold base relief icons etc completely surounding the alter.
On the street again I had to navigate carefully as there were many turns and no logic to the layout. I was trying to follow the old city wall. At Place Sant Filip Neri I passed a little school, with the children playing in the Placa, and Shoe Museum. I then ran into a wall where there was an impressive portal. I was suddenly inside an enormous 13th century Cathedral.
I found myself at the side of a square garden containing large date palms above whoch I could see a high bell tower. The garden was
surrounded by high cloistered walkways completing the square. I made my way around the square to the Cathederal entrance and received yet another surprise. This Cathedral was huge. I had entered the main sanctuary and was confronted by a high dome with tall stained glass gothic windows and within the dome they were topped by stained glass rosets. All around, as in the previous church, were elaborate chapels for various saints. 1000s of candels were burning and the church was very active.Poor old St Sebastian was featured, still full of arrows and still looking unconcerned. The central congregation area was walled with many gold icon panels. Again there was large organ.
I left the church by its main entrance and onto the Place de la Seu which was full of tourists. A local approached me for a 'chat' while I was eating my lunch and I was quick to tell him where to go. This has been the only incident where I was hassled.
Beside the cathedral was a small Gaude museum built within an archeological site of the old city wall. This started my education on Gauge. I discovered that the drawing instrument set he used was exactly the same as the set my father got for me from very old engineering friend of his. Liam should value this set more now. We will have to get it all together and clean it up.
I now headed south along the narrow streets to Princesa st and on to Montcada st and the Museum of Picasso. I was able to take photos in this museum so I have photo notes of what I liked or deemed significant to my understanding. It was interesting to see the quality of representative art thatPicasso was capable. His move to modernism started when he left his art school. He was very impressed with the impressionist painter Degas and also the earlier Velazquez. I believe that he put a 4th dimension into his paintings by drawing up to 3 different expressions in his faces. Each face (when discovered by the viewer) were showing different feelings and hence a movement in time (like a short movie). This is advanced stuff. I noticed his ability to show alternative moods in his early representative paintings. In particular, 'Primera Communion' in which both the father and mother have their own different doubts about their daughter's first communion. I learnt a lot here.
After leaving the museum I headed for the port area and at the Placa de Santa Maria I came to the famous St Maria del Mar church (thank God it was closed for renovation).
At the port the marina was packed out with crafts ranging from simple wooden sailing boat to large luxury cruisers. I took photos of the old wooden schooners. I walked along the foreshore promenade through road of tall palm trees with only traditional buildings in view. I really felt I was on old Barcelona.I went to the Maritime Museum. Some nice models of ship and interesting history.
It was getting late and I headed back to the hostel dropping in on the lively food market in the Rambles area. the 10 euro meal won out again and I sat in the crowded hostel lounge to write for a while.
Tuesday, March 15, 2011
Tuesday March 15 Arriving in Barcelona
Tuesday March 12
The train trip was ok. I enjoyed watching the scenery go passed. France is very civilized and all the farmland is so neat and tidy. It has many shades of green. All the little creeks are full with recent rain and there are no muddy swamps or piles of abandoned farm machinery. As I was watching a cold front was moving in and snow was predicted in the Mediterranean mountains. As we sped
on south at 300kms/hr clouds began to cover the mountains and by the time we got to the Mediterranean coast there was heavy mist. The sea was rough and all the rivers were in flood.
The city of Nimes was our first stop after leaving Paris and as we moved westward along the coast we were now stopping every 20 minutes or so. Our speed was only 200 kms/hr now. At Filierd-Vict?, just over the Spanish border, we changed trains to a Spanish train which was baby version of the TVG. As we approach Barcelona most of the rivers were full and running fast. The river running through Barcelona was raging and all the hills around were in mist.
We arrived at Estacio de Sants about 3/4 hours late. By the time l exchanged my return ticket to Sunday, then bought my museum pass and a 10 metro ticket pack, there was only enough time to get on the metro to get to the hostel on time.
It was not as cold as Paris when I emerged from the metro station at Catalunya Place. After a short pause to orient myself in a new city, I headed to the hostel at 33 Passage de Garcia. (Google Map link)
I selected this hostel as it was exactly on the border of the old and the modern city. There was a small problem at check-in as they put me in a 12 person room instead of the 4 person room I booked. I now have a 4 bed room to myself.
After settling in I ventured outside and shouted myself a 10 euro all-you-can-eat meal near bye. I then assessed the night streets and secured up my pockets. Given all the warning I had been reading there was no problem at all and the streets looked very safe and civilised. Never drop your guard is the traveler's moto.
I walked up the street less than a block and there, all lit up was the amazing Casa Batllo (Gaudi) and the Casa Amatlier (Cafafalch) . Of course I had my camera ready. Realising how close I was to more features I continued up Passage Gracia to the famous La Casa Mila (Goudi). I glanced down a side street saw the Fundacio museum with Antonio Tapies sculpture on top (Cloud and Chair). All this was a prize as I had planned to do this walk on my way from the train station but I got delayed.
I made my way back to the hostel and made a good contact with a Dutch traveller who lives in Amsterdam and wants to give me some tips when I get there. Hostels have their advantages.
The train trip was ok. I enjoyed watching the scenery go passed. France is very civilized and all the farmland is so neat and tidy. It has many shades of green. All the little creeks are full with recent rain and there are no muddy swamps or piles of abandoned farm machinery. As I was watching a cold front was moving in and snow was predicted in the Mediterranean mountains. As we sped
on south at 300kms/hr clouds began to cover the mountains and by the time we got to the Mediterranean coast there was heavy mist. The sea was rough and all the rivers were in flood.
The city of Nimes was our first stop after leaving Paris and as we moved westward along the coast we were now stopping every 20 minutes or so. Our speed was only 200 kms/hr now. At Filierd-Vict?, just over the Spanish border, we changed trains to a Spanish train which was baby version of the TVG. As we approach Barcelona most of the rivers were full and running fast. The river running through Barcelona was raging and all the hills around were in mist.
We arrived at Estacio de Sants about 3/4 hours late. By the time l exchanged my return ticket to Sunday, then bought my museum pass and a 10 metro ticket pack, there was only enough time to get on the metro to get to the hostel on time.
It was not as cold as Paris when I emerged from the metro station at Catalunya Place. After a short pause to orient myself in a new city, I headed to the hostel at 33 Passage de Garcia. (Google Map link)
I selected this hostel as it was exactly on the border of the old and the modern city. There was a small problem at check-in as they put me in a 12 person room instead of the 4 person room I booked. I now have a 4 bed room to myself.
After settling in I ventured outside and shouted myself a 10 euro all-you-can-eat meal near bye. I then assessed the night streets and secured up my pockets. Given all the warning I had been reading there was no problem at all and the streets looked very safe and civilised. Never drop your guard is the traveler's moto.
I made my way back to the hostel and made a good contact with a Dutch traveller who lives in Amsterdam and wants to give me some tips when I get there. Hostels have their advantages.
Saturday, March 12, 2011
Montmartre - Saturday March 12
Saturday March 12
Today I was to follow Degas and Renoir through the Montmarche district. I caught the Metro to Clichy Place (where I finished my last Impressionist walk) and walk to the site of the Cafe Guerbois, the gathering place of the impressionist, the "Guerbois Group" where Manet lead the discussions over coffee with Renoir, Monet, Degas, Cezanne, Bazille, Latour, Pissarro and the writer Emile Zola. Manet drew "At the cafe" here. It was an important place but it was now gone. I breathed in air they breathed, as it was all that was left. From here I walk to the house where Latour painted the famous painting of Manet and the impressionist team in Bazille's Studio "Studio in the Batignolles". It was at number 9 rue de la Condamine, but only 7 and 11 were marked. More air, but I was walking their walk.
From here I headed toward Montmarche and dropped at the Montmarche cemetery to pay homage at Degas' grave. Then I walked down the Boulevard de Clichy to the Moulin Rouge. Shock-horror the tourist were there in flocks. I had to wait for a huge white bus to move to get a photo. The Moulin Rouge is still there but has morphed into this century as a marketed apparition n - big red windmill (Moulin) as well.
I then began to wind my way up the hill towards the great Cathedral Sacre Coeur, walking up the steep and winding Rue Lepic and passing a place Van Gogh lived for a while. (crowded with tourist packing all the stand tourist traps) At the top, at the intersection was a dilapidated park with a green wrought iron arch over the gateway spelling out "Moulin de la Galette". Could this really be the place where Renoir painted his master piece "Dancing at the Moulin de la Galette" I wondered? I studying the painting in my book and nothing seemed to match. I took some photos and move on and up. This time I checked house number and I found 79 rue Lepic and a 83 there was a cafe named "Moulin de la Galette" and it had a windmill on top. This area was flatter and was a more like a place for an open-air dance. More photos.
I continued to follow the winding streets (trying to avoid the tours and taxis) which suddenly open out onto the Place du Tertrer when all the want-a-be artist sell the trade. I walked among them all and assess most paintings as "kitsch" with over use of colour and facial distortion faking some sort of abstraction. I must admit them were a few which were excellent. Particularly the portraits. I tried to photo the portrait artist doing their instant portraits. It was fun attempting too line-up the subject, painting and artist in the one photo. I was impressed with some of the artist of their ability to capture the essence of a face.
After getting over the shock of the tourist crowd at the cafes and shops I move quick onwards and upwards to Sacre Coeur missing Renoir's studio where he worked on "Dancing at the Moulin de la Galette" (damn!!). The Cathedral was awesome. Its post ion was commanding. The view over Christendom Paris was total. I followed the crowd into the Cathedral and secretly though some interior photos. I pause in the area at the front of the Cathedral to look at Paris and realised just how much of Paris I now knew and have seen (and there is much more to see). I slowly descended the great stairway down, taking the occasional photo, to have a late lunch in the children's park at the bottom. The weather had turned very cold and I actual though it might snow.
I still was following Degas and made my way to the Place Pigalle were he lived. His famous painting of the couple seated in a cafe "Absinthe" was painted in a cafe there. It was gone of course, replace by a modern cafe and the street was now all sex shops. A pretty girl glance at me from a shop window, I felt flattered, but when she had assessed the size of my wallet she quickly looked away - ho hum.
It was getting late so I headed for the nearest Metro station (Le Peletier) which would take me directly to my comfortable refuse on the I'le St Louis.
Today I was to follow Degas and Renoir through the Montmarche district. I caught the Metro to Clichy Place (where I finished my last Impressionist walk) and walk to the site of the Cafe Guerbois, the gathering place of the impressionist, the "Guerbois Group" where Manet lead the discussions over coffee with Renoir, Monet, Degas, Cezanne, Bazille, Latour, Pissarro and the writer Emile Zola. Manet drew "At the cafe" here. It was an important place but it was now gone. I breathed in air they breathed, as it was all that was left. From here I walk to the house where Latour painted the famous painting of Manet and the impressionist team in Bazille's Studio "Studio in the Batignolles". It was at number 9 rue de la Condamine, but only 7 and 11 were marked. More air, but I was walking their walk.
From here I headed toward Montmarche and dropped at the Montmarche cemetery to pay homage at Degas' grave. Then I walked down the Boulevard de Clichy to the Moulin Rouge. Shock-horror the tourist were there in flocks. I had to wait for a huge white bus to move to get a photo. The Moulin Rouge is still there but has morphed into this century as a marketed apparition n - big red windmill (Moulin) as well.
I then began to wind my way up the hill towards the great Cathedral Sacre Coeur, walking up the steep and winding Rue Lepic and passing a place Van Gogh lived for a while. (crowded with tourist packing all the stand tourist traps) At the top, at the intersection was a dilapidated park with a green wrought iron arch over the gateway spelling out "Moulin de la Galette". Could this really be the place where Renoir painted his master piece "Dancing at the Moulin de la Galette" I wondered? I studying the painting in my book and nothing seemed to match. I took some photos and move on and up. This time I checked house number and I found 79 rue Lepic and a 83 there was a cafe named "Moulin de la Galette" and it had a windmill on top. This area was flatter and was a more like a place for an open-air dance. More photos.
I continued to follow the winding streets (trying to avoid the tours and taxis) which suddenly open out onto the Place du Tertrer when all the want-a-be artist sell the trade. I walked among them all and assess most paintings as "kitsch" with over use of colour and facial distortion faking some sort of abstraction. I must admit them were a few which were excellent. Particularly the portraits. I tried to photo the portrait artist doing their instant portraits. It was fun attempting too line-up the subject, painting and artist in the one photo. I was impressed with some of the artist of their ability to capture the essence of a face.
After getting over the shock of the tourist crowd at the cafes and shops I move quick onwards and upwards to Sacre Coeur missing Renoir's studio where he worked on "Dancing at the Moulin de la Galette" (damn!!). The Cathedral was awesome. Its post ion was commanding. The view over Christendom Paris was total. I followed the crowd into the Cathedral and secretly though some interior photos. I pause in the area at the front of the Cathedral to look at Paris and realised just how much of Paris I now knew and have seen (and there is much more to see). I slowly descended the great stairway down, taking the occasional photo, to have a late lunch in the children's park at the bottom. The weather had turned very cold and I actual though it might snow.
I still was following Degas and made my way to the Place Pigalle were he lived. His famous painting of the couple seated in a cafe "Absinthe" was painted in a cafe there. It was gone of course, replace by a modern cafe and the street was now all sex shops. A pretty girl glance at me from a shop window, I felt flattered, but when she had assessed the size of my wallet she quickly looked away - ho hum.
It was getting late so I headed for the nearest Metro station (Le Peletier) which would take me directly to my comfortable refuse on the I'le St Louis.
Casterino France 2011 March 5 Backcountry ski trip from Casterino to Lac des Grenouilles
Saturday Mar 5
Click here to go to my photo album for this trip
This trip, of course, really started on Friday night when, after a meal at home with Fritz and Beverly we set off at 21:30 to get to Gare Austerlitz for the 22:25 overnight train to Nice and then on to Tende. I was in a cabin away from the others as I had booked the train some time back. I still seemed to suffer a problem sleeping on these trains and I felt that I was awake most of the night.
At dawn I got up an positioned myself at a corridor window to watch the south of France go by. We were traveling along the coast but the views of the Mediterranean was on the other side of the train - the side everyone was sleeping on. I had to be content with views of pretty villages high on slope looking towards the sea. I got some photos but with dirty windows, glare from the rising sun and power poles and other objects whizzing past the camera, the photo were not marvelous.
The train had left Paris 35 minutes late and since we only had 9 minutes to change trains at Nice Fritz was on the move anxious rushing about having conferences with train guards etc. I had noticed that, during my long sleepless night, that the train seemed to going extra fast. The carriages were swaying and occasionally the wheels would shriek on corners. The train was only 5 minutes late when we arrived in Nice. 4 minutes to get off and on to the Tende train. I had unknowing been sharing my cabin with Serge (who was on our ski trip) and we had both realise this minor fact earlier in the morning. Also another trip member, Salonge, was close at hand. We teamed up and after a quick look for our other trip members we hastily followed the signs to the Tende train platform. We were on the train. Fritz was anxious and was last on the train after trying to round-up everyone. He felt sure that my standard of French language was insufficient to ensure I would find my own was to the train. It took him a short period of time to cool.
As the train pulled out of the station we began to realise that this was not a normal train ride. There was "guide" on the train who was explaining the sights as we went along. It became apparent the Nice to Tende trip is a famous tourist rail trip and we were soon at the (dirty) windows clicking away at the steep gorges, cuttings, arched viaducts and villages tucked away in tight corners of the mountains and just hanging on to their high perches. What a prize this train trip was.
We arrived at Tende almost on-time and the mini van was there waiting for us. No one was in a panic any more. The railway station at Tende was far bigger and more impressive than the town seemed to require. It turned out that our old mate Benito Mussolini had built his private retreat here in Tende (when Tende was in Italy) and the station had to match his own importance.
The mini bus wound its way up the hill to Casterino and we began to see just how impressive the area Fritz had chosen for our trip was. Casterino was a village of about 6 significant buildings and our Auberge only just made it into this count. It was a two-story place which, clearly, had been built by its current owner but it was to do the job well. We moved in and immediately pulled on ski boots and joined up in Fritz's room for the briefing of our first ski tour. Fritz had given us instructions to wear our ski gear on the train and have a lunch ready to go. We had all complied and we were on the snow close to the planned 11am.
The first ski tour on Saturday:
The plan was to follow trails marked on our topo map to a lake at 1994 meters (Casterino 1543 meters) and ski back down another valley to Casterino.
We skied north along the prepared nordic trails and made our way up the Vallon de Casterine for about 2 kms at which point all evidence of any further trail stopped. It was decided to climb steeply up the snow slope to try and meet the trail to the lake. After a steep and awkward climb we arrive at a small saddle where there was a small building (and a pitched tent). There was a unanimous decision to stop for lunch. A small chamois decided to graze on the rocks a short distance above us and the photographers were occupied for some time. After lunch we skied about 100 meters and found a National Park information sign indicating we were on the correct trail.
From this point the grade was much better and we move quickly. Passing over a section of minor avalanche activity. Basically some large snow balls had rolled over the track. The scenery was improving fast as more mountain country came into view. After a short time the trail leveled out and we can to the snow covered Lac des Grenouilles. We were surrounded by the high peak of the Cihm duChanvrairee range (2361m)leading around to Mt Ste Marie (2340). Across the Casterino valley was Mont Chajol (2293m - tomorrow's task).
Fritz was still keen to find a route down the Vallon de Fontanalba. Some of the group show a strong preference to return to Casterino the way we had just come up. So the group separated. 4 of us skied with Fritz down over the Fontanalba river bridge and to some small National Park shelters. THe route ahead was not clear and we could not find any evidence of ski tracks. The initial slope down looks good but it finally turned into a very steep drop-off to Casterino. We decided that the better choice at, 1600 hour, was to follow the our group and go back the way we came.
The ski back was reasonable although the ice was a little difficult. We were able to find an alternative to our initial steep climb and got back to the Auberge Ste Marie Madeleine at about 1730, well in time for hot wine and a shower before dinner. Dinner was soup entree followed by a beef main dish, finishing with a blueberry slice and espresso. Accompanied by a number of jugs of local wine.
Click here to go to my photo album for this trip
This trip, of course, really started on Friday night when, after a meal at home with Fritz and Beverly we set off at 21:30 to get to Gare Austerlitz for the 22:25 overnight train to Nice and then on to Tende. I was in a cabin away from the others as I had booked the train some time back. I still seemed to suffer a problem sleeping on these trains and I felt that I was awake most of the night.
At dawn I got up an positioned myself at a corridor window to watch the south of France go by. We were traveling along the coast but the views of the Mediterranean was on the other side of the train - the side everyone was sleeping on. I had to be content with views of pretty villages high on slope looking towards the sea. I got some photos but with dirty windows, glare from the rising sun and power poles and other objects whizzing past the camera, the photo were not marvelous.
The train had left Paris 35 minutes late and since we only had 9 minutes to change trains at Nice Fritz was on the move anxious rushing about having conferences with train guards etc. I had noticed that, during my long sleepless night, that the train seemed to going extra fast. The carriages were swaying and occasionally the wheels would shriek on corners. The train was only 5 minutes late when we arrived in Nice. 4 minutes to get off and on to the Tende train. I had unknowing been sharing my cabin with Serge (who was on our ski trip) and we had both realise this minor fact earlier in the morning. Also another trip member, Salonge, was close at hand. We teamed up and after a quick look for our other trip members we hastily followed the signs to the Tende train platform. We were on the train. Fritz was anxious and was last on the train after trying to round-up everyone. He felt sure that my standard of French language was insufficient to ensure I would find my own was to the train. It took him a short period of time to cool.
As the train pulled out of the station we began to realise that this was not a normal train ride. There was "guide" on the train who was explaining the sights as we went along. It became apparent the Nice to Tende trip is a famous tourist rail trip and we were soon at the (dirty) windows clicking away at the steep gorges, cuttings, arched viaducts and villages tucked away in tight corners of the mountains and just hanging on to their high perches. What a prize this train trip was.
We arrived at Tende almost on-time and the mini van was there waiting for us. No one was in a panic any more. The railway station at Tende was far bigger and more impressive than the town seemed to require. It turned out that our old mate Benito Mussolini had built his private retreat here in Tende (when Tende was in Italy) and the station had to match his own importance.
The mini bus wound its way up the hill to Casterino and we began to see just how impressive the area Fritz had chosen for our trip was. Casterino was a village of about 6 significant buildings and our Auberge only just made it into this count. It was a two-story place which, clearly, had been built by its current owner but it was to do the job well. We moved in and immediately pulled on ski boots and joined up in Fritz's room for the briefing of our first ski tour. Fritz had given us instructions to wear our ski gear on the train and have a lunch ready to go. We had all complied and we were on the snow close to the planned 11am.
The first ski tour on Saturday:
The plan was to follow trails marked on our topo map to a lake at 1994 meters (Casterino 1543 meters) and ski back down another valley to Casterino.
We skied north along the prepared nordic trails and made our way up the Vallon de Casterine for about 2 kms at which point all evidence of any further trail stopped. It was decided to climb steeply up the snow slope to try and meet the trail to the lake. After a steep and awkward climb we arrive at a small saddle where there was a small building (and a pitched tent). There was a unanimous decision to stop for lunch. A small chamois decided to graze on the rocks a short distance above us and the photographers were occupied for some time. After lunch we skied about 100 meters and found a National Park information sign indicating we were on the correct trail.
From this point the grade was much better and we move quickly. Passing over a section of minor avalanche activity. Basically some large snow balls had rolled over the track. The scenery was improving fast as more mountain country came into view. After a short time the trail leveled out and we can to the snow covered Lac des Grenouilles. We were surrounded by the high peak of the Cihm duChanvrairee range (2361m)leading around to Mt Ste Marie (2340). Across the Casterino valley was Mont Chajol (2293m - tomorrow's task).
Fritz was still keen to find a route down the Vallon de Fontanalba. Some of the group show a strong preference to return to Casterino the way we had just come up. So the group separated. 4 of us skied with Fritz down over the Fontanalba river bridge and to some small National Park shelters. THe route ahead was not clear and we could not find any evidence of ski tracks. The initial slope down looks good but it finally turned into a very steep drop-off to Casterino. We decided that the better choice at, 1600 hour, was to follow the our group and go back the way we came.
The ski back was reasonable although the ice was a little difficult. We were able to find an alternative to our initial steep climb and got back to the Auberge Ste Marie Madeleine at about 1730, well in time for hot wine and a shower before dinner. Dinner was soup entree followed by a beef main dish, finishing with a blueberry slice and espresso. Accompanied by a number of jugs of local wine.
Friday, March 11, 2011
Versailles
Friday March 11
Metro to Versailles Chateaux Rive Gauche and then a short walk to the Chateaux.
The grandeur and opulence of these kings and queens was overwhelming. No wonder they never noticed the people were starving. The private bed chambers, the consulting rooms and the entertainment rooms and then the Hall of mirrors were all incredible. Louis would talk about being open to the people but clearly missed the point.
The garden were their backyard. A fascinating arrangement of playful fountains and mazes. With Marie's little country get-a-way in the corner. Her little theatre was like her cubbie house where she played at being an actor.
Unfortunately none of the fountains were going as it is winter and of cause all the trees are bare. I "might" return to see the gardens in mid April. The fountains are only switched on from May to September. Most of the statues were covered to protect them from the winter freeze.
The visit took me all day. The main building took 4 hours and the garden another 4 hours. So much wealth in the face of poverty. Revolution had to happen.
The value that Louis placed on science and the arts has come through and made Paris into a cent re of culture. So some good came out of it all. Bonaparte, despite his terrible wars and crowning himself king, consolidated these cultural values and set up a legal system and a bureaucratic order. The rebuilding of Paris caused a few problems and much discussion at the time.
I came out of the gardens with mixed feelings.
Metro to Versailles Chateaux Rive Gauche and then a short walk to the Chateaux.
The grandeur and opulence of these kings and queens was overwhelming. No wonder they never noticed the people were starving. The private bed chambers, the consulting rooms and the entertainment rooms and then the Hall of mirrors were all incredible. Louis would talk about being open to the people but clearly missed the point.
The garden were their backyard. A fascinating arrangement of playful fountains and mazes. With Marie's little country get-a-way in the corner. Her little theatre was like her cubbie house where she played at being an actor.
Unfortunately none of the fountains were going as it is winter and of cause all the trees are bare. I "might" return to see the gardens in mid April. The fountains are only switched on from May to September. Most of the statues were covered to protect them from the winter freeze.
The visit took me all day. The main building took 4 hours and the garden another 4 hours. So much wealth in the face of poverty. Revolution had to happen.
The value that Louis placed on science and the arts has come through and made Paris into a cent re of culture. So some good came out of it all. Bonaparte, despite his terrible wars and crowning himself king, consolidated these cultural values and set up a legal system and a bureaucratic order. The rebuilding of Paris caused a few problems and much discussion at the time.
I came out of the gardens with mixed feelings.
Sunday, March 6, 2011
Casterino France 2011 March 6 Backcountry Ski trip from the village of Casterino to climb Mont Chajol
Sunday Mar 6
Click here to link to photos of climb
Today we were to investigate the trail up the high range on the eastern side of the Vallon de Casterine. We set out at about 9:30 and headed south, along a nicely prepared nordic track, crossing the bridge over the Castrine river, stopping where the trail began to climb to put our climbing skins on our skies. A grouped of snow shoe'ers were starting out behind us so we made a effort to get ahead to avoid their tracks.
After about 1 km we came to a divide in the track and we assumed that the left route was the ski route up. The snow shoe'ers went to the right. The map seemed, at this point, to confirm our decision. The track continued to a very nice chalet and we took appropriate photos and proceeded upwards. The track/trail soon completely disappeared and we found that we had to climb very steeply up though rock and snow. Final we noticed an excellent trail across a steep little gully. A few deft maneuvers and we were on the track and met the snow shoe'ers again (all snow shoe'ers look the same to me!). Mental notes were recorded for our return trip - umph!
The forest was consistently that of pines and the track was maintaining a constant good grade and we were make reasonable time. We had started at Casterino at 1543m and, after negotiating a number of switch-backs and at approximately 1800m , we began to see the magnitude of the mountains around us. To our west we could see the Rocher of St Marie with some significant peak beginning to appear behind them. Ahead we could see the Pointe de Peirefique (2663m)and the Roche de l'Abisse (2755m) showing its rocky crags impressively above the line of snow on saddle at the top of the Vallon de Cardon.
At 1950m the trees began to thin and the views were spectacular. We could now see the full extent of the western "Rochers" and the impressive Mont Capier (3035m) dominated that horizon.
In front of us now was a clear valley of snow called the Gias de Cardon and a neat little Chalet sat in just the right place. As we continued upward we could see some large round structures built just below the saddle at the top of this valley. I needed to be reminded that this was Italy during WWII and these were blockhouse built by Mussolini to keep the French out. The boarders were redrawn after the war and this, which was once Italy, was now France.
At the saddle the snow was very good and there were a large number of people about. Most on snow shoes but many were on AT skis. We achieved the top of the main ridge and climbed along the ridge line up to a high point to have our lunch. We needed to contemplate on the climb ahead.
Our lunch had been prepared by our hosts at the Auberge in Casterino and was impressive. It consisted of a nice piece of good bread, a mini salami sausage, a carefully wrapped piece of good cheese, a jam tart, a little bag of potatoes chips, a small bag of mixed fruit and nuts and a fresh pear. Normally this quantity would had lasted me about 3 lunches but I managed to eat most of the delights.
The ridge ahead that lead to the top of Mont Chajol (2293m) was surprising climbable and was, to me, an extra bonus on this, yet another, memorable trip that Fritz had organised. I was keen to start up. Only four of our party did the climb. The ridge was steep and the climb was accompanied by a large overhanging cornice leading all the way to the summit.
The first section of the climb took us over two smaller peaks which, at some points looked like we were on an alpine climb. The exposure was very high and a wrong foot would have you 1000m down the slope, on either side, in no time at all. The final climb to the summit was the steepest and the cornice was beside us still as we negotiated the hard icy slope. The general exposure was very apparent and care was in order. At the summit there was not much room for the 20 or so people on top. Standing on the actual peak to take off our climbing skins was a precision operation. Any gear carelessly handled could never be recovered.
The view at the summit was amazing and it is hard to describe it in the manner it deserves. We could now see far to the south and I was told that sometimes the Mediterranean sea could be seen over the Corsica coastline. But southern haze today prevented that view.
To the west we could now see the peaks of Mont des Merveilles (2720m and an impressive rock structure), Mont du Grand Capelet (2935m) and of course Mont Capier (3045m). To the north again the Pointe de Peirefique (2663m) and the Roche de l'Abisse (2755m) stood there bravely holding back the approaching weather. This weather appeared as a sea of low cloud stretching out to a high and distant peak beyond (note: This was Tuesday's view - more about this later). Far far below in the valley was the tiny village of Casterino in the west. Down the eastern slopes was the larger village of Vievola, where the train enters a 6 km tunnel to Italy.
As we stood on top of Mont Chajol we observed the AT skiers descend. Very few handled the icy slope with any style. It was apparent that "me and my Karhu skis" were not going to do this slope easily. After taking the required photos we began our descent. Fritz took an aggressive approach and managed to miss the cornice as he came to a stop. The rest of us took a conservative approach and side-slipped inelegantly down the ice. After we descended the main peak we were able to ski beside the cornice with great care. (Note: on my Tuesday descent this was all hard ice and side-slipping all the way down was the only alternative).
Arriving back at our lunch spot we observed more of the AT skier's style. They were able to handle the slope better down here but they still had difficult on, what had now turned into, severe break-able crust snow conditions. The crust would break up into large piece the size of paving tiles. This would build up around the skis with obvious results. Skiing of any sort was difficult.
At the saddle above the Vallon de Cardon was a ruined stone building and from here down the Gias du Cardon, below the Blockhouses, and on to the small Chalet the snow was excellent. I was able to do a number of tele turns and cruise comfortably to the chalet. Up till now I was beginning to believe I had forgotten how to ski. (on Tuesday this was ok still but not as good this day.)
The ski down the snow shoe track was not easy and the icy condition demanded wide snow plowing in narrow places. At time there was sufficient snow on the sides of the track to ski relatively normally down. I descended down through the many switch-back turns with inelegant style but basically under control. (on my Monday's descent the track had turned into an Olympic standard icy Luge and I had to walk many of the last icy sections.)
We were back at the Auberge Ste Marie Madeleine at about 1530 with plenty of time for a beer and a shower before the 1930 dinner.
Dinner was a slight variation on the previous night and was a gain excellent.
NOTE: I repeated this trip on the following Tuesday - leaving at 900 and returning by 1400. All my photo of the Sunday trip were lost due to a mal-function of my camera and I chose to repeat this climb to recover the lost photo. Actual it was a joy to be able to do this climb twice. The photographic results were not as good at the Saturday's photo as I was on my own and there were few people to photograph. A disappointment moderated by the bonus of doing the climb twice.
Click here to link to photos of climb
Today we were to investigate the trail up the high range on the eastern side of the Vallon de Casterine. We set out at about 9:30 and headed south, along a nicely prepared nordic track, crossing the bridge over the Castrine river, stopping where the trail began to climb to put our climbing skins on our skies. A grouped of snow shoe'ers were starting out behind us so we made a effort to get ahead to avoid their tracks.
After about 1 km we came to a divide in the track and we assumed that the left route was the ski route up. The snow shoe'ers went to the right. The map seemed, at this point, to confirm our decision. The track continued to a very nice chalet and we took appropriate photos and proceeded upwards. The track/trail soon completely disappeared and we found that we had to climb very steeply up though rock and snow. Final we noticed an excellent trail across a steep little gully. A few deft maneuvers and we were on the track and met the snow shoe'ers again (all snow shoe'ers look the same to me!). Mental notes were recorded for our return trip - umph!
The forest was consistently that of pines and the track was maintaining a constant good grade and we were make reasonable time. We had started at Casterino at 1543m and, after negotiating a number of switch-backs and at approximately 1800m , we began to see the magnitude of the mountains around us. To our west we could see the Rocher of St Marie with some significant peak beginning to appear behind them. Ahead we could see the Pointe de Peirefique (2663m)and the Roche de l'Abisse (2755m) showing its rocky crags impressively above the line of snow on saddle at the top of the Vallon de Cardon.
At 1950m the trees began to thin and the views were spectacular. We could now see the full extent of the western "Rochers" and the impressive Mont Capier (3035m) dominated that horizon.
In front of us now was a clear valley of snow called the Gias de Cardon and a neat little Chalet sat in just the right place. As we continued upward we could see some large round structures built just below the saddle at the top of this valley. I needed to be reminded that this was Italy during WWII and these were blockhouse built by Mussolini to keep the French out. The boarders were redrawn after the war and this, which was once Italy, was now France.
At the saddle the snow was very good and there were a large number of people about. Most on snow shoes but many were on AT skis. We achieved the top of the main ridge and climbed along the ridge line up to a high point to have our lunch. We needed to contemplate on the climb ahead.
Our lunch had been prepared by our hosts at the Auberge in Casterino and was impressive. It consisted of a nice piece of good bread, a mini salami sausage, a carefully wrapped piece of good cheese, a jam tart, a little bag of potatoes chips, a small bag of mixed fruit and nuts and a fresh pear. Normally this quantity would had lasted me about 3 lunches but I managed to eat most of the delights.
The ridge ahead that lead to the top of Mont Chajol (2293m) was surprising climbable and was, to me, an extra bonus on this, yet another, memorable trip that Fritz had organised. I was keen to start up. Only four of our party did the climb. The ridge was steep and the climb was accompanied by a large overhanging cornice leading all the way to the summit.
The first section of the climb took us over two smaller peaks which, at some points looked like we were on an alpine climb. The exposure was very high and a wrong foot would have you 1000m down the slope, on either side, in no time at all. The final climb to the summit was the steepest and the cornice was beside us still as we negotiated the hard icy slope. The general exposure was very apparent and care was in order. At the summit there was not much room for the 20 or so people on top. Standing on the actual peak to take off our climbing skins was a precision operation. Any gear carelessly handled could never be recovered.
The view at the summit was amazing and it is hard to describe it in the manner it deserves. We could now see far to the south and I was told that sometimes the Mediterranean sea could be seen over the Corsica coastline. But southern haze today prevented that view.
To the west we could now see the peaks of Mont des Merveilles (2720m and an impressive rock structure), Mont du Grand Capelet (2935m) and of course Mont Capier (3045m). To the north again the Pointe de Peirefique (2663m) and the Roche de l'Abisse (2755m) stood there bravely holding back the approaching weather. This weather appeared as a sea of low cloud stretching out to a high and distant peak beyond (note: This was Tuesday's view - more about this later). Far far below in the valley was the tiny village of Casterino in the west. Down the eastern slopes was the larger village of Vievola, where the train enters a 6 km tunnel to Italy.
As we stood on top of Mont Chajol we observed the AT skiers descend. Very few handled the icy slope with any style. It was apparent that "me and my Karhu skis" were not going to do this slope easily. After taking the required photos we began our descent. Fritz took an aggressive approach and managed to miss the cornice as he came to a stop. The rest of us took a conservative approach and side-slipped inelegantly down the ice. After we descended the main peak we were able to ski beside the cornice with great care. (Note: on my Tuesday descent this was all hard ice and side-slipping all the way down was the only alternative).
Arriving back at our lunch spot we observed more of the AT skier's style. They were able to handle the slope better down here but they still had difficult on, what had now turned into, severe break-able crust snow conditions. The crust would break up into large piece the size of paving tiles. This would build up around the skis with obvious results. Skiing of any sort was difficult.
At the saddle above the Vallon de Cardon was a ruined stone building and from here down the Gias du Cardon, below the Blockhouses, and on to the small Chalet the snow was excellent. I was able to do a number of tele turns and cruise comfortably to the chalet. Up till now I was beginning to believe I had forgotten how to ski. (on Tuesday this was ok still but not as good this day.)
The ski down the snow shoe track was not easy and the icy condition demanded wide snow plowing in narrow places. At time there was sufficient snow on the sides of the track to ski relatively normally down. I descended down through the many switch-back turns with inelegant style but basically under control. (on my Monday's descent the track had turned into an Olympic standard icy Luge and I had to walk many of the last icy sections.)
We were back at the Auberge Ste Marie Madeleine at about 1530 with plenty of time for a beer and a shower before the 1930 dinner.
Dinner was a slight variation on the previous night and was a gain excellent.
NOTE: I repeated this trip on the following Tuesday - leaving at 900 and returning by 1400. All my photo of the Sunday trip were lost due to a mal-function of my camera and I chose to repeat this climb to recover the lost photo. Actual it was a joy to be able to do this climb twice. The photographic results were not as good at the Saturday's photo as I was on my own and there were few people to photograph. A disappointment moderated by the bonus of doing the climb twice.
Saturday, March 5, 2011
Galleries & Monuments: Monday Feb 28 to Friday Mar 4
Monday Feb 28
Today my mission was to see the Orangerie Gallery and also the Delacroux's house galley.
Orangerie is a collection of paintings by Guillaume Rogers. Found the Renoir collection very interesting but the most amazing galleries were the two upstairs galleries built especially for Monet's major achievement of 8 HUGE painting of his water lilies. After seeing many of Monet's "practice paintings" of water lilies at the Mamottan Monet gallery I was really taken a-back when I saw these. I returned to these rooms again before I left just to refresh my mind. I was so much to take in. The rest at the Orangerie Galley was great and really worthwhile to see. The Renoir collection ("R-n-wa" no e) and I now know some new names that I now need to follow up.
(check photos and add nomes here)
The Delacroux's house galley was a waste of time. I have been very impressed with Delacroix's painting in both the l'Orsay and the Louvre.
Tuesday Mar 1
At home day.
Catalogued all my photos and did a pencil drawing of the St Michel Chapel in the Torrent of Vallon valley when we were ski recently.
Wednesday Mar 2
Planned this day better and managed to achieve all visits (a number as closed for various reasons)
Started by returning to Delacroix's house again. I took a short-cut along the nice and narrow street St Andre des Arts to Satre-Beauvoir Place. This is the area where to modern Philosophers gathered in cafes). I came to see the Church, St German des Pres, a very old Romanesque architecture containing the tomb of the philosopher Descartes.
I then headed along Rue Bonaparte to St Sulpice Place and the 2nd largest Cathedral in Paris. It has two towers and inside I found a chapel with 3 Delacroix paintings. An interesting fact I discovered was that he mixed his paints with molten wax to preserve the paintings. Looking closely at the painting you could see the wax and it must have been very difficult to apply.
I was then off along the rue Garancieve to the Palias du Luxembourg and the gardens. The building is the government office for the senate and not accessible. The Medici wife of King Henry IV built this palias to remind her of her Italian home. It is a very beautifully set out garden, currently without flowers or tree with leave. The fountain pond and tree and the vista to the Pantheon were all very nice. The long view down lawn back to the Palais was impressive. It is now used by local students for social cafe and exercise along the many paths and playing areas.
Leaving the garden and heading along the avenue de l'Observatory I passed the famous "Fountain of the four parts of the world". This was a particularly beautiful fountain with the four maidens looking very graceful as they carried the world on their shoulders.
I was heading toward the Paris Observatory hoping to see the time marker - unfortunately it was close for renovations. I continued on to the Place Denfert Rochreau where there was a huge sculpture of a lion in the centre with all the car circulating around. I was here to see the Paris Catacombs and they were hard to find. In fact the entrance was right in the Place but the only sign post pointed away from the Place. The Catacombs of Paris are old abandoned limestone mines (abandoned because of serious subsidence cause the building above to collapse) which were re-used to bury the Paris dead because of heath problem arising from cemeteries within the city. All bones, with occasional little chapels for service. Signs told us that some were exhumed from city cemeteries of were the dead from specific revolutions. All very neatly and respectfully arranged skulls and bones in their thousands. It was very interesting but a bit macabre. (There is an other museum which takes you into the sewers of Paris. I'm no sure that I am ready for that one.)
From here I headed along the rue de St Jacques to the Pantheon. An impressive piece of architecture and geometry, even though the early attempt at using steel for reinforcing concrete is now failing and bit are falling off the building. The building was first built as a church but under Napoleon it changed to be a "secular public building" for special occasions and for the burial of significant Frenchmen. Madam Curie, Victor Hugo, Voltaire Rousseau and Emile Zola are in the crypt.
At this point I was keen to get back to the I'le St Louis and headed along St Germain Bd - bought some veges and bran - I'm getting to know the local shops. I found an interesting and not-on-the-tourist-route church - (Can't find its name) I did not take any photo as it was full of people actively praying at all the various chapels to saints. It to me that France is a very Catholic country (surprise!!)
A very trying day. I did not use the metro as I still find it fast to walk to palaces and I like to take interesting streets and see the life. There is a lot of darkness in the Metro tunnels and you don't see much.
Must plan tomorrow. Friday I have to pack for the ski trip to Nice (Tende). They have had a lot of snow this week.
A Norwegian friend of Fritz (uno) who is coming on the ski trip will be having dinner with us tomorrow night. (the conversation will be in English!!)
Thursday Mar 3
Another better planned day.
Caught the metro to Madeleine Metro station and emerged from the underground to find myself beneath towering columns
Madeleine
Elysee Palace
Impresioinist walk around the Place de Europe
Paris Opera house
(complete)
Friday Mar 4
Napolian's tombe and the Musee Rodin with Uno.
(complete)
Today my mission was to see the Orangerie Gallery and also the Delacroux's house galley.
Orangerie is a collection of paintings by Guillaume Rogers. Found the Renoir collection very interesting but the most amazing galleries were the two upstairs galleries built especially for Monet's major achievement of 8 HUGE painting of his water lilies. After seeing many of Monet's "practice paintings" of water lilies at the Mamottan Monet gallery I was really taken a-back when I saw these. I returned to these rooms again before I left just to refresh my mind. I was so much to take in. The rest at the Orangerie Galley was great and really worthwhile to see. The Renoir collection ("R-n-wa" no e) and I now know some new names that I now need to follow up.
(check photos and add nomes here)
The Delacroux's house galley was a waste of time. I have been very impressed with Delacroix's painting in both the l'Orsay and the Louvre.
Tuesday Mar 1
At home day.
Catalogued all my photos and did a pencil drawing of the St Michel Chapel in the Torrent of Vallon valley when we were ski recently.
Wednesday Mar 2
Planned this day better and managed to achieve all visits (a number as closed for various reasons)
Started by returning to Delacroix's house again. I took a short-cut along the nice and narrow street St Andre des Arts to Satre-Beauvoir Place. This is the area where to modern Philosophers gathered in cafes). I came to see the Church, St German des Pres, a very old Romanesque architecture containing the tomb of the philosopher Descartes.
I then headed along Rue Bonaparte to St Sulpice Place and the 2nd largest Cathedral in Paris. It has two towers and inside I found a chapel with 3 Delacroix paintings. An interesting fact I discovered was that he mixed his paints with molten wax to preserve the paintings. Looking closely at the painting you could see the wax and it must have been very difficult to apply.
I was then off along the rue Garancieve to the Palias du Luxembourg and the gardens. The building is the government office for the senate and not accessible. The Medici wife of King Henry IV built this palias to remind her of her Italian home. It is a very beautifully set out garden, currently without flowers or tree with leave. The fountain pond and tree and the vista to the Pantheon were all very nice. The long view down lawn back to the Palais was impressive. It is now used by local students for social cafe and exercise along the many paths and playing areas.
Leaving the garden and heading along the avenue de l'Observatory I passed the famous "Fountain of the four parts of the world". This was a particularly beautiful fountain with the four maidens looking very graceful as they carried the world on their shoulders.
I was heading toward the Paris Observatory hoping to see the time marker - unfortunately it was close for renovations. I continued on to the Place Denfert Rochreau where there was a huge sculpture of a lion in the centre with all the car circulating around. I was here to see the Paris Catacombs and they were hard to find. In fact the entrance was right in the Place but the only sign post pointed away from the Place. The Catacombs of Paris are old abandoned limestone mines (abandoned because of serious subsidence cause the building above to collapse) which were re-used to bury the Paris dead because of heath problem arising from cemeteries within the city. All bones, with occasional little chapels for service. Signs told us that some were exhumed from city cemeteries of were the dead from specific revolutions. All very neatly and respectfully arranged skulls and bones in their thousands. It was very interesting but a bit macabre. (There is an other museum which takes you into the sewers of Paris. I'm no sure that I am ready for that one.)
From here I headed along the rue de St Jacques to the Pantheon. An impressive piece of architecture and geometry, even though the early attempt at using steel for reinforcing concrete is now failing and bit are falling off the building. The building was first built as a church but under Napoleon it changed to be a "secular public building" for special occasions and for the burial of significant Frenchmen. Madam Curie, Victor Hugo, Voltaire Rousseau and Emile Zola are in the crypt.
At this point I was keen to get back to the I'le St Louis and headed along St Germain Bd - bought some veges and bran - I'm getting to know the local shops. I found an interesting and not-on-the-tourist-route church - (Can't find its name) I did not take any photo as it was full of people actively praying at all the various chapels to saints. It to me that France is a very Catholic country (surprise!!)
A very trying day. I did not use the metro as I still find it fast to walk to palaces and I like to take interesting streets and see the life. There is a lot of darkness in the Metro tunnels and you don't see much.
Must plan tomorrow. Friday I have to pack for the ski trip to Nice (Tende). They have had a lot of snow this week.
A Norwegian friend of Fritz (uno) who is coming on the ski trip will be having dinner with us tomorrow night. (the conversation will be in English!!)
Thursday Mar 3
Another better planned day.
Caught the metro to Madeleine Metro station and emerged from the underground to find myself beneath towering columns
Madeleine
Elysee Palace
Impresioinist walk around the Place de Europe
Paris Opera house
(complete)
Friday Mar 4
Napolian's tombe and the Musee Rodin with Uno.
(complete)
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