Bicycle Paisley?

Although the paisley pattern is named for a town in Scotland, it is thought to have originated in India or Persia (present-day Iran).  Some have said the kidney-ish shapes found in paisleys were inspired by mangoes.  Others have attributed their origins to pears or other fruits.  Also, paisley's swirls and  botanical motifs are said to have been inspired by palm trees (The French often refer to paisley as "palme".) or by pine or cypress trees. 

Whatever you believe, a pattern that has printed on, or woven into, everything from Hermes silk scarves and ties to hippies' T-shirts and headbands originated many centuries ago, long before the first bicycle was built.  What might paisley look like if its creator(s) got around on pedaled two-wheeled vehicles?

All right...So you never asked yourself that question.  I confess: I never did, either.  Somehow, though, I think I found an answer to it here:

From Bike Art:  Bicycles In Art Around The World

It's one of my favorite pieces of bicycle art I've seen in a while.  Now I'll admit that I rarely see an image or representation of a bicycle that I dislike, even if it's of a bike I'd never ride or buy: bikes and cycling make me happy.  Still, I realize that not all drawings, paintings or other objets that include or represent bicycles are art.

So what makes something art? (You weren't expecting to see a question like that on this blog, were you?)  Well, as I understand it, art gets at the essence of something.  A painter or sculptor will make a work about some particular person or subjects and render it from whatever materials he or she chooses or has available. But those people, subjects and materials are really just vehicles for expression of the forms--whether of light, texture, shape, sound or energy--within those subjects.

That is why something like the bull's head Picasso made from a bicycle saddle and pair of handlebars is, if not "high" art, then at least something more than mere amusement.  To me, it represents the energy of moving forward on a bicycle and of the singular determination it sometimes takes to keep on riding, especially in adverse conditions.

So...Is the bike "paisley" a work of art?  Maybe.  Whatever it is, I think it went beyond--if only somewhat--typical stylized representations of bicycles.  That's more than enough to make me happy.

Bicycle Wheels: Tri-Spokes Came And Went, But Duchamp's Endures

No, the man in the photo is not a French bicycle mechanic. And he's not truing the wheel.  In fact, that wheel has remained in the stand, not having been touched by a spoke tool or cone wrench, for the past hundred years.

The man in the picture is indeed French, as his wheel most likely was.  He is long dead, but the wheel didn't end up in the hands of some rich Japanese collector.

In fact, it's in Philadelphia.  But, one hundred years ago, it was in New York.  I've ridden from New York to Philadelphia, though not on that wheel.

All right:  You may have already figured out (if you didn't already know) that the man in the photo is artist Marcel Duchamp.  And his wheel was indeed a wheel, but it's listed in books and catalogues as a sculpture.

One hundred years ago yesterday, it stood among other sculptures, paintings and other objets d'art in the 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets in Manhattan.  The building still functions as an armory and hosts various events, and is today surrounded  by some of Baruch College's buildings.

On that date, the Armory Show (as it's commonly known) opened.  Little more than two weeks earlier Grand Central Station began, the first travelers and commuters embarked and disembarked from trains at the new Grand Central Terminal, about a kilometer and a half uptown.  It's an interesting turn of history because GCT is, arguably, the last great monument to the Gilded Age, while the Armory Show did as much as any event to move American notions of art, aesthetics and public space away from Gilded Age, and even classical, notions.  Literally steps away from GCT is the Chrysler Building; between them and the Armory, the Empire State Building went up months after the Chrysler Building was completed.  The Chrysler and ESB could hardly be more different from GSC or, for that matter, the Armory; neither of the latter two buildings could or would have been built in the wake of the Armory Show's influence.

So why, you may ask, am I writing about these events on a bike blog?  Well, before the show, almost no American, artist or otherwise, would have thought to declare a bicycle wheel as a work of art.  In fact, very few Americans would have thought bicycles to be appropriate subjects for art, let alone used bicycles or parts of bicycles as materials for works of art, as Picasso and others would later do.

So, the next time you make, sell, buy or wear a bracelet made from a bicycle chain or earrings made from spokes, remember that the Armory show helped to make them possible!


N.B.:  Picasso's "bull" is in the Paris museum dedicated to his works.  Duchamp's bicycle wheel is in the Philadelphia Museum of Art.

A Bike Ride As Preparation To See A Master

I've known and ridden with cyclists who could or would not ride by themselves.   Whether they went on organized treks with clubs or impromptu sprints with friends and acquaintances, they simply could not conceive of a solo spin down their local streets or in a faraway locale.

If you've been reading this blog, you know that I am not that kind of cyclist.  And I have never been.  Oh, there are times when I like to ride with one other person, or in small groups. (I haven't done a big organized ride like the Five Boro Bike Tour in a long time.)  But I am also content when my ride is simply me, my bike and my surroundings--whether that backdrop is a winding lane in the hills, a road along a seashore or a boulevard in a fashionable (or not-so-fashionable) part of a city.

The last clause in the previous paragraph describes the riding I did this morning.  I rode down arrow-straight residential streets near my hotel to rondeaux at la Place de l'Opera, la Porte de la Vilette (where African immigrants waited for contractors to hire them out as day laborers), la Bastille and la Republique before heading down to the Boulevard Haussmann in the 8th Arrondisssement.  You can't get much more fashionable than that.

I did not, however, go there to be seen--especially being dressed the way I was!  Instead, at the suggestion of Jay and Isabelle, I checked out a museum that I now cannot believe I never entered in my previous visits to (much less in the time I was living in) Paris.  It was like going to la Musee Cognaq-Jay (which I visited two and a half years ago), only on a much bigger and greater scale.

The similarity is this:  the Museum is a mansion , like the Cognaq-Jay, named for the people who lived, and collected art, in it.  Edouard Andre came from a prosperous French Protestant family and developed a love of art.  Nelie Jacquemart, on the other hand, came from a Catholic family of modest circumstances.  She became a painter of some renown who made portraits of some powerful and influential people of her time.  Andre--who was known for his taste as well as his means of acquiring art--commissioned her to do his portrait.

I know this sounds like a period-piece romantic comedy movie script, but they got married.  Whether he was taken by her portrait of him, or she by his taste (which may have included said portrait) was never made clear.  What is known, however, is that they shared a passion for art and artifacts and, never having had any children, spent the rest of their lives travelling to acquire such pieces, and promoting the work of artists and musicians who were their contemporaries.  As a guide said, "They made their lives a work of art."

He died about two decades before she did and he left everything to her with the stipulation that she would be prudent with their heritance.  Her will, in essence, stipulated the creation of the museum.

I can't help but to wonder about the artist who was featured in a special exhibition.  Their collection consisted mainly of late-17th and 18th Century artists, which collectors were starting to favor a century later, during Andre's and Jacquemart's lifetimes.  

The artist featured in the exhibition--which will run for the rest of this month--did this painting:

The man in the picture is with himself, reflecting on the state of his soul.  It's hard to see in this photo, but there is a crucifix in the background which is even hard to see when you are face-to-face with the painting.  And, unlike other portraits of saints, this one has a halo that's barely visible.

One of my regular readers (hint:  he lives in Finland) surely knows the creator of this image.  I am sure that some of my other readers do, too.  For everyone else, I'll tell you his name:  Michelangelo (no, not that one) Merisi, better known as Caravaggio.

Contrary to what you may have heard, he did not invent the "chiaroscuro" technique of painting, in which the subject is set against a dark background, so that there are no "props", if you will, to distract the viewer.  But he probably used it to greater effect than anyone else.  One of the best examples of it, in my opinion, is the painting of St. Francis in meditation I showed above.

Some might opt for this one, of St. Jerome translating the Bible.  I wouldn't try to change their opinion:

or the opinion of anyone who prefers this one, of a young John the Baptist with a ram:

or either of the Mary Magdalen portraits he did:

Somehow, I think he could have done some very interesting portaits of cyclists alone on a mountain pass or the Boulevard Haussmann.

Bikes And Murals For The Community

Although murals have painted for about 30,000 years (if you count such works as the Lascaux cave paintings), they really weren't a major art form in the United States until the early 20th Century, when the Progressive Era engendered protest against big business and imperialist wars.  They really became a part of American life during the 1930s, when President Franklin D. Roosevelt, as part of his New Deal,  commissioned artists including Diego Rivera who, along with some fellow Mexicans, were sponsored by their president, Albero Obergon as part of a nationalist cultural program during the previous decade.  

It was as if Depression-era America and murals found each other:  the medium was ideal for expressing the hardships of the time as well as elevating workers and other everday people.  (How hard do I work if I'm writing sentences like that?)  In other words, murals are a "people's" art form, which is exactly what the nation and society needed as it was confronting the failures of an economy and culture in which a focus on individualism had run riot.

I admit that I am not an art historian, so what I've presented is a comic-book version, at best, of the history and importance of murals.  But I think it will help to make sense of what I'm about to say next:  Bicycle Recycleries and murals go together like, well, cycling and people.

If murals are the most democratic visual art form, then bicycle recycleries (like my local Recycle-a-Bicycle) are the people's bike spaces.  Not only is it possible to find reasonably-priced reconditioned and rebuilt bikes in them, but most offer bike repair classes and volunteer programs.  Some also offer internships as well as other community services and programs.

For years, Recycle Bicycle operated out of a warehouse on Atlas Street in Harrisburg which, in spite of being Pennsylvania's capital, is one of the state's poorest communities. (It tried to declare bankruptcy ten years ago but a judge blocked it from doing so.)  Its people suffer from the same lack of opportunities and health problems that afflict people in other poverty-stricken areas.  So the need for affordable transportation and recreation is as great as it is in other impoverished urban enclaves.

The mural on that building became part of the organization's identity. So, when the building was sold and Recycle Bicycle was forced to move two years ago, some feared the work of public art would be gone forever.

That is, until longtime volunteer and board member Jennifer Donnelly climbed a ladder into the loft of the warehouse.  There, among tools, she found something familiar:  the stencils used to create a whimsical scene of children and swirling purples and blues.  

Other volunteers pulled panels from the mural and Ralphie Seguinot, the self-taught artist who painted it, recreated it, with some modifications, on the new location.

From The Burg

Donnelly explained that Recycle Bicycle raised half of the funds for the project from community donations.  That is fitting because, she says, having the mural--which became closely identified with Recycle Bicycle--on the new building is important to the organization and its mission of creating a community space.  

That's what bicycle recycleries are, and what murals help to define:  community space.

Riding Every Linear Mile

One of the great things about cycling in my hometown of New York is that it allows me to see a lot of street art close-up.  My commute to work takes me through an industrial area of the Bronx where murals of one kind and another cover the walls of industrial buildings.  It's become such a part of the landscape that nobody, it seems, refers to it as "graffiti", a term that implies impermanence and echoes disdain.

I have also seen street art, or the art of industrial spaces, while pedaling through streets and along canals and railways (some disused) in other cities on both sides of the Atlantic.  I'm sure other cyclists have had their minds and senses similarly enriched in cities I have yet to visit.

Detroit is one of those places and Thomas Leeper is one of those cyclists.  Except that he claims he's "not really a bicyclist."  Whatever he chooses to call himself, he's ridden 2200 miles of The Motor City's streets during the past sixteen months for his passion project, Every Linear Mile.  

He's been photographing graffiti, murals and other kinds of art, including found-object-art, he's seen along the way.  His goal, he says, is to "give kudos" to folks who are "helping to beautify the city" with their work.  "Ninety-nine percent of it was created with no financial incentive in mind," he explains, so their efforts don't cost anything to the financially-strapped city.

Since he began the project, he's had 11 flat tires, stepped on seven nails, has had nine verbal offers of drugs and been chased by eight dogs.  "I've learned how to ride fast when I need to," he says, and keeps pepper spray on him, but "has never really felt unsafe."  

Rose, Thou Art Sick

Here's something romantic to tell your spouse, boyfriend, girlfriend, life partner, significant other or whatever you call him/her/them:

Of course, you would say it only if that person is also a cyclist.  If he/she/they are/is not a cyclist, you might witness aviation history in whatever space you share!

One Valentine's Day many, many years ago, I was riding my bike by the Rutgers campus.  I was flat broke, as I often was (and would often be on many occasions later).  What would I give, or do with, my girlfriend?  I could have made something, I suppose, but I wouldn't have felt right, knowing that I slapped it together in even less time than I wrote at least one of my papers.  And, at that point, my cooking skills consisted mainly of boiling and frying.

While pondering all of the things I couldn't give, or do for, her, I pedaled by the botany lab.  A blur of red, deep red, streamed into the corner of my eye.  Rose, thou art sick.  I'd read William Blake's poem at least a few times, but why was I thinking of it then--with a riot of deep crimson in my line of vision.

The dumpster outside the botany lab overflowed with those flowers.  Roses, redder than any in the Queen's garden--or any upper Madison Avenue florist. Rose, thou art sick.  They probably are not well if they're in that dumpster, I realized.  But they were so, so red, like the bloom of one who grows more beautiful while drawing closer to death. (I'd recently read a Japanese story like that.)  

Giving no thought to what might be keeping those petals redder than Mississippi in any election during my lifetime, I yanked my handlebar and made a beeline for that corrugated steel cornucopia of floral bounty.  I propped my bike and scooped as many roses--their stems still attached!--as I could handle.  I found a piece of twine lying nearby and used it to tie whatever I couldn't carry to my handlebars, top tube and seat tube.

On my way back to my apartment, I stopped by an art studio and appropriated some ribbon, and large vase from a conference room.  Then I pedaled to the language houses, where my girlfriend stayed.

One of her housemates answered the door.  Slackjawed, she darted up the stairs and summoned, it seemed, all the other girls in that house--and my girlfriend.  They watched as I handed her more roses than any of them had seen in their lives.  Oh, and those roses were redder--even if they were sicker.

About the only thing that's the same in my life is that I still ride my bikes.  I have a few more than I had then, not to mention the memory of that day, when I might have made someone happier (and a few of her friends more envious) than I've made anyone since.

I still wonder what kept those roses so red--for almost two weeks after I found them!  Rose, thou art sick.  A few years ago, I looked her up, worried that those roses may have made her give birth to sick children.  As far as I can tell, she remained childless.  Because of the roses?  

They don't seem to have affected me.  I still ride, after all.  

Combining Her Passions For Pedaling And Painting

Perhaps it's because I've lived in New York most of my life: For me, bicycling and public art have become more and more intertwined.

These days, however, one doesn't have to go to biketopias like Portland or Amsterdam or art havens like Paris or New York to experience murals, large sculptures or installations during a ride.  It seems that smaller 'burgs are getting in on the idea of combining the two.  I think it has to do with increasing numbers of artists living and working outside of the traditional creative capitals for any number of reasons (not the least of which is the cost of studio space, supplies, or simply feeding and housing one's self) and cycling becoming a transportation option and recreation choice for many more people.

Among the communities that are bringing cycling and art together are the city of Kalamazoo and its eponymous Michigan county.  To that end, Bike Friendly Kalamazoo commissioned a mural that is going up along Lovers Lane, a popular cycling route in the city of Portage.

Photo by Dan Nichols for WWMT

The very colorful 17-by-58 foot image is being painted by local artists and is slated to be finished by the 15th of this month.  On that day, a public engagement will be held for the families that helped to paint it.

For the creator of the mural, Ellen VanderMyde, working on this project combines her passions for pedaling and painting.  She grew up in Portage and "grew up cycling this path" and hopes that people will ride to the mural to see it in person.

"We wanted to express the joys of cycling," explained Bicycle Friendly Kalamazoo President Paul Selden.  He hopes that "everybody who sees it would maybe want to get on a bicycle and if not maybe give those who are on bicycles a little more space on the road."

He also hopes to have another mural completed this year and that it, along with the work in progress, will be the beginning of more such installations. 

As far as I am concerned, public works of art readily visible to cyclists--whether or not those works are bicycle-themed--are  part of a city's cycling infrastructure.  If nothing else, I'd rather see a mural or a sculpture while I'm riding than risk my bike or my self on a poorly-conceived, -built or -maintained bike lane.

  

Starry Bike Path?

I know I've posed more than a few ridiculous questions, on this blog and away from it.  I seem to have a penchant for them.  So here comes another:  If Vincent Van Gogh were to design a bike lane, what would it look like?

My question isn't, I believe, as frivolous or flippant as it might seem.  I've long felt that we are more sensitive to light and color when we're pedaling. (At least, I feel that I am.)  That might be a reason why cycling and photography go so well together, and why any number of riders I've known (including current riding buddy Bill) are fine photographers.  

I also have another reason for my question:  There is actually a Van Gogh bicycle path in the Dutch town of Nuenen, where Vincent (Yes, I'm on a first-name basis with him! ;-))worked from 1883 until 1885. During that time, he completed The Potato Eaters, one of his early masterpieces.

Interestingly, the path is more evocative of a later and better-known masterpiece of his.  I am talking about Starry Night, which has inspired all sorts of other work--including the only Don McLean song besides "American Pie" most people can name.  

To me, the path is a work of art in its own right.  Although the swirls and colors in it echo Vincent's painting, it has a different effect:  The painting is its own dynamic, while the environment of the path creates its plays of light and color.  

The path, designed by artist Daan Roosegarrd, is paved with colored stones that are charged in daylight and emit twinkling light--mostly in blue and green--at night.  When so lit, the path displays parts of the painting as you ride on, or look at, it.

From what I've read and heard, the Van Gogh path has turned Nuenen, near Eindhoven, into an atrraction, if not a destination, for tourists.  While it contains several homages to its most famous resident, most Van Gogh pilgrimages include Arles, the Provencal town where he painted Starry Night, and the Van Gogh Museum in Amsterdam.  Only those who are really in the know about the artist make a detour to Nuenen, whose other distinction is that it was the site of a battle in the significant, but unsuccessful (for the Allies) Operation Market Garden in World War II.

Some folks thousands of kilometers away believe that they can help to continue the revitalization of their city by capturing Nuenen's lightning (all right, light) in a bottle.  It's a "rust belt" city in the US that, like a few others, has sought to revitalize itself by using its history and culture to create a vibrant arts scene.  

In other words, Hamilton is trying to do what a much larger city at the other end of Ohio--Cleveland--has been doing.  Other cities in that part of the United States, like Grand Rapids, Michigan and Milwaukee, have had recent success in stemming, at lest in part, economic decline wrought by the relocation or disappearance of manufacturing industries.





In such cities, as well as in neighborhoods like Bushwick, Brooklyn, the emphasis has been on public art, like sculpture and murals, that can make use of industrial sites and structures as a backdrop, or as material for the works themselves.

Something like the Van Gogh bike path would fit such communities, especially one like Hamilton, which has a very popular bike/walking path along the Miami River.  It also just happens to pass the Fitton Center for the Creative Arts and a sculpture garden.  Wade Johnston, the director of Tri-State Trails, thinks it would be a great spot for a similar sort of path--or, at least one where "public art and beautiful landscaping" could "promote a sense of place" and--not insignificant to city leaders--"encourage reinvestment in Hamilton."

As much as I love art, I am enough of a realist to acknowledge that the arts can't replace high-wage factory jobs.  But, as neighborhoods like Bushwick and cities like Cleveland (once the butt of jokes, many of which referred to a river that caught fire) have shown, the arts can provide other opportunities and encourage talented, creative people to live and work in areas other people abandoned.

Cycling, In Living Color

Time was when I wore nothing but black:  black leather, black lycra, black latex and black everything else.

Yes, I even had an all-black bike outfit before carbon fiber and the "stealth" look became so prevalent!

Now, understand that I was young and had just moved back to New York:  to the East Village, no less.  Even two of the three bikes I owned at that time were black. The Peugeot PX-10 was available only in white the year mine was made. Somehow that was overlooked in the circles in which I found myself.  Actually, I know how:  None of them were cyclists, and I'm not sure that any of them saw me on my bike.  And if they had, I'm not sure they would have noticed or recognized me:  Rare was the occasion on which we saw each other sober or in daylight.

Anyway, in my "black" period I was keeping a terrible, terrible secret.  No, it's not the one that became the subject of my other blog. Well, all right, I was keeping that secret, but that's not the one I meant. Nor was it that I'd voted for Reagan. (I didn't, but I later learned that some of them had, in secret.)  Or that I was having splendid relationships with my family:  My father and I were barely on speaking terms at that time.

My hidden vice, if you will, had to do with my tastes in art. Actually, the fact that I cared about art at all would have enraged some of my not-so-fellow-after-all travelers.   Some of them thought the whole idea of art was inherently bourgeois; at least one wore a T-shirt that read "I Hate Art."  (I thought she was talking about her ex until I learned otherwise.)

My dim, dark perversion was...my weakness for Jean-Honore Fragonard, which I retain to this day.  Yes, he represented every excess of the ancien regime.  When the Reign of Terror descended upon Paris, he fled and died, nearly forgotten, a decade and a half later.  Given the sort of person I was in my faux-punk days, I could have hated him for painting such subjects as the wife of a nobleman on a swing in her garden, much as I once hated writers like Henry James for their focus on high society.  (I've gotten over that!)  

So what attracted me to such paintings as "Blind Man's Bluff" and "The Stolen Kiss"?  All right, the title--and the none-too-thinly-veiled eroticism--of the latter.  But even more important, to me, were those colors.  Oh, those colors!  And the way he used them!  

(Hmm...Maybe I'm really a magpie in a human's body.)

So of course I had to get myself out to ride today.  No classes on a cool, fairly windy day when fall is just starting to tip toward winter.  The sun shining brightly.  And colors everywhere.  

I figured that if the red, orange and yellow leaves were so vibrant in my neighborhood, they must be blazing in other places--like, say, New England.  Or, more specifically, the part of it closest to me:  Connecticut.

So now you know where I rode today.  I pedaled into the wind most of the way up, which sharpened my senses, I think. (That, or the colors were even deeper than I thought they were!)  And Arielle, my Mercian Audax, felt even more lively than she usually does, which is saying something.

Call me shallow or trivial or--if you want to sound like someone who's trying to sound like he or she knows better--a sensualist who has never grown up.  And I won't, as long as I can do rides like the one I did today.  They just might keep me from fading back to black!

A Contest After My Own Heart: Bicycles And Art

I'll admit:  This post is little more than an excuse to display an image I like.

Is this how Van Gogh would have painted a bicycle?

Whatever the intent of the artist, it's great for promoting a bicycle-themed art contest.  (Well, it got my attention, anyway!)  "The Bicycle:  Art Meets Form" is an invitational juried show sponsored by the Theatre Art Galleries in conjunction with the High Point Cycling Classic.  Winning works will be exhibited from 30 August until 28 September.

If you're interested in entering, you have until 25 July.  For more information, go to http://tagart.org/.

Good luck!  

Judaism And The Art Of Bicycle Riding

If you're of a certain age, as we say, there's a good chance you've read Zen and the Art of Motorcycle Maintenance.  Some English classes--including a few at the college I attended--actually assigned it.  I escaped that fate:  I didn't have to take the English classes that assigned it because, when I entered my college, the person (or folks) in charge of placement decided that I was a better writer than I actually was, based on an essay I wrote as part of my entrance exam.  

I did, however, read Zen on my own.  I didn't expect to learn how to fix motorcycles or about Zen.  If I recall correctly, the book's author, Robert Pirsig, included a disclaimer advising readers not to have such expectations.  Even if he'd intended to instruct his readers on how to wrench their rice rockets (That was a term for Japanese motorcycles, which were much lighter than Harleys.) or meditate, I'm not sure of what I might've learned because, really, I had little idea about motorcycles except that my uncle rode one or about Buddhism save for guys in orange robes.

I'm not sure of what, if anything, I learned from the book.  That's not to say it wasn't worth reading:  At that point in my life, I was a sucker for stories about folks who left jobs, families and other bourgeois expectations behind, even if only for a time, to traverse the country or world, mainly because--you guessed it--I wanted to do something like that.  

Pirsig's prose had little, if any, stylistic grace.  He probably wouldn't have wanted to have any--which, I believe, was part of the appeal of his book.  You don't quote him the way you would, say, Thoreau, let alone Virginia Woolf or Shakespeare. (About my friend Bill:  I remember reading that some researcher found that the average English speaker quotes him at least 20 times a day, mostly without realizing  he or she has done so!)  But I remember this:  "The real motorcycle you're working on is yourself."  Or something like that.

So, what aphorisms can one glean from an experience of Judiasm and the Art of Bicycle Riding?  It's hard not to think that Abigail Pogrebin, the author of an article by that name, didn't read, or at least hear of, Pirsig's volume.  And she indeed reveals a thing or two she learned about herself from riding a mountain bike through Arizona brush--with a Native American guide named George. And, oh, her rabbi.

The irony is, as she says, that George imparted so much Jewish wisdom.  In particular, he offered this nugget that could have come straight from Moses (who, in my mind, always looks and sounds like Charlton Heston):

Always look way ahead of you.  Never look down.  As soon as you look down, you will hesitate, overthink, negotiate, get stuck.  Always be moving into the future. Bike into the future.

The last two sentences, she admits, can sound pretty corny, but, as Ms. Pogebrin points out, "How many times does our tradition ask us to 'go forth'? How many times in our history have we had to keep going despite what's thrown in our way?"  There is no other choice, really:  By definition, we can only move toward the future.  Living in what I call the Eternal Present--and I've known lots of people who've done, and who do, exactly that--is a pretty good definition of a living death.

But, of course, George wasn't trying to be rabbinical.  As Pogrebin learned, his admonitions were entirely literal:  "Once we were out on the trails, as soon as we looked down, we were screwed--the bike suddenly spun out of control, stalled in a mud crevice or jammed its tires between rocks."  When her rabbi and two other cyclists who accompanied them--a couple of guys from San Francisco--navigated a stretch on which she stumbled, George bellowed "GO BACK AND DO IT AGAIN, ABBY!"  But then he imparted what was probably the most important lesson of all, at least for her:

You're too clenched, too focused on getting it right.  You're not trusting the bike or the path.  Keep your eyes ahead and trust that you'll get where you need to go.  Breathe all the way there.

"Breathe all the way there."  Funny, how Zen that sounds to me. But it probably could have come from her rabbi--or anyone who understands that it's all a journey, and the bike is the vehicle.  That, as I recall, is also one of the messages of Zen and the Art of Motorcycle Maintenance.

(If Abigail Pogrebin's name looks familiar to you, it means one of two things:  You watched Ed Bradlees 60 Minutes segments, for which she was a writer and producer. Or, you read Ms. magazine, of which her mother, Letty was a founder and editor.  I'm guilty on both counts.)

215 Steps--How Many Kilometers?

I have no idea of how many kilometers (Remember, I'm in France!) I pedaled today.  I'm guessing it's not less than twenty, but not more than forty.  

There is, however, one measure I can give you with certainty:  215 steps--from 8, rue Elzevir to 5, rue Thorigny. Both addresses are mansions in the Marais district of Paris, which straddles thte Third and Fourth Arrondissements and contains, among other noteworthy sites, the Place des Vosges.  

I had intended to go to the first address.  When I was about to lock my bike to a signpost in front of it, an African man in what looked like a butler's uniform informed me, politely, that there was bike parking at the end of the block.  "Pardon", I said almost simperingly, "je n'ai lai pas vu."  I guess I wasn't the first person not to notice it. "Pas problem", he said. "Merci," I responded.

8, rue Elzevir

So why was I going to a mansion at 8, rue Elzevir.  Well, I had a free pass.  Then again, so did anyone else who wanted one.  But since I'm so, like, "over" being part of the "in" crowd (I mixed generational references.  Is that as bad as mixing metaphors?), I didn't mind.  For one, the man who showed me where to park my bike was so nice.  And so was everyone else I met inside.  And there were some really interesting things to look at.

All right, I'll admit it:  I was there to look at the stuff, and the place itself.  You see, that mansion is la Musee Cognaq-Jay.  I had seen signs for it and was intrigued by the name: "Cognac" with a "q" at the end, and "Jay"--that doesn't look so French, does it?

The fully-articulated fish in the foreground is made from gold, enamel and jade.  The other cases are made from gold , enameling and precious stones. 

Well, it turns out that Theodore-Ernest Cognaq and his wife Marie-Louise Jay founded the Samaritaine department store, which grew from a small tie vendor at the foot of the Pont Neuf to an eleven-story Art Deco colossus that took up several square blocks.   If you can imagine a combination of Macy's and Bloomingdale's, a la francaise, you'll have an idea of what the store was like.

Messr. Cognacq and Mme. Jay were, not surprisingly, among the wealthiest people in France.  This allowed them to accumulate a vast collection of art and objects, which are displayed in the museum.  What is so unusual about this collection, though, is that almost everything in it is from the 18th Century.

Although few collectors and curators focus on this period today, it makes sense that Cognacq and Jay would have spent their time and money on it.  For one thing, the work of painters like Van Gogh and other Impressionists were not yet deemed collectable, let alone immortal.  And the work of other artists who are so revered today--including one I'll mention later on in this post--was either in the process of creation, or hadn't been conceived yet. 

So, it's not surprising that whoever advised Cognacq and Jay would have told them to buy works from the 1700s.  By that time, it was a century or more old, so it (or at least some of of it) would have passed the test of time.  In other words, paintings, sculptures and other objects from that period would have gained the stature the Impressionists would attain in the 1970s or thereabouts, when Japanese collectors started to pay large sums of money for Monet and Van Gogh paintings.

I must admit, though, that I never had any great interest in 18th Century art, with a few exceptions.  If I were to become a scholar, I probably wouldn't choose that period.  The most interesting work of that time came, I believe, from philosphes, political theorists, few novelists--and composers.  There isn't much poetry to capture my attention (apart from some of William Blake's early work near the end of the century) and even less drama. 

The painting and drama of that period, with a few exceptions from Fragonard and a handful of other artists, leaves me cold, for the most part.  But seeing them in a setting in a mansion of that period made them more interesting.  Also, seeing those paintings and sculptures along with objects made of porcelain, gold and stones--some of which were intended for daily use--made the paintings more interesting.

If you are in Paris, the Musee Cognaq Jay is worth checking out, even if you're not interested in works from the 18th Century, just to see how an extremely wealthy couple would have lived with the things they collected.

After spending the morning and the first hour of the afternoon at Cognaq-Jay, I walked 215 steps to see the work of an artist I mentioned, but didn't name, earlier.  Yes, his museum is at 5,rue Thorigny:  the Hotel Sale, a.k.a. la Musee Picasso.  

If you've been reading my earlier posts, you know that the Musee Picasso has long been one of my three favorite museums in Paris.   Although it, like the Cognacq Jay, is located in a former residence, the two could hardly have had more different atmospheres:  The Cognacq-Jay has the intimate atmosphere the creators of the Picasso tried to achieve and, I believe, would if it hadn't become a tourist destination.   To be fair, the Picasso has become one of the most famous museums in the world because even people who know nothing else about art have heard his name. 

215 steps later:  5, rue Thorigny

Still, I love the Picasso, in part because of the artist himself,  but also because of the way it creates a milieu for him and his work.   But after 215 steps, I think I have found a new favorite to add to my list.  

And I got to take a late-day ride after taking in both, on a Tuesday in which clouds swirled and rippled in the breeze, diffusing but not muting the sun's rays.