Although I Couldn't See All Of The Statues, The Ride Wasn't A Bust

Today I cycled to a place where I shed tears whenever I visit.  Yes, on purpose.





 

 

For those of you who have never met me in person, I'm going to share a little secret:  I cry, sometimes in embarrassing, if not inappropriate, situations.  More than once, tears have rolled down my cheeks when I've shared a particularly beautiful piece of writing--like Caliban's "The Isle Is Full of Noises" soliloquy in The Tempest--or when some sense-memory overtakes me.  I can also cry with and for another person, as well as for myself. 

 

So where, you may ask, is this place in Paris that opens up my lacrimal duct?





 

He's at the "gate", so to speak.



That bust, and the statue before it, are studies that became part of Porte d'Enfer by Auguste Rodin.  I went to the museum that houses most of his work.

 The only problem was, the main collection was closed.  So was most  of the rest of the museum.  To be fair, the Hotel Biron, at 77 rue Varenne, has been in need of repairs.  And, as with any museum, ventilation systems and other infrastructure need to be repaired and replaced in order to keep the artist's works from deterioration and other damage.

 

 C'est une injustice! I exclaimed to the guide when she explained the situation.  "J'ai venue d'amerique", I told her, to see Le Baiser, Le Penseur and--my favorite objet d' art--Je suis belle. 

 

 

Thinking about....?

From the day I first encountered photos of those works in an art history class I took as an undergraduate, Rodin has spoken to me, moved me, in ways that only three or four other artists, in any medium, ever have.  For me, seeing the ways he could draw out despair, courage, empathy, isolation, inspiration and so much more--sometimes all in the same work--in such static materials as stone and metal has been a sort of guidebook to the soul.  He doesn't merely  render, express or depict emotions; he makes his materials a conduit for la force vitale.  To me, the only other Western sculptor who did anything like that is Michelangelo.

Sometimes, in museums, I see.  Or I might think, or feel, or simply enjoy.  When I am in the presence of Rodin's works, in his milieu, I live.  You might say it's like  at least for me.

Anyway, the museum is apparently building a new wing as they renovate the old space, and are going to exhibit the works in new ways.  I hope that the newly-restored museum doesn't sacrifice too much of the intimacy of the old one and become another big building full of glass boxes that hermetically seal the artist's works away from the people, from the world, as too many other museums do.

 As the renovations proceed, there is an exhibit of some of the castings Rodin made as studies for his masterworks as photographs taken of them, and him as he made them.  Most of the figures you see in his completed works are clothed, but he made nude studies for all of them to get, not only the proportions, but the ways in which they moved and interacted with their environments, before he created the "final product", so to speak.

 And the gardens are still open.  Even if you aren't a fan of his work, or art generally, it's a great place to unwind--after or before a bike ride in Paris.

 After I left the Rodin and had a picnic lunch by the Seine, I rode some more, spent some time in the Musee d'Orsay and rode some more.  I'll talk about those later.

Another Long Lunch And Late Ride--And A Confession

Today I enjoyed another long lunch with another French friend I hadn't seen in a long time.  And I took another late bike ride.

I had seen Michele more recently than I'd seen Jay, but we agreed that it had been trope longue. Interestingly, my conversation with her--like my conversation with Jay--was not a sentimental repetition of temps perdus.  Rather, we picked up where we'd left off eight years ago, when she came to New York.

That is probably a good thing because, since we last met, the friend who brought us together--Janine--died.  Michele is nine years older than I am, as Janine was, so it's hard not to think of aging and mortality and other related topics.  That may be the reason why we didn't dwell on the past. 

She asked me the question she didn't ask when I told her, via e-mail, that I was coming to Paris.  I said, only half-jokingly, "Donald Trump sera le president."  She chuckled in the way one does when one could just as well sigh:  She knows that neither his election nor the prospect that it would drive someone like me out of my own country is out of the question.

Perhaps I shouldn't worry so much about The Donald going to Washington.  After all, he might make the White House look something like this:

I took that photo of the Versailles palace from about a kilometer up the road.  You can see all of that gold glitter from that far away. 

 

 

Yes, I rode there after Michele and I parted.  In this part of France, there's about half an hour more of light at the end of a summer day than there is In New York or other places at or near the 40th parallel.  All Paris museums are closed on Monday, as is the inside of the home of Le Roi Soleil. But the gardens around the palace were not and, having ridden there during two of my bike tours, I knew the trip would be pleasant.

 

 

 

I also had another motivation for taking the ride.  To tell you about it, I have to make a confession:  I am really a big magpie in a human body.  Why else am I drawn to glittery, shiny things and looking at my reflection in them?

 

 

 

Anyway, the gardens are interesting.  They're so formal that even this bird is all  dressed up. 

 

 

 

Maybe he's going to a party in Paris.

 

 

 

 

Can you beat that for a navigational aid?

  

 

 

 

What If Charles V Had A Bicycle?

The hotel in which I'm staying is literally around the corner (all right, and a block away) from the Gare Montparnasse, a railroad station that from which trains depart to, and arrive from, Atlantic coastal cities such as La Rochelle and St. Malo.  It also happens to be very close to a some other interesting places--one in general and the other to me personally.  I cycled to them, and other places.

First to the general interest spot:  Rue Daguerre.  It's been closed off as a pedestrian mall where stands and shops sell everything from Asian fabrics to fresh-baked bread and crayfish that are scooped from a tank when customers buy them.  Most interesting of all--to me, anyway--were the two organ grinders who plied their trade.  Seeing and hearing them on a cool but bright Sunday morning mirrored and echoed the joie de vivre of Paris in the summer. 

On one hand, it seems sad that a street only a couple of blocks long should honor Louis Daguerre.  After all, very few, if any people, contributed as much to science and technology as well as art as he did with his daguerreotype.  What he did was, in essence, was to make it possible to create reproducible--and therefore transferrable-- images directly from real life. 

On another hand, it somehow seems appropriate that such a pedestrian mall would be named for him. Can you imagine what kinds of images he would make from it?

(What's commonly forgotten is that Daguerre was also an accomplished painter.  Then again, people forget that Albert Einstein was a better violinist than most and that Michelangelo was quite a good poet.)

From la rue Daguerre, I pedaled along the southern periphery of the city, past la Place Denfert-Rochereau to Cite Universitaire, the site of dormitories and maisons culturelles that are part of the University of Paris. The first time I came to this city, I stayed in la Maison Norvege.

The funny thing is that the first time I showed up there, the receptionist addressed me in Norwegian, which I have never spoken.  She later told me that I could have passed for a Norwegian--which, given my colorings and facial structure, makes sense.  Almost everywhere I have travelled, people have taken me for Scandanavian, Dutch or German.  Or, when my French was better than it is now (I can still get by with it), people in France, upon seeing and hearing me,  thought I was Breton, Normand or Alsatian.  Now, when I speak French, I am told that I have more of a German than an English or American accent.  How that happened, I don't know.

Anyway, from there I cycled over bridges and overpasses, into and out of Paris.  I rolled by belle epoque buildigs as well as glass-box towers that had even less charm than their stateside counterparts.  And I pedaled through suburbs as well as parts of the city no tourist ever sees.  In one of those suburbs--Ivry--I stopped in a store to buy some fruit and the African proprietors treated me royally.

Speaking of royal:  The highlight of today's ride was the Chateuau de Vincennes.  Think of Versailles without all of the fancy accoutrements and set up to house military weapons, prisoners, manuscripts and religious items as well as the king and his family, and you have Vincennes.

People often forget that a chateau, or castle, is usually not just a single building; it's a compound encompassing a number of buildings over a fairly wide expanse of land.  So it is with Vincennes. 

About Charles V, who commissioned and lived in it:  One might argue that he brought the Renaissance to France.  He commissioned translations of the Greek and Roman classics of literature and science into French, and classical influences can also be seen in the public works commissioned.  Perhaps it's no surprise that his cousin, Charles V of Bohemia, is also considered one of the master builders of that land, which now comprises much of the Czech Republic.

I think he could have used a bicycle to get around that compound, though!