Showing posts with label impressionists. Show all posts
Showing posts with label impressionists. Show all posts

Friday, June 12, 2015

Lunch at Hotel Baudy in Giverny







Although Monet’s house and garden are the biggest and brightest stars in the Giverny sky, when you stroll the street you’ll find other glittering orbs in Monet’s firmament.  One spot you could walk by without noticing is Baudy’s Hotel.  Notice it!  Go inside.  Sit down.  Practice your French to the accompanying music of hysterical laughter, and eat like a king, or at least a well-fed duke. You won’t be the first.

The Baudy story begins in 1886, when a group of American artists visited Giverny and stumbled into the small grocery-café run by Angelina and Gaston Baudy.  True entrepreneurs never miss an opportunity.  The Baudys not only put up the artists (whom they described as speaking gibberish), but later added rooms, a back garden, and enclosed studios where artists could paint in bad weather, and when painting nudes.  Certainly wish my wife were that understanding.  “Honey, I’ve been thinking about converting the garage…you know, a quiet place where I could take some selfies…”

Hotel Baudy added a garden and two more studios. The hotel soon became a popular hangout, center of art, and the go-to place for Monet’s guests.  Monet was particular about his schedule and had a keen eye for punctuality. The story goes that he would send his car to pick up his guests (the hotel is 5 minutes away) and take them back, just to make sure they arrived and left on time.

And who were some of the names of note who slept under Madame Baudy’s roof.  Only the who’s who of the Impressionist era.  Paul Cézanne.  The sculptor Auguste Rodin (The Thinker).  Alfred Sisley (landscapes).  Pierre-Auguste Renoir.  The American, Mary Cassatt.

Renoir's Winter Landscape at Giverny, 1894
We often think of artists as working singularly, every canvas a product of only their own imagination. Not so.  Many of the Impressionists were friends, and shared a profusion of ideas.  Looking from one artist’s works to another’s, you often find a symbiosis of color, technique, style and design, filtered through their own eyes.  The very best originality does not form in a vacuum.
Alfred Sisley, Hill Path

 
Mary Cassatt, Woman in Green
By the way, when was the Impressionist era?  “Please, or please tell me,” you cry!  Ok.  To paint with broad strokes, which most of the Impressionists did, I offer these slipshod dates:  Born in the 1840s, died mostly around the turn of the century, except for a few, like Monet who died in 1926.


complimentary appetizer

Quintessentially French


Skip forward a few years to the spring of 2015.  We were hungry and stepped smartly into the Hotel Baudy.  Immediately we were transported into Impressionism's glory days, before the turn of the century.  You would swear nothing has changed.  Rustic.  Atmospheric. A mixture of French and gibberish floating through the air. Well, a few things have.  Originally there were only two tables, now there are many more.  Also, don’t count on getting a room.  The place is now called the L’ancien Hotel Baudy Restaurant-Museum.

After lunch, do not forget to stroll out back (where the toilettes are located).  You’ll find an ambrosial garden, the original studio, and a path that leads through beautiful and bountiful trees to the studio where Cézanne painted.

Back Garden


The first studio

I will not describe the lunch because the menu changes with the seasons.  But, Stevie Wonder could make your choices and you’d sing his praises between bites.  The French can teach anyone how to eat, and how to linger just a while longer for coffee, brandy, and conversation.  For now, be content to look at the photos and salivate…and maybe consider grabbing a palate and a few tubes of paint.  As for nude models…on the advice of counsel, you’re on your own.  I swear I did not paint that woman!







Tuesday, August 7, 2012

Amsterdam, Part III: Impressions, Impressionists, and Scarlett O’Hara

In the main market area---scroll down for fascinating prose and more photos...



canal by night


just strollin' in the rain




During our week in Amsterdam, we spent most of our time in the bright halls and cafés of solidly built museums, gazing at classic and modern paintings, studying painters, and writing about color, form, vanishing points, and changing perceptions of art.  The topic was Vincent van Gogh, but the scope expanded like a married man’s waist.  Where did van Gogh get his inspirations, his techniques?  What was his background?  How did he live his life, and which painters influenced or were influenced by him?

Fueled by curiosity, discovery is a wonderful thing.  Leads to a certain depth of understanding and a warren of unknown trails.  The point is not whether you like a painter, or painting.  Personal likes and dislikes have to be cast aside like spent peanut shells.

Why did van Gogh paint the way he did?  Who were the Impressionists?  How did they vary from classical styles, color, and form?  Chances are, you’re asking yourself, who gives a damn, Scarlett?  Or, as Scarlett O’Hara herself famously said:  “I can't think about that right now. If I do, I'll go crazy. I'll think about that tomorrow.”

I don’t have time to wait for you to catch up. I’m pressing on.  Something huge happened in the art world in the period 1836-40.  Photography.  Most historical art had been descriptive, capturing a moment, an event, a portrait.  Now a camera could do all that and better.  Artists were liberated to move on from their journalism in paint, to something entirely different.  But, can a camera also be a device for impressions?  I decided to go on my own voyage of discovery and seek out beer, pretty women, and the colors and shapes of Amsterdam.

In the world of art up to 1860, classicism held the field.  But, around this time, or a little before, painters like Manet, Monet, Degas, Cezanne, Renoir, and Toulouse-Lautrec, and many others, threw aside the trappings of classic art and began to paint common subjects, but with an uncommon touch.  A decade later, under the influence (he met and painted with many of the impressionists) van Gogh injected even more expressive techniques.  Depictions of landscapes became swatches of color, only suggesting individual stalks of wheat.  Skies roiled with smears of blues and greens and yellows.  Van Gogh wanted to make the viewer feel what he saw;  wanted to make the viewer a participant by expanding the boundaries.  Expressionism.

Heard the joikes (that’s Jersey for jokes) already.  “Makes me feel like I want to throw up!  I’ve seen that painting before --- in kindergarten.  Looks like the breakfast I saw twice.”  Or, my favorite:  “I could do that!”  Or, as Scarlett proclaimed:  “I never heard of such bad taste.”

Those are all judgment calls, which means against all odds, you’ve managed to miss every single point.  WHY, WHAT, and WHO?

Ever seen a game of craps?  To the initiated, it’s a group of people, standing around a table, throwing small cubes and screaming at the tops of their lungs for no particular reason.  Game’s been round since Roman times, but casinos haven’t.  Rules have changed.  Understanding takes work.  Otherwise you’re just looking, not seeing, or understanding.

I picture a chain of events.  Curiosity leading to discovery, leading to study, leading to knowledge, leading to more curiosity.  Doesn’t have to be art.  Can be anything, from cake decorating to motorcycle maintenance. Of course, you could disregard all that and stick with  the cuddly warmth of your personal comfort zone.   Of course, if you're not engaged,  that means, as Scarlett said, “My life is over. Nothing will ever happen to me anymore.”  At least nothing new.

Here’s a short course on the Impressionists.  They brought real subjects and real emotions to paint and canvas.  No longer stuck on historic figures, Biblical scenes, or moral lessons, they unglued the use of color, form, painting en plein air, and impressions of subjects rather than faithful reproductions.  As a result, controversy swirled around them. Museums bared their work.  But the paintings were real.  They resonated, and in Scarlett’s words, “He looks as if... as if he knows what I look like without my shimmy.”  Ah, Scarlett, if you only knew.

During my week in Amsterdam, I combined camera and Impressionism (intentionally and capriciously)  to offer a few of my impressions of Amsterdam.  I found that Black and White often provides more drama and texture, while night scenes lend impressionistic colors. Rain helps to expand the palate.  Should you find these photos objectionable, insane, or in bad taste, “Frankly my dear….etc.”



Near the market area 
In the tangle of restaurant streets... 

Amsterdam is a melting pot


bike lane