Juliet Greco (2009)

It has been said that her voice “encompasses millions of poems,” and at 85 years old the darling of Saint-Germain-des-Prés is still performing, appearing tonight and tomorrow at Théatre du Châtelet.

I think this tour of Paris is a nice way to celebrate with her.

Jane del Monte, bridging the distance

(Photo: Harry B.P. Jaeger)

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When the final curtain falls on a life comprised of such a melange of talent and complexity as that of Tony Curtis, the reviews and anecdotes are never far behind.

For those of you who may have missed it the first time around, I republish here an account of my brief encounter with him in Paris in the spring of 2008.

Best of all, it will give you a chance to view some of his paintings.

Jane del Monte

© 2010 Jane del Monte

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A purple horse and orange bunnies on avenue Montaigne — Paris has always lent itself to the unexpected. Often it is merely a matter of being in the right place at the right time, as was the case when a friend happened to notice a colorful card lying on the sidewalk and picked it up; it announced a performance to be held the following weekend at the Théâtre des Champs-Elysees. She called, there were places remaining, so off we went on Sunday.

Paris is experiencing  full-blown Picassomania these days with the current exhibitions of his work, and Sunday’s spectacle was Picasso et la Danse, performed by Europa Danse, a company of artists from several European countries.

It was as if we had landed in some sort of artistic Elysian Fields, where the gods of the arts  had collaborated for our amusement. The performance included four pieces, three of which were created by the Ballets Russes of Serge Diaghilev, who commissioned Picasso to design the scenery and costumes, with music by Eric Satie and Igor Stravinsky. 

The opening work, Parade (1917), the original concept by Jean Cocteau, is known as the first cubist ballet. Critics and public alike were scandalized at the time, never having seen such a spectacle, although it had its defenders. Apollinaire saw it as “the marriage between painting and the dance,” a sign of things to come, encompassing a “complete art.” Sunday’s audience, which ranged in age from about four to 84, was delighted. This is a ballet to make one feel like a kid again. Who could resist a grinning purple horse?

Next came Pulcinelle (1920), inspired by the commedia de l’arte; its central character is Harlequin. Mercure (1924) marks the end of Picasso’s adventure with the ballet, although he did occasionally contribute a design or two. It is graceful and recalls that it was the winged Mercury who taught the art of the dance to humans.

The finale was Quadro Flamenco (1921), danced by eight young dancers just out of the Royal Conservatory in Madrid. The decor and costumes for Quadro Flamenco were initially commissioned from Juan Gris, but Picasso, perhaps feeling proprietary towards a Spanish subject, manipulated the discharge of Gris to his own benefit. The production of flamenco was a departure for Diaghilev (and from Sunday’s programme), but it enjoyed an immediate success in Paris and, then, in London. It was received with equal enthusiasm by the current audience.

The ensemble gathered for the curtain call, and above their heads descended a giant portrait of Picasso as a young man. As much as I would like to recommend this programme, unfortunately it was only for this past weekend.

Oh, the orange bunnies? They were on the sidewalk in front of Drouot Montaigne, the auction house just next to the theatre, as part of Art Elysées, one of many contemporary art events going on here. They were a striking counterpoint to the windows of the Ungaro store across the way, done in fuchsia and black. Just another Sunday afternoon in Paris. Happen to be in the right place, and who knows what you’ll see?

The following are some additional views of the performance and of  the interior of the theatre.

Curtain Call, Parade

Mercure (Europa Danse)

Curtain Call

Detail, Entrance to Theatre

Ceiling Detail, Théâtre des Champs-Elysées

(Photo credits: Programme and Horse, Europa Danse. Credits are noted on the captioned photographs. Unless otherwise noted, they are the work of the author.)

Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jan del Monte

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The Jeff Koons exhibition at the Château de Versailles will open as scheduled on 10 September, but it should come as no surprise that the appearance of the King of Kitsch in the domaine of the Sun King has ruffled the feathers of certain traditionalists in the French cultural estblishment.

The words of Edouard de Royère, chairman of the Heritage Foundation, express the sentiments of many: “I am not against contemporary art but I am shocked by its intrusion into a magic place such as Versailles.”

The exhibition will include 15 works by Koons, to be placed in the Hall of Mirrors, the Grand Apartments and the gardens of the Château. Included will be Hanging Heart and a sculpture in porcelain of Michael Jackson and his pet chimp, Bubbles (above).

Jeff Koons didn’t become the world’s priciest living artist (“Hanging Heart”  (Magenta), sold at Sotheby’s New York in November for $23 million) by being a shrinking violet, so one can only assume he is pleased by the furor that has erupted around the upcoming show.

Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jan del Monte

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This is the week of the rentrée, that time of year that includes back to school and the resumption of  activities after the summer. This year, it’s back to school for me as well. I’ve signed up for a couple of decorative arts courses at the Sorbonne (shown at right), one on the history and architecture of Versailles, the other on cabinetmakers of the 18th century, specifically those who used precious materials in their work. Those are my first choices; the alternates look promising as well. I’m pretty excited, as this is my first time taking courses there.

August has been, as usual, pretty calm in Paris, but, like many of my neighbors, I’ve learned to take advantage of the feeling of tranquility in the neighborhood. I have been taking a sort of vacation while remaining in place. It’s a time to organize, to plan, to just kick back sometimes and smell the flowers.

Miranda was two years old last week. We celebrated by taking a long walk, and she had three slices of ham in her favorite café. The next day, we went to her second favorite, where she had her buttered tartine. Life is tough for a Parisian dog. She seems to have calmed down finally, and she lets me work. 

The rentrée promises to be stimulating, to say the least. The invitations are starting to come in. So far, I am particularly looking forward to the Salon des Antiquaires et des Arts Contemporains (inaugural cocktail party the 10th of September) at Pont d’Alma and the Biennale des Antiquaires, which will take place again this year under the nave of the Grand Palais (shown above).

There are exhibitions that are not to be missed — Picasso et les Maîtres (Picasso and the Masters) (right) at the Grand Palais; Bonaparte et l’Egypte (Bonaparte and Egypt) at the Institut du Monde Arabe (and, of course, the Napoléon exhibition at the Musée des Arts Décoratifs continues until 5 October); Dufy, whose work always cheers me, at the Musée d’Art Moderne de la Ville de Paris; and Monet, l’Oeil Impressionniste (The Impressionist Eye) at the Musée Marmottan, just to name a few.

In the performing arts there are all sorts of offerings, as well. The Opéra de Paris welcomes the New York City Ballet this month for a series of works by Balanchine and Robbins (Sérénade, shown at left, was Balanchine’s first ballet in the United States) , and Lorin Maazel will be at the Salle Pleyel for two nights, the 8th and 9th of September. For those whose taste runs more to popular music, there will be Madonna, Elton John and Joan Baez. One never runs out of things to do in Paris. The hard part is making the choice.

I hope your rentrée will be happy, healthy and full of interesting things to do, wherever you spend it. I’ll keep you posted.

(Photo Credits: 1 and 2 – Wikipedia; 3 and 4 – Figaroscope)

Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France.

© 2008 Jan del Monte

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From 10 September until 14 December, American neo-Pop icon Jeff Koons, referred to (ironically?) by Le Figaro as the new Sun King of Versailles, will be exhibiting at the château. Like so many fugitive balloons from the Macy’s Thanksgiving Day Parade, 16 of Koons’s works will sit among the works of the masters of the 17th century. Kitsch meets baroque. 

Koons has become the poster child for art as business. He could be seen as the spiritual descendant of Andy Warhol, and, like Warhol, he employs a large staff  to execute the works while he handles the important business of self-promotion.  

From the beginning of his career, when he employed a consultant for the purpose, he has cultivated his image. Clearly his efforts have paid off handsomely. In November 2007 his  Hanging Heart (Magenta) sold at Sotheby’s in New York for $23.56 million. That piece will be hung on the Queen’s Staircase, marking the end of the visit.

Jean-Jacques Aillagon, president of the Château de Versailles, a former culture minister who formerly ran François Pinault’s Palazzo Grassi in Venice, seems hell-bent on bringing Versailles into the 21st century. In addition to the Koons exhibition, he has commissioned designer Agnès B. to create new uniforms for the staff, artist Daniel Buren to create a staircase, and plans to build on the existing portrait collection by adding representations of contemporary figures, envisioning a gallery at Versailles that will be the equivalent of London’s National Portrait Gallery.

There are many reasons to visit an exhibition. In the case of this one, I suspect there will be more layers to the public reaction than in the art exposed.

(Photo Credits: Le Grand Trianon (Wikipedia Commons); Rabbit (Noebse).

Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jan del Monte

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Bourdelle was a friend and collaborator of Rodin, instructor to Giacometti, and a contemporary of Maillol. His work is at the intersection of several artistic movements. Bourdelle was able to draw from the past, notably the Roman and medieval pasts, and translate those influences into a form that was resolutely modern.

Be sure to see the series of busts of Beethoven, a recurrent theme in his work beginning in 1888, that witness  the evolution of his style and technique, from the early works that evoke the work of Rodin through the development of his own particular style.

Shortly after his arrival in Paris, Bourdelle installed himself in a studio at what was then 16 impasse du Maine, now known as the rue Antoine Bourdelle. It is in this spot that he realized some of his most important works. In 1910, Bourdelle married his student, Cléopâtre Sevastos, with whom he had a daughter, Rhodia.

Toward the end of his life, he began to envision a museum where his collections could be housed and exhibited, such as that of his friend Rodin. After his death, through the efforts of Cléo and Rhodia, the dream was realized, and the museum opened in 1949, 20 years after the death of the master.

In the grand hall some of the more monumental works may be found, while the gardens shelter a number of significant works, including the bas-reliefs that he realized for the Théâtre des Champs-Elysées and the Centaur Dying. His studio looks as if he has just stepped away for a moment. In the intimacy of his apartment, one can imagine him taking  a break,  reading by the fire while  surrounded by some of his favorite things.

Beyond the considerable artistic significance, this is a fine place to take a break, sit on a bench, perhaps eat a sandwich and commune with the resident cats. The museum is located at 16, rue Antoine Bourdelle, 75015 Paris, Métro Montparnasse-Bienvenue or Falguière.

Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jan del Monte

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Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jan del Monte

∞

With all due respect to his Spanish origins, it is hard for me to think of Pablo Picasso as anything other than a French painter. Admittedly, I feel the same way about Modigliani, an Italian, or Chagall, a Russian Jew, or the Japanese Fujita. In my mind, if you were painting your way across Paris from Montmartre to Montparnasse, and part of that mad, mad world, you are a French painter.

All of that, just to say that 35 years ago today, the 8th of April 1973, Picasso died at his villa in Mougins at the age of 91, while he and his wife were entertaining friends for dinner.

Along with a body of work that changed for all time the way we look at art, he left us with his final words: 

Drink to me, drink to my health, you know I can’t drink anymore.

To learn more, go to the official Picasso site, available in French and in English, or to the site of the Picasso Museum in Paris.

Photo of Pablo Picasso, Revista Vea y Lea (Argentina)

Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jan del Monte

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I recently finished reading Misia, The Life of Misia Sert, by Arthur Gold and Robert Fitzdale. This is the biography of an extraordinary woman whose life spanned two world wars and a succession of important artistic movements.

Thrice married, each time to an influential man (the founder of La Revue Blanche, a banker and press magnate, a fashionable artist), Misia’s salon was the place where  Parisian high society rubbed elegantly-clad elbows with the lights of the artistic and literary currents of the time. 

A gifted pianist of Polish descent, Misia set aside her musical aspirations to marry. But, more than an observer, Misia was always a player. Muse, model, patron, friend — she was painted by Toulouse-Lautrec (to whom we owe the cover art), Renoir, Bonnard and Valloton, and was the inspiration for characters by Proust and Cocteau.  

Her closest and most enduring friendships were with Diaghilev, the flamboyant impresario of the Ballets Russes, and with Coco Chanel. As is often the case between women who are close, Misia and Chanel were also rivals. It was Misia who introduced Chanel to Parisian society. In later years, their fortunes shifted, as did the balance of power, and it was Chanel who sustained her to the end of her days. 

This book, which first appeared in 1980 (originally written in English), is the result of exhaustive research. The authors (and, by extension, the reader) are fortunate to have had access to the papers and first-person accounts of numerous people who had been part of Misia’s inner circle. Misia offers an intimate view of the history of the time,often seen through the eyes of its leading actors. This is an excellent reference work and a good read.

Jan del Monte, blogging from the rue du Cherche-Midi, Paris, France

© 2008 Jan del Monte

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