So what do you think there are more of, leaves on the trees or blades of grass?
That was my eight-year-old grandson’s intriguing question as we drove home from one of his ballgames this weekend. Since the answer would take lots of Google-ing and probably some math, I left that to his dad and Grandpa. But I think Jack unwittingly summed up June. It’s just so green, so lush, so full of promise.
Speaking of grandsons and baseball, Steve and I spent the weekend in Ohio carrying our folding chairs from game to game, following the five-year-old and his T-ball team and the eight-year-old and his coach pitch team (who seem like pro’s after watching T-ball).
These games have not changed in 30 years. Players wave to parents from the field, play in the dirt, forget where they’re at to watch a low-flying plane overhead and are happily surprised when they get a solid hit or make the play at first or second base. Forget marching bands and flag-waving patriots, this is America.
Before heading to Ohio, I joined a friend on a “field trip” into the city to take the Chicago Architecture Foundation Center cruise along the Chicago River. If you are a history or architecture fan (and even if you are not), the “Great Chicago Fire” led to a building renaissance in Chicago. And what started after the fire in 1871, continues today.
The river cruises are led by volunteer docents from the Foundation. I know they have a common script that follows the boat route and they are well-trained to answer questions, but I believe you could do this cruise again and again and still learn something new, because each docent puts his or her own spin on the material. Maureen and I were part of a much larger group of Chicagoans, so this could have been a challenge to the volunteer. After all, we’ve all seen these buildings before and heard the stories behind them, and we have worked/shopped/visited them. Many of us had taken the tour before. But her passion for and knowledge of Chicago history and architecture was so palpable that she kept all of us totally engaged.
Separating history from architecture from the Chicago River is virtually impossible. Fort Dearborn, Chicago’s first settlement, was along the river. The engineers who worked with the architects solved the design issues, reversed the flow of the Chicago River, built more than a dozen movable bridges over the river so the city and industry could grow north and south. They replaced cast iron with steel and glass. The building and engineering continue to evolve. It’s a great story filled by the likes of Daniel Burnham, Louis Sullivan, and Mies van der Rohe and populated by buildings as diverse as the Tribune Tower and the Willis (Sears) Tower. You don’t need to love architecture or history to respect the vision, engineering and problem solving that goes into each structure.
My garden is a little different every day
If you follow me on Instagram (you can do that here), you know I am a little obsessed with my garden, what I can cut or cook from it, other gardens, and so on. One of the great pleasures of a garden is that it’s a living, breathing entity and as such changes a bit every day. Something new is in bloom, there’s a weed invasion where there was nothing two days ago, I’ve solved the problem of rabbits eating the hostas but they’ve moved on to tulips, the daylilies have totally overgrown their space, or, this week, the shasta daisies seem stunted.
I tour the flower and herb beds most mornings, thinking about what I should do next. I pester other gardeners about how they treat various plant emergencies. My husband’s tomato plants have doubled in the last week. The daylilies in the garden are a sea of buds waiting for one or two more days to open.
In this photo, right, is an all white bed I planted about four years ago. I wanted to try a theme. It’s all about texture; I plan to add some Lamb’s Ears and Artemesia near the bottom of this photo. Beyond this bed, daylilies and Russian Sage are getting close to blooming. My Limelight hydrangeas, behind them, bloom later.
To have a garden is to happily anticipate the next bud, bloom, or fruit.
I hope the sun is shining and the gardens are growing wherever you are! Thanks for stopping by. See you next time.
This week has been a lesson in the highs and lows of the human heart. On Sunday morning in Chicago we awoke to mid-April snow. Not flurries, not a dusting, but inches of wet, sloppy, slushy white stuff. In November we would have found it fun. But in April, on Palm Sunday, I didn’t get the joke at all.
In fact, I wanted to pull the covers over my head.
Instead we drank coffee, read the papers, and my husband turned on the Masters Golf Tournament. We got caught up in the drama of the last hole and Tiger Woods’ amazing finish. If you saw this, you know what I mean: sheer joy in every fiber of his being. The crowds and his competitors were equally jubilant. This was a moment Woods was afraid would never come. But it did. A testament to the simplest work ethic: never, ever, ever give up.
What an emotional high. If you watched him hug his children and his mother without feeling tears come to your eyes, you might be missing a heart.
I was in the car on Monday when I heard that Notre Dame de Paris was on fire. How is this impossible? Architectural icons don’t burn; they weather revolutions, plagues, World Wars and Nazi occupations. But this was real. When I got home my husband had the news on, and he said, “This is awful. It’s like Katrina. You can’t stop watching.”
He was so right. We watched it off and on throughout the afternoon, waiting for the firemen to somehow get on top of the blaze, to get it under control, but instead the fire kept growing, and we watched the spire fall. The news commentators talked about the added tragedy of this happening during Holy Week. And we looked at each other and recalled a family story.
Our Notre Dame story
Seventeen years ago Steve and I made our first trip to Paris together. It was a little earlier in the spring and we got back in time to celebrate Easter with my mom, her brother & his wife. (Our kids were away at school.) This was well before smart phones and selfies and so we took along a stack of printed photos (remember them?) from the trip to share over dinner. And as the five of us poured over the iconic sights from Paris — the Louvre, the Eiffel Tower, the Arc de Triumph — my uncle studied one of Notre Dame and remarked that he had been there for Easter in 1945.
What? How could he not have told any of us this story?
Bill was a Chicago kid in the Navy who spent WWII on a small boat escorting much larger ships back and forth across the Atlantic. He spent a lot of time in England and then in Le Harve, France. It was hazardous duty, and like so many WWII vets, he had never shared much about it. But back to Notre Dame…
When we found our voices, we asked what he was doing there. Well, he said, he and several shipmates had leave for Easter and they ended up in Paris. On Easter morning they headed for church. They didn’t know about Notre Dame or go looking for it, it was just the church they found (as if you could miss it, right?) The locals welcomed these young sailors warmly as “Yanks” and led them to seats right up front. I suppose they represented the liberators.
I can only imagine Bill’s blue eyes and his Evangelical and Reformed heart taking in the majesty of Notre Dame: its cavernous space, monumental pillars, stained glass, row after row after row of seats. How can you even take it all in?
Since hearing Bill’s story, I have been to Paris on a handful of additional visits. Notre Dame is simply part of the city, part of the skyline, we’ve walked by it a hundred times (often noting the crowds waiting to get in and said we’ve been here before and we’ll come back at a quieter time), we had breakfast with friends in a cafe just behind it, we’ve admired it up close and from across the river. We’ve picked it out of the skyline from the Musee d’Orsay and Sacre Coeur.
Notre Dame is Paris.
And clearly it will be repaired and rebuilt and continue to play its Parisian role. In the meantime, it hurts the heart to think of its blackened walls and collapsed roof. At the same time we’re heartened by its resilience. Icons can be fragile, it seems, and that should give us pause.
What about you? Do you have a Notre Dame story? I’d love to hear it!
In thinking about this blog post, it occurred to me that though I never thought of myself as a “French Riviera kind of girl,” after our visit there last fall, I’d go back in a heartbeat.
The French Riviera is incredibly beautiful. Blue skies, even bluer Mediterranean water, sunsets that defy any camera to adequately capture them. Turn away from the water and there are hilltops covered in the tiled roofs of villas and, beyond that, mountains.
We included the Riviera on our “great French road trip” because getting that close and skipping it would be foolish, and we wanted make at least some some stops on the “art trail” in the South of France. (You may recall we had been making our way along the western coast of France, beginning in Rouen, then Normandy and Mont St. Michel, before heading to the chateaus in the Loire and then wine tasting in Bordeaux.)
After a beautiful cruise thru the French countryside, with the occasional walled chateau or abbey along the road, we found ourselves navigating in bumper-to-bumper traffic on ridiculously narrow streets, lined with parked cars on each side and street vendors selling everything from sunglasses to take-out dinners. Bikes and pedestrians criss-crossed our paths. What had we done?
But wait, it gets better.
As we motored our way thru the congestion (it was Friday afternoon, the last Friday on the last weekend of the season as it turned out), we were trying to follow Google’s directions to our hotel in Juan les Pins, across the street from Antibes. Google meant well, but when she said turn left, she meant at the intersection we passed 20 yards ago. After a series of ridiculously convoluted detours, we finally pulled into a “parking space” on a sidewalk among a number of other cars and walked to the hotel. Then, having a somewhat better grasp of where to go, Steve moved the car to the underground garage where we happily left it until Sunday morning! (This park nd walk maneuver is one of our best tips. Sometimes finding someplace on foot is easier.)
Our room was large and lovely with a tiny balcony from which we could see the Mediterranean. We would be here for four nights. I don’t think we’d fully appreciated how much we had been “on the road” until now, stopping only for one or two nights along the way. And what a place to take a break. We walked down to the beach, found an empty cafe table, a glass of wine and just enjoyed the sunset. The next morning, after a leisurely hotel breakfast, we walked — yes, walked — about eight blocks, a little uphill and then down, and we were in Antibes!
The French Riviera is a string of cities like Nice and Cannes, and smaller cities and even villages along this lovely coast. We chose Juan les Pins/Antibes as a base because it was smaller than Nice and not as “high end” as Cannes. We could stay close to the water for a reasonable price. All of these cities are connected by a train line than runs frequently throughout the day, like a commuter rail. In fact on Monday, we walked to the station and took a short train ride to Nice.
This is Picasso country
Antibes was a fairly busy place on a Saturday morning, but we easily found our way to the Old Town with the usual tangle of charming, narrow streets and interesting shops. Our destination was the Picasso Museum. (Actually, there are Picasso Museums all over France it seems. I have also been to one in Paris.)
This was on a Saturday morning and we had been taking our time, ooh-ing and aaah-ing over the Antibes waterfront and wandering thru the old town. We arrived at the ticket office just before noon. We walked up to the ticket wndow along with some other visitors only to have the ticket-seller (who on this day was apparently also the ticket-taker) announce to all those around, that it was his lunch time and he would be closing until 1:30.
This is so quintessentially french, you just have to go with it.
So, we wandered back to a food market complete with a cafe, ordered a light lunch, and did some people watching. I checked out a brocante market and we got sidetracked by two wedding parties celebrating along the way. Back to the museum.
This particular museum is housed in the Chateau Grimaldi, a 14th Century Roman Fort turned museum in which Picasso enjoyed a work space in 1946. His time in this space was short, from September until mid-November, but his artistic output was remarkable. He produced 23 paintings and 44 drawings during this short time. Interestingly, he donated all this work to the museum, which eventually acquired much more, including sculpture and ceramics.
About Picasso. Although I am not a huge Picasso fan, I have come to genuinely appreciate his work and its evolution, as well as his influence on generations of artists. The range of his work extends from painting, drawing and sculpture to include set design and ceramics. I wish I pictures of his ceramics, they were stunning. (This is what happens to me. I get so busy looking that I forget to take photos!)
The next day we dared to take the car from the garage to the outskirts of Nice to visit the Musee Matisse.
After a predictably adventurous drive, we arrived at the museum, where interestingly (ironically?) there was a substantial exhibit recalling the friendship and rivalry between Matisse and Picasso. (Did I say this is Picasso country?) Matisse and Picasso met sometime in 1906 at Gertrude Stein’s Paris salon. (Americans Gertrude Stein, her brothers Leo and Michael and Michael’s wife Sarah were important collectors and supporters of Matisse.) Picasso, who was 11 years younger, and Matisse were artistic contemporaries. One of the most interesting displays in the exhibit was a pair of black and white films of each of them at work on similar pieces.
Matisse was 48 and a successful artist when he first came to Nice in 1917. Initially he wrote that it rained every day for a month. He was about to leave when the sun came out and he was hooked by the light. He never really left.
After Matisse we headed further inland to St. Paul de Vence, hoping to at least have a drink at La Colombe d’Or, the restaurant where so many artists paid their tabs by offering a painting or drawing in lieu of money. Did I mention this was a Sunday? On the last weekend in September? Everyone in France goes out to lunch on Sundays, especially beautiful September Sundays. The views on the drive were breathtaking, the town was packed, and the restaurant was unapproachable even for a drink without a reservation.
We knew better, but in our “carefree vacation” mode we just assumed they would throw open the doors for Janet and Steve. Happily, we found a table in an outdoor cafe and enjoyed a delicious lunch and some serious people watching. But we found the town too crowded to enjoy. C’est la vie.
On our last full day on the Riviera, we took the train from Juan les Pins to Nice to explore the old town. It took less than 30 minutes and, once in Nice, there is a handy tram a block from the train station that runs down to the water, making several stops along the way. This was a day to walk and enjoy. Nice is very old and so close to Italy, that the influence is striking. Look at these pastel hued buildings, so different from the neutral stone in the rest of France.
This streetscape of fountains and park amid more substantial buildings is in the heart of the town near the water. Note the clouds: a change in the weather was on the way. Although the sun shone all day, it was much cooler by the time we went to dinner.
This is the Promenade des Anglais. We walked here for several yards before I realized this is the idyllic spot where terrorists drove a huge truck into the crowds celebrating Bastille Day on July 14, 2016. Today the promenade is lined with bollards, but the horror of that night is hard to imagine in the midst of sun and sea.
As luck would have it, we were in Nice on the day of their regular antique market, which in this case was blocks-long, winding from one square to another. I was in heaven, Steve not so much. One of the most striking aspects of these markets is the age and provenance of the goods. There are chandeliers and gilt mirrors, confit pots, textiles and more that I have just never seen in a market in the midwest.
Despite our “longer stay” on the Riviera, we left the next day, promising ourselves to come back. In fact I would call this our “preview visit” to the Riviera. There is so much more to see on the art trail, we never got to Monaco or St. Jean Cap Ferrat or Cannes.
This is the mantra of our travels. And it is, I suppose, why we are totally unapologetic about returning to places that we love. There’s always more to see. What about you? Are you willing to make a return trip to a destination you really liked? Or do you feel each place you visit — in this country or around the globe — needs to be new? I’d love to hear your thoughts on this.
Thank you so much for stopping by. See you next time!
Last week Steve and I finally went to see the John Singer Sargent exhibit at the Chicago Art Institute. It’s a relatively small show compared to others mounted by the AI, but with a interesting cross section of his work. After reviewing his work and doing a little more research, I’m struck by how “American” his work seems, although he spent most of his life in a variety of European cities. Tell me what you think.
Most of us think of Sargent as the painter of Gilded Age portraits. And these he did beautifully. The facial expression, body language and clothing in each is remarkable and distinctive. No wonder he was so “in demand” from a relatively early age.
But before Sargent began accepting portrait commissions, he honed his skills on other works. Street in Venice, 1882, below, is one of several paintings he completed while painting there. (Although Sargent was American-born, his parents took him to Europe as a young child; the family remained there permanently.) I think it’s impossible to escape the moodiness here, or not wonder about the stories behind these three characters.
La Carmencita, 1890, is a more glamorous portrait of dancer Carmen Douset which captures her haughty (or is it defiant?) expression as well as a theatrical pose in equally theatrical dress.
When I think of John Singer Sargent portraits, I think of traditional works like this, Mrs. Edward L. Davis and her son Livingston Davis, painted in 1890. I like the crisp black and white here and the silky texture of her skirt versus the somewhat rumpled suit her son is wearing. And, most important, I think the pose looks totally natural: Mother with her hand on her hip, son just leaning into her.
Two years before the Davis portrait, Singer Sargent painted this portrait of Alice Vanderbilt (later Vanderbilt Morris) of the Vanderbilts when she was just 13. This seems a bit more traditional, but together with the Davis portrait, above, they are a clear representation of what we think of as “Gilded Age” portraits, from a time when new American money could buy the trappings of old European aristocracy.
Shortly after the turn of the century, however, Singer Sargent stepped way from his successful portraiture commissions to spend more time in pursuit of plein air painting. Many of these pieces feature vivid watercolors, including a number of paintings from Venice. The Gondoliers Siesta, 1904, is a beautiful example.
One of my favorites from the AI exhibition, The Fountain, Villa Tortonia, Frascati, Italy, 1907, captures Sargent’s transition from portraitist to plein air painter. The couple are Wilfred and Jane Emmet de Glenn, professional artists and friends of Sargent.
Sargent painted a series of watercolors much later while staying at the Florida estate, Vizcaya, of his friend and benefactor James Deering. One from the AI exhibition is The Terrace at Vizcaya, 1917. Here the color is much lighter, more “Florida.”
Despite living most of his life in Europe, John Singer Sargent never gave up his American citizenship, and painted many of the American political and industrial greats of his time. When I look at his paintings, especially his portraits, they seem to be very American: straightforward poses, not a lot of background, pretty much an American sensibility, but perhaps with the added polish of European training. What do you think?
The next field trip
Right now we are packing bags and maps before leaving on a long-awaited “road trip.” I hope you are following me on Instagram. I’ll be away from the blog but try to post often on IG!
Thanks for stopping by! See you next time – and on Instagram!