The husband planned a meticulous trip to Europe for the nourish-n-cherish household. Trips to Europe are rarely complete without museums and so, off we went with our admiring hats on. I do not know the different periods in European art, and after several trips find that I am astounded by how much there is to learn and appreciate.
I do not know why Claude Monet spent 30 years in his garden in France painting the lily pond. I am even less capable of recognizing a Monet from a Chagall. But I am glad that Monet’s masterpiece with the lily ponds in his estate in France have a home designed specifically to appreciate the art like he intended it to be (The Orangerie Museum: Musée de l’Orangerie). How many artists get to have that particular claim to fame?
After the Louvre, the Orangerie museum was a treat. The Orangerie museum was a beautiful little museum tucked away near the most historically magnificent palace grounds in Paris. (Fun fact: apparently, the word orangery refers to a protected ground in large palaces in Europe : a greenhouse for growing oranges, lemons and other citrus fruits in cool climates.)
We each went our ways and did not have to worry about getting lost. It was a small, compact museum with works of a few artists, and it was all very done. Really – the way Europe reveres its artists and preserves its art history is admirable. In about 3 hours, we were done and ready to explore the rest of Paris by foot. As we walked on, we fell to discussing Art – the Renaissance, the rise of cubism, and all the rest of it.
How some artists chose lighter subjects such as Auguste Renoir in these paintings of the girls bonding over music, or whispering a secret together.
Or the beautiful nature filled works of Sam Szafran where the human is but a tiny part of the intricate patterns of nature
As we trundled away from the Orangerie museum towards the Eiffel Tower in Paris, it was irresistible to stop and take a few pictures, very well knowing that I may never look at them again.
We ended up in due course, after our glacial progress through the streets of Paris, at the foothills of the Eiffel Tower. It was there that the many perspectives of Art we’d just learned about became apparent. The son tried taking pictures using the vertical panorama technique that I had shown him.
He showed us cubism.
We even have a picture of me pulling off the invisibility cloak after apparating to the foot of the Eiffel Tower. I wonder why these art forms do not deserve their place in museums of modern art.
How better for our artists to capture the true magic of a European vacation?