Sunday, February 4, 2018

Progression...Towards lighter evenings - Le Progrès

Le Progrès - Levalet - Reims
On this beautifully sunny (and cold) tail-end of a Sunday afternoon, I came across these two surveyors near the cathedral. Another work by the street artist Levalet. I do hope he carries on lightening up the walls around the city! Still bright skies after 5pm here...

Wednesday, January 31, 2018

A is for......

Have yet to buy a car - but here's the sticker!!!

A is for... aardvark, Acrocanthosaurus, African elephant, African penguin, African wild cat, African wild dog, agouti, Airedale terrier, Alamosaurus, alligator, Allosaurus, alpaca, amoeba, amphibian, anaconda, angelfish, Ankylosaurus, ant, anteater, antelope, Apatosaurus, ape, arachnid, Archelon, Arctic hare, Arctic wolf, armadillo, assassin bug, Avimimus, aye-aye…….and the list goes on...

And A is also for another species - the apprenti conducteur or young (!!!) driver who has passed the driving test, but will maintain learner status for the following three years.

It is said that you should probably envisage as many lessons as the years in your life when learning to drive…. Let’s just say that I must be planning to be around for some time yet – but with wheels!

The Institute of Human Paleontology in Paris - Institut de Paléontologie Humaine (L’IPH)


Set on the old horse market, near the Jardin des Plantes in the 13th arrondissement in Paris is the Institut de Paléontologie Humaine (L’IPH).


I came across it by chance last year and was amazed by the beautiful sculpted friezes along the façades of the building. Unfortunately, all the photos disappeared when my computer broke...


Nevertheless, I was able to time another visit with the Les Journées du Patrimoine in September and therefore managed to enter the establishment – a stroke of luck as it is not open to the general public.


To ensure entrance, I had to reserve my visit in advance, and on the big day, I duly queued up before entering to listen to the talk given in the amphitheatre.


I did feel quite a fake, as my main interest was admittedly the architecture and decoration of the institute itself rather than the traces of the our ancestors from prehistorical times.


Although the assorted parts of the anatomy on display of Neanderthals and Cro-Magnons were interesting to look at, I did not feel any particular connection with these as such.


I loved visiting the collection rooms with their vast wooden display units bearing rows upon row of skulls; shelves with countless drawers, endless glass cabinets and expanses of parquet floors.


This reminded me of my favourite old museums before they were overtaken by digital, interactive gimmickry that always seems to distract you from the main object of your visit…


However my mind could not get any real grasp of the time perspective since this was a question of tens of thousands of years.

I could not imagine any common link between these ancient beings and their distant descendants – us.


Nevertheless, in one of the main rooms was a collection of artifacts that cut across that vast stretch of time like a lightning bolt.


Carved onto large pebbles and smooth stones were the unmistakable images of animals, whilst other display cabinets contained effigies of the female body.


The skill that had been employed to create these is breathtaking, and the ability to reproduce the bestial essence of the creatures with such accuracy -  bear, bison, horse – seems to accentuate the human in their creators.


I found this incredibly moving, just as I did the Chauvet cave paintings from Werner Herzog's documentary, The Cave of Forgotten Dreams (2010). Alongside that, of course, I was very pleased to be exploring what is indeed a ‘temple dedicated to the prehistoric’ as this also happens to be a magnificent example of art nouveau!


The IPH was the first research centre in the world set up for the unique study of Fossil Man in order to present the findings from a naturalist and ethnographical viewpoint, incorporating each stage of study, from the excavations, analysis  and finally the publication of scientific results.


It was created in in 1910, on the demand of Prince Albert I of Monaco (1848-1922), who had a keen interest in natural science, especially oceanography and human paleontology.


He felt that the progress in science would improve society and recognized that there was a need for permanent means of research and full academic recognition in this area of science.


The prince was advised on this project by l’abbé Henri Breuil and  de Marcellin Boule, professor of paleontology in the Muséum National d’Histoire Naturelle, following a visit to the grottos of the Pyrénées Cantabriques in 1909.


The prince also financed this ambitious cause. It was the third oldest French scientific foundation, after the l'Institut Pasteur and l'Institut Océanographique.


Three main missions are carried out by the IPH ; field (archaeological excations) and laboratory research ; the conservation of all artifacts found ; the issue of research findings via meetings, conferences, exhibitions and publications. It works in collaboration with Asia, Turkey, India, China and South Korea to trace the first prehistoric settlements.


The architect Emmanuel Pontremoli, awarded the prix de Rome in 1890 and director of the l’École Nationale Supérieure des Beaux-arts, was commissioned to carry out the work for the creation of the institute.


He took on the craftsmen who had already worked under him for his realisation of the coastal ancient Greek Villa Kerylos (Beaulieu-sur-Mer, in the south of France). Finally finished in 1914, the institute was both a temple to the past, yet in its architectural structure very much anchored in the present.


It used the array of materials that had started to be brought together for the construction of buildings in the art nouveau period and for their rich eclectic decoration – with frescos, iron-and wood work, mosaics and glass. The institute has a particular imposing elegance– set on a slope – and the wealth of detail on the double façade draws you in closer.


It is built of Euville limestone, with brick insets and above the main entrance are set the coat of arms of the Prince of Monacco. It is set out over four levels, each of which respect the initial scientific requirements of the IPH for research, collection and display.


On passing through the beautiful glass-and-metal entrance, you encounter the beautiful, rounded structural forms of the hall, with its intricate mosaics underfoot, which leads onto various rooms – such as the conference hall where the present director Mr Henry de Lumley gave his talk. His total devotion to archeology, geology and the prehistoric, expertise, yet warmth and total lack of pretention created a unique atmosphere, whilst the room itself, with its art nouveau detail, was incredible.







 As you go up the impressive staircase, you feel a strange mixture of sobriety and calm, alongside the odd impression that such ancient relics of the past can give – the traces of the dawn of civilisation in Man. On the first floor is the library which is the central feature from which the other rooms radiate.







You just want to get locked in overnight to expore – hence my disappointment on my second trip to the institute when I was told that visits were only for professionals, and my excitement when I realised that a third trip would gain me access thanks to the Journées du Patrimoine.


What caught my attention when I first sighted the IPH last summer was the stunning sculpted bas-relief frieze that runs around the three façades of the building. These too create a strange impression of proximity, yet imposing distance – featuring civilisations far removed from our own, yet still clearly human. Part of this is due to the decision of the sculptor, Constant Roux, to draw on scenes of the daily existence of primitive peoples which serve as a distant echo to that of prehistoric man.


In this way, it relies on comparative ethnography to convey the image of the familar, yet ‘wild’. We see depictions of acitivities of the traditional hunter-gatherer peoples, killing beasts, fishing, gathering around each other through portraits of aborigenes of Australia and the Fuegians of South America.


 Actual images of prehistoric man are not presented directly, other than those of Cro-Magnons, shown painting cave walls, at the entrance of the IPH.


I found this approach to be very effective, firstly for the incredible evocation of emotion and vitality shown on the whole body of these sculpted individuals, but also from my recollections of the study of the ancient Fuegian people and the Inuit.


The official inauguration of the IPH took place at the end of 1920, just two years after the end of the Great War, during which civilized man displayed massive, unprecedented acts of savagery on a global scale. I found that quite a humbling thought too….


What is also strange is that passers-by just amble along, without even noticing the incredible decoration of this building, but I suppose that’s the lot of modern-day man. We’re all too caught up in our daily occupations and fleeting preoccupations, eyes rivetted onto some screen or another to lift our gaze up and beyond.


What did catch the general public’s attention a few years ago was the arrival in the IPH of a certain illustrious beast, of some 15,000 years old. Priscillia the fossilized woolly rhinoceros was installed in the heart of the institute library in December 2011, to commemorate the centenary of the establishment, and apparently named after the daughter of her donator.


She is one the last representatives of the species Coelondonta antiquitatis. Unfortunately, she had to be relieved of her amazing horn, for fear of it being stolen, so what we see now it a golden replica.

Although it might not be that easy to go inside the IPH, the exterior of the building itself is well worth a visit - just remember to look up!


Saturday, January 27, 2018

La Maison de Balzac - Paris



























One of my favourite places in Paris, is set in what was once, in fact, a distinct commune on the Western outskirts of the capital itself ; Passy. Until the Ancien Régime, this area was initiallly inhabited by monks who cultivated their vines on the rich lands alongside other farmers, and stocked their produce in the underground cellars created by the quarry extraction of lutetian limestone. After the Revolution, it attracted the more affluent and ostentatious members of Parisian society who benefitted from the greenery of the area, the thermal springs and spa facilities and sweeping views towards Paris.


In 1860, the hamlet was annexed to Paris, in accordance with the grandiose urbanisation project of Emperor Napoléon III to create Le Grand Paris, at the hand of Baron Haussmann. However, in the 1840s, Passy was still a relatively buccolic haven of peace, with its narrow, winding antiquated streets, fleets of stairs and slopes that were matched by the underground galeries that appealed to one of its most famous residents; Honoré de Balzac (1799-1850).

Why should the great writer, of gargantuan proportion and ambition have sought refuge in such a manner ? Having debts that equalled his artist talent and literary legacy, Balzac spent most of his adult life playing cat-and-mouse or perhaps Trivial Pursuit with debt collectors and creditors. And so it was that he spent many of his last years, hiding out in lodgings built on the lands of the former vineyards. La Maison de Balzac, as it is known today, was an odd dwelling, curiously spread over three floors into which one entered "un peu comme le vin entre dans les bouteilles". (Théophile Gautier 1859), passing down the top levels to reach the first. Under the pseudonym of Mr de Breugnol, Balzac installed himself therein remained there from 1840 to 1847, devoting himself wholeheartedly to the correction of his vast literary entreprise -  La Comédie Humaine. 



Here he found the peace required, "C’est le nid, la coque, l’enveloppe certaine de ma vie !" The house was saved from property developers in 1908 by Louis Baudier de Royaumont by the creation of a museum dedicated to the great writer. This is the only one of Balzac’s homes to have been conserved, situated between Rue Raynouard and Rue Berton, in what is today the 16th arrondissement of Paris. As a dramatic backdrop to La Maison de Balzac, we have what has been the ultimate symbol of France for well over one hundred years; the Eiffel Tower. And yet this was erected in 1889, some forty years after the writer’s death. What Gustave Eiffel achieved in technical mastery and architectural innovation, with a vast monument that dominated the capital, Honoré de Balzac had accomplished in literature via his magnus opus, La Comédie Humaine, with its vision of society in the city and beyond.


Born after the Revolution, at the turn of the century, Balzac’s life was punctuated by great political and social change – the years of Empire, Restoration and the July Monarchy. His lifetime witnessed the upheaval in the structure and fabric of society, with the emergence of the bourgeoisie sweeping away the values of the aristocracy with an ever-growing emphasis on material acquisition and social gain. The morals and ambitions of this naissant social climate intrigued Balzac, as he watched on with a mixture of dismay and disdain, as money became the driving force in a milieu where everything, and everyone, would ultimately have a purchasing price. However much he may have been shocked by the mercantile, ambitious nature of the parvenu society around him, Balzac’s life was likewise governed by financial concerns, professional drive and social aspirations.


For all his regret of certain values afforded by the noblesse and the Church, and his vast admiration for Napoleon, Balzac sought ascension too, not so unlike many of his characters. He was in awe of the rampant cult of the individual ; horrified and admiring and yet he too was ready to ‘go it alone’. Rastignac’s cry "A nous deux, Paris " in Le Père Goriot could indeed have been a reiteration of the writer’s own words as an impoverished, failed lawyer, printer,  pot-boiler producer and publisher in 1828, before the publication of his first successful novel, Les Chouans in 1829. His undertaking of La Comédie Humaine was largely down to an attempt to pay off the crippling debts that he had incurred from his various business endeavours. Balzac was the first French novelist to serialize his fiction in installments in the daily newspapers. Perhaps this drive enabled him to have a greater insight into the mindset of many of his contemporaries and heightened his desire to produce a vast panorama of society to encapsulate the world around him.

 As an author, he sought to be as omnscient and omnipotent as the figure he so admired; Napoleon. Indeed, he claimed that what the emperor had achieved by the sword, he would do by his pen ; order and absolutism being the key words. For Balzac, kings may well command nations for a certain time, but "the artist commands for whole centuries, changing the face of things". Certainly, his vision of the growing capitalism of the 19th century and the urban proletariat as product of the system, led to a portrait that was so incisive that Karl Marx himself professed great admiration for the writer, whilst Friedrich Engels recognized the accuracy of the economic depiction of the period.


Balzac was at once reactionary and revolutionary in his portrayal of the greed and corruption around him, whilst equally amazed at the possibilities open to the shrewdist members of this new world order. Just as the characters he created, Balzac was alsovery much a creature of his times, ready to respond to the cry of the prime minister of 1843, ''Enrichissez-vous.'' 

Born into a modest family and deprived from an early age of material comfort and maternal warmth, Balzac was drawn to the upper echelons of society occupied by the fairer sex. Romance with wealthy, titled women, far older than himself offered him the means to advance and perhaps fill the void that the inadequate mother-figure had left in his life. Just as his father before him had changed the family name to improve his fortune, Balzac too left his mark. Thus, from a mutual desire to enhance their social standing, father and son aligned themselves with an old family of French nobles, complete with their own coats of arms! Balssa assumed the more noble form Balzac - more fitting to the father’s administrative post in the King’s Council in the pre-Revolutionary years – and Honoré Balzac added the nobiliary particle de to his name decades later. Although this offered Balzac fils a certain mobility, he never freed himself from the strained relationship with his mother, which generally resumed itself in her fears and frustrations over his floundering financial status and lack of professional success. As the issue of money plagued his existence– mother and son were forever shackled together in a dialogue punctuated by her reprimands and his attempts to prove his worth.


Everything about Balzac was grandiose, excessive and ambitious. Charles Baudelaire probably resumed his true nature when declaring that this was "l'homme aux faillites mythologiques, aux entreprises hyperboliques et fantasmagoriques […] ce gros enfant bouffi de génie et de vanité, qui a tant de qualités et tant de travers que l'on hésite à retrancher les uns de peur de perdre les autres…". Other writers would label him as Promethean, shining a light on the urban underclass, cutting trails in the Parisian jungle, observing the epic voyages undertaken by anti-heroes, as a 19th century Homer. Emile Zola wrote that his predecessor had created a literary Tower of Babel that remained unfinished on the demise of its architect, adding that only Shakespeare had created such a large, vivid humanity in his work. It was, naturally, La Comédie Humaine that inspired Zola’s study of the Rougon-Macquart -Histoire naturelle d'une famille sous le Second Empire.


Balzac set upon the task of studying and representing the history that was overlooked by the majority of writers ; that of human mores – les mœurs  – the values, standards, customs and habits that encompass, form and resume a society. Following the contemporary desire to classify the natural world through scientific analysis, Balzac wished to carry out a similar procedure on the microcosm of modern life ; Paris and the provinces. This study would span the whole of society around him, in a proclaimed attempt to rival the état civil with some two thousand characters – frequently inter-related. The vast diversity of material would be brought together in this unified series of books; La Comédie Humaine.


Initially, Balzac planned to write 137 books, but died before the completion of the task -  leaving behind a mere 97 !There were to be three general categories of novel ; Etudes analytiques, Etudes philosophiques and the Etudes de mœurs. These would respectively deal with the principles that ordered society and human life therein, the causes that determined human action and finally the effects of those causes on six different settings – scènes – Parisian, provincial, the country, private, political and miltiary. Of epic proportion, the work was partly inspired by the literary masterpiece of Dante Alighieri - The Divine Comedy. Whilst Balzac is often referred to as the ‘father or realism’ in literature, it would be more exact to say that he was an "impassioned visionary", as Baudelaire stated. Balzac himself said that  "la mission de l’art n’est pas de copier la nature mais de l’exprimer", and this he did through rich, hyperbolic description of all that formed the basis of this modern-day, material existence.


What separated man from beast was precisely this all-devouring need for material acquistion as a form of self-validation and expression and the 19th century offered unprecedented, limitless means to do so, to so many people. Influenced by the zoological principles of Saint-Hilaire, with the concept of organic composition and unity of species, Balzac conceived man to be a social animal. This was a being animated by fluide vitale which could give rise to a surge of will and determination that would steer him away form his banal destin animale, yet could easily lead to his human destruction too. The energy and quasi- supernatural forces within the individual spark off passions and obsessions that assume an identity of their own, to incredible effect. Just as man can be classified according to type through "pastoral consistency" - milieu, career, and status, so too the transgressing individual is identified by his particular obsession.

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Balzac’s work is scattered with recurrent superhuman characters ; the most notable of whom are anarchic, tyrannical, monomaniac figures who flout social and moral laws in order to impose their own, to lesser or greater success. The atmosphere is ever fraught by a tension of potential devastation that lies just below the rich, busy surface of Balzac’s world.



Meticulous descriptive passages devoted to the clutter of contemporary life take on a hard, glittering significance. Personal effects assume a life of their own. They are a veneer, painstakingly applied to every layer in society, yet they reflect as much as they conceal. They reflect the vital energy that animates each individual in his or her personal quest and as such betray the person beneath.


In the amassed detail of these interminable passages, Balzac reveals much of himself, with a burning desire to surround himself with collections of beautiful objects, running alongside a will to create order out of chaos. Balzac, the man living by his pen and thus from the effort of his ink-stained hand, was consumed by the need to satisfy these simultaneous drives. He surrounded himself with busts of Napoleon, the emperor whom he so admired, and decorated his persona with the trappings of success, whether he had the ability to finance these or not. It is no wonder that creditors hounded him throughout his life nor that on death, he still had outstanding bills for an order of fifty-eight pairs of gloves, amongst many others for the extravagant foibles and friperies, for which he would readily fall into debt.


 Alexandre Dumas, a contemporary writer remarked that they both shared a taste for appearance – le paraître -and could be classified as "lion dandies". Balzac was perhaps most well-known for his magnificent turquoise-incrusted walking cane, which sealed his reputation as a literary and literal dandy.

Balzac’s life-long penchant for the luxurious and opulent in tailored clothes, jewellery and furnishings was but just one of the manifestations of Balzac’s voracious appetite and obsessive drives. Not only did he frequently live life ‘large’ – in great excess and quantity, he was also capable of subjecting himself to incredible discipline and a restrictive lifestyle that ultimately led to his rather premature death at 51. He would impose upon himself a timeframe of between 16-18 hours a day in which to work on his literary pieces, prepared to rework the same page up to 20 times – driving the printers to distraction in the process ! His strict work ethic and mammoth work load required him to live like a monk, frequently in solitary confinement, shut up in his creative cell that was both a haven and a hell hole,"driven by the horrible demon of work seeking words out of the silence, ideas out of the night".


It is very moving to visit La Maison Balzac today, and see these same spaces "mon trou de Passy", in which he had been holed up "comme un rat" over a period that had pushed his creative genius to its limits. Even his clothing reflected this religious devotion to art ; long white robes and Morocan slippers. Whether we enjoy the literature of Balzac or not, the simple fact remains that the man was indeed a genius, with a mind of such intellectual capacity and creative imagination that it is truly humbling. How was it possible for Balzac to follow the intricate trails of this multitude of characters that thread their way through his novels, in such a way as to create a coherent whole – La Comédie Humaine ?

Compared to what we have at hand today for any creative endeavour, artists of all types in earlier centuries were tested on every level by their reliance on comparatively rudimentary tools of trade and the expense of these. I cannot help wondering how the talent and creative output of such great individuals would have benefitted from the means that we have today -  computor, photocopier, scanner and so on. Not to mention a simple biro and Tippex ! Even the basic material requirements for his craft must have made the task complicated – writing with a quill pen without any means to copy work in the draught stage must have led to hours of extra work, and huge volumes of paper. How was he able to keep track of his creations, trace their evolution and observe their influence on those around them, over the years? Some of these characters almost seem to take on form in flesh and blood, not the least for Balzac himself, who is even said to have called for his fictive doctor when lying on his death bed "Il me faudrait Bianchon !… ". What would the literary greats have been, had they been equipped with a smartphone, for example ? Would that have led to even more masterpieces ; or would it have stifled the need to create such work, as social media would have mapped out movement in society in an instantaneous fashion ?

Balzac’s capacity for hard graft was legendary and his working habits made excessive demands on his health and constitution. He would rely on vast quantities of coffee to give him energy, even resorting to eating coffee powder itself when mere drinking was insufficient. In the museum today, Balzac’s elegant coffee pot is on display, alongside other personal effects that enable us to read aspects of the character of this great writer. These objects afford a glimpse of the complex, contradictory nature of Balzac but never offer a complete picture. Aspects of his nature were reflected in that of his personages, like them he possessed as many virtues as vices.

Here was a novelist who would write meticulouly about the meanderings of his fictive characters, but would reveal very little of his own life, when it suited him. He could be a public figure, strutting around like a proud dindon in his finery, yet was capable of withdrawing from the public eye for months. Passages of his life remain mysterious today, and his discretion in all affairs of the heart served him well. Able to win people over, he was appreciated by many - "un grand conquérant d’âmes" – remarked the writer Octave Mirbeau(1848 – 1917). Somewhat short and barrel-shaped, with a rather unattractive face, Balzac was by no means blessed by a handsome physique. On first sight, Balzac could effectively turn off a conquest, yet he soon gained ground to remarkable effect. His charm and wit, willingness to please, seductive words, marked discretion and manifest intelligence afforded him a way with the women that his appearance alone denied him. Furthermore, he possessed a notable skill at attracting those with sizeable personal fortunes ! Of his lovers, many were already married, most were affluent, but few marked his existence as much as the Polish countess, Madame Ewelinade Hanska.


In the musem display cabinet lies his turquoise stick - designed to enable Balzac to show off in public, yet also fashioned to prove his private devotion – decorated with the necklace of his paramour. In this he was rather like the chivalric knights, bearing their ladies’ honour during their long quests, relishing the hardship that heightened their belief in their cause. He declared his love for her would be complete "comme on aimait au Moyen Âge, avec la plus entière des fidélités". This was certainly a unique relationship, most of which was conducted via secret correspondance over many years. It was also to prove to be the ultimate waiting game, in which Balzac lost as he simply ran out of time, health and money.


It started in the 1830s, when Madame Hanska made an anonymous comment to Balzac, concerning his portrayal of women. Signing herself as l’Étrangère, she incited Balzac’s curiosity and a desire to track her down. This he did, and in so doing sparked a particular, even peculiar liaison, largely punctuated by long periods of separation, and fed by hundreds of letters. The last seventeen years of his life were thus dominated by his love for her, his eternal wait for Madame Hanska to become a widow, the need to bide his time while she hesistated, the necessity put all on hold in order to settle financial concerns… Despairing of being kept at a distance, rebuffed or rejected, Balzac destroyed most of the letters from his lover in a fit of pique. It is difficult to measure the true nature of this relationship, although I did find it curious to learn that he wrote La Cousine Bette when Mme Hanska is said to have lost their love-child. I remember this novel being a very dark portrayal of female cunning, especially regarding pregnancy and paternity. Finally, the couple were together, as man and wife, but the lavish marital home Balzac had prepared for them in Paris, no expense or extravagence spared, was to be their ruin in every sense. After a mere five months of marriage, Balzac died, leaving his wife his substantial debts, and apparently in the arms of another man.


Perhaps of all Balzac’s characters, he was his greatest creation. It makes me sad that his work is largely overlooked today or rather is set as part of the language curriculum, so that for most young people his name is systematically synonymous with « boring ».While many profess that they couldn’t care less what he writes about because it is totally irrelevant today, the irony is that Balzac, art and artist, are probably more relevant than ever. I really enjoyed the television adaptation of this great man’s life, with Gérard Depardieu in the key role – almost as if he were born to play Balzac.With Fanny Ardant and Jeanne Moreau as the two women who so dominated Balzac's life, this was great viewing.

The steps leading down to the Maison de Balzac
The Maison de Balzac is closed for renovation work until the end of 2018 - but you can see
the objects that my camera just could not do justice to on the official site - namely that beautiful turquoise cane!