What is it about Siena that makes an artsy traveler swoon? Mention Siena to anyone who has traveled there and immediately they’ll clasp their hands to their hearts and look heavenward while intoning their undying love for this gem of a medieval city.
Every time I visit Siena (and I’ve been five times), I am inundated with a profound sense of living history. Of course, I could say that about many other places in Europe, but there’s something about Siena that makes it extra special.
Why is Siena so Special?
One reason why Siena is so special is that the modern world intrudes so discreetly that it’s easy to believe, especially at night, that you’ve been transported seven hundred years into the past. The stone and brick walls of ancient buildings soar into the deep blue sky either side of stone-paved streets. Everywhere you look are bricked archways, scarred and ancient wooden doors, iron rings for tethering horses, and shadowed alleyways. Everywhere the ancient past lives and breathes.
Walking Into the Campo
When I walk into the Campo—surely, the most beautiful public space in the world—I feel my throat constrict with emotion. I am in Siena! I am walking where my Sofia (from The Towers of Tuscany) walked, where my Lena grew rich and regretful (The Merchant of Siena – to be published) and where hundreds of years of Sienese people have lived and died, fought, prayed, loved, and hated.
On these bricks in the Campo, laid down even before the Black Death, people in heavy gowns walked and talked. They argued and haggled in business, they gazed at each other with love, they snubbed an enemy and clasped hands with a friend. This space—this Campo—has teemed with life for centuries, its shape and beauty unchanged through wars and famines and plagues and the chain stores of the 21st century.
Views Over the Campo
The view across the Campo to the Torre Mangia and Palazzo Pubblico from the cafés lining the high side of the Campo has not changed appreciably since the buildings were new.
Lorenzetti strode across these bricks on his way to paint the Allegory of Good and Bad Government in the Palazzo Pubblico. From one of the windows in a palazzo above where I sit sipping my Aperol Spritz, my Lena watched her lover Paolo enter the Campo with an army of mercenaries. My Sofia first entered the Campo with Francesco from the street to the left of the Torre Mangia and was instantly captivated.
Siena & Visitors
Siena is still a pulsing living city with more locals than tourists, although there are certainly plenty of tourists. But the crowds are manageable and easy to sidestep. One minute, I’m on a street streaming with people, occasionally standing aside to let a car go past. The next minute, I turn into a small side street and am alone with the ghosts and my imagination.
At night, Siena belongs to the locals, particularly young people. The Campo is filled with groups of teens–boys in one tight knot, girls in another. In the side streets, students spill out from the bars, glasses of wine in hand and voices at full volume. In the wee hours, a cadre of loud young men pass under our window, singing with drunken abandon. It’s more endearing than annoying.
Reliving my Novels in Siena
Everywhere I walk in Siena, I think about scenes in the two novels I’ve set there. Is this the street Lena ran down before being captured by mercenaries in The Merchant of Siena? In this piazza, did Sofia in The Towers of Tuscany watch a girl be whipped for dressing like a boy? I’ve spent so many months, years even, seeing these streets in my mind as I write that to walk in them now feels like I’m coming home.
Arriving in Siena
I booked a room at the I Merli di Ada which is inside the walls of Siena. Usually, we avoid places inside medieval towns because we know from experience that driving through narrow medieval streets mobbed with people is a recipe for disaster. But we wanted to be close to the action in Siena and so decided to take the risk.
The hotel sent instructions about parking. We were to enter Siena from the Porta Romana, drive to a little piazza near the hotel, drop off our luggage, then hand our keys to a valet parking attendant. The cost of valet parking is an exorbitant 30 euros per day, but I don’t care. The benefits of staying within Siena’s walls and having someone else park the car far outweigh the cost.
Driving Into Siena
With trepidation, we follow the GPS directions to drive through the Porta Romana past a phalanx of official-looking people in uniform who don’t stop us. I know we’re being electronically monitored. If we stay too long in Siena, we’ll be subject to a hefty fine. Tourists are allowed a small amount of time to drive to their accommodation and drop off their bags. They then must skedaddle, fast (or in our case, give the keys to a valet who does the skedaddling for us).
The GPS directs us along a street with pedestrians who stand aside to let us pass. Gregg drives very, very slowly. We turn left as directed up a side street and then sharp left again. The hotel’s directions tell us there will be a little piazza to our right where we can stop to unload our luggage. Lo and behold, there it is! We pull in and breathe a sigh of relief. I hop out and walk a few paces down the street to find our hotel.
Entrance to I Merli de Ada on a side street in Siena
Phew! That was one of the easier entries into a medieval town we’ve experienced. With great gratitude, Gregg hands the keys to the valet who appears moments later to smilingly move our car to God knows where and I don’t care! We’re informed that we’ll see the car again on Sunday. Spoiler alert – we do.
I Merli di Ada
The I Merli di Ada hotel is lovely. The entrance way is brick-arched and reeking with history. The tiny elevator that climbs very slowly from the lobby to the third floor is the only modern intrusion. We put our luggage into the elevator and climb the winding marble staircase. How many feet have climbed here? I don’t know how old the current building is, but I can say with certainty that its foundations are probably medieval, if not older.
Lobby of the I Merli di Ada in Siena
Our room on the third floor is high-ceilinged, the white-painted beams reminding us of former times. I can’t help wondering how many people have lived and breathed in this space over the centuries. The window looks out over the street and the building opposite—the same red brick as our building with arched windows, most shuttered.
First Walks into Siena
We walk out into Siena with an agenda—find a laundromat, eat a late lunch, buy Gregg some art materials, and, most importantly, drink in our first encounter in six years with my favorite city in Europe.
Thanks to Google, I find a laundromat just down the street, so we head there first. The directions are thoughtfully posted in both Italian and English. Within minutes, we’ve loaded our laundry into one of the machines, inserted eight euros, and pressed the start button. We leave to find lunch.
Lunch in the Campo
Minutes later, we are entering the Campo and my knees go weak. I want to run right out into the middle and twirl. I resist (although later I do a spot of twirling under the cover of darkness–see later in this post). We choose one of the ubertouristy cafés on the edge of the Campo and settle in.
Even Rick Steves, who usually eschews places in ‘high rent’ areas like the Campo, has written in his Siena guidebook that camping at one of the cafés on the Campo is a must-do. Hang the cost.
As it is, the cost is perfectly reasonable, the service efficient and good-humored, and the food really delicious. We split an order of bruschetta along with a large salad replete with anchovies, hard-boiled eggs, very fresh greens, and tomatoes.
The sun beats down pleasantly warm as we gaze out at the Palazzo Pubblico and the Campo. I am truly in heaven.
Errands in Siena
After our late lunch, we hightail it back to the laundromat, put the clothes in the dryer (another five euros), then go in search of art materials. We find them at a little shop on the other side of the Campo. Gregg buys a pad of paper and some paints and looks forward to many happy hours of art creating to come.
We pick up a few groceries so we don’t have to buy the hotel breakfast in the morning, then huff up the three flights of stairs to our room for a bit of quiet time before dinner.
Dinner in Siena
In the evening, we venture out to enjoy an excellent dinner at a well-reviewed osteria not far from the hotel. The service is excellent and the ambiance cozy and warm in a brick-vaulted room that’s probably been in use for centuries.
So far as I can hear, we’re the only English speakers. Most of the other diners are Europeans. We start with fried cheese accompanied by fresh pear sauce recommended by the server and then Gregg has a tasty pasta with bacon and I have thinly sliced Florentine steak. We share a green salad. The food is fresh, simply prepared, and absolutely delicious. With wine, the bill is about 60 euros—perhaps not a bargain, but certainly not over-priced considering the quality of the food, the service, and the ambiance.
Evening Stroll in Siena
After dinner, we stroll to the Campo where I do indeed twirl across the 14th-century pavement and snap endless shots of the floodlit Palazzo Pubblico in front of a deep azure sky. We end the evening with a walk along narrow medieval streets and a final stop at a gelateria for a small cup with two flavors—very dark chocolate with amaretto for me; stracciatella and fragola (strawberry) for Gregg.
A Perfect Full Day in Siena
The next day, I’m up early, excited to begin my only full day in Siena. I start with a caffè Americano at a lovely little café just down the street from our hotel. The place is deserted and I spend a productive hour working on The Merchant of Siena. Set in the second half of the 14th century—a time of great strife and hardship for Siena—the novel tells the story of a woman who is determined to control her own destiny in a world where all the odds are stacked against her.
April Weather
The weather has turned cloudy and chilly. By the time I emerge from the café, the rain has started in earnest, and I wish I’d brought some warmer clothes. I mistakenly thought that Italy in April would be warm. It can be, for sure, but it also can be chilly and wet. There’s a reason why the Tuscan countryside is so green.
I return to the hotel and together, Gregg and I set out to tour the Palazzo Pubblico. I’m anxious to see an exhibition of costumes from the Palio, and of course to revisit my favorite Lorenzetti frescoes.
Palazzo Pubblico
The Palazzo Pubblico is most certainly the most photographed building in all of Siena. I’ve taken dozens of photos myself in as many lights as possible—from brilliant sunshine to moonlit evening. The Palazzo Pubblico with its accompanying tower (the Torre Mangia) was built between 1297 and 1310 and is considered the world’s most perfect example of civic Gothic architecture. The Signoria and the Podestà resided in the Palazzo Publicco and still today, the building is a symbol of political power.
Alas, I discover while buying our tickets that the Lorenzetti frescoes are being renovated. Oh well. I’ve seen them a few times already, and there is still plenty to see between the public rooms and the current exhibition of Palio costumes.
Exhibition of Palio Costumes
We first head downstairs for the costume exhibition that features examples of the medieval-inspired costumes worn by participants in the Palio. I’m a sucker for a good costume exhibit and this one certainly doesn’t disappoint. The only thing lacking are women’s costumes since the focus is on how the riders in the Palio dressed and all of them are for men (or at least I presume so).
Public Rooms in the Palazzo Pubblico
Upstairs in the main part of the Palazzo Pubblico are the stunning reception rooms. With the room containing the Lorenzetti frescoes of Good and Bad Government off limits, the main highlight is the Sala del Mappamondo (the World Map Room), which was once the headquarters of the Council of the Republic.
Martini Fresco
I stand in the middle of the large room and stare at the Maesta by Simone Martini. In The Towers of Tuscany, Sofia stands exactly where I stand to look at the Maesta. Although obviously restored, the 2024 version probably doesn’t hold a candle to the brilliantly colored original that Sofia would have seen.
Fresco of the Maesta by Simone Martini in the Palazzo Pubblico in Siena
I spin around to see Martini’s other famous masterwork–the fresco of Guidoriccio da Fogliano. Mounted on his charger, the captain of the Sienese army rides across the territory he has just conquered (Montemassi, in 1328). Recently, art historians have disputed the attribution of this work to Martini, claiming that it was either a slightly later work or even a 16th-century fake. Part of what sparked the debate was the 1980 discovery of a slightly older scarred fresco lower on the wall. This earlier painting depicts two figures standing in front of a wooden-fenced castle. Some claim this is the fresco Martini painted, while those who support the authenticity of the Guidoriccio attribute this older fresco to Duccio, Pietro Lorenzetti, or Memmo di Filippuccio.
Fresco attributed to Lorenzetti in Siena’s Palazzo Pubblico
Who knows! It’s awesome whoever painted it.
Siena Cathedral
The sun bursts forth after our visit to the Palazzo Pubblico. Gregg heads back to the hotel and I set off to tour Siena Cathedral and the adjoining museums. Here’s where you’ll find the crowds in Siena! The cathedral is mobbed with tour groups, but it’s definitely worth a look-see.
Don’t miss the very cool 15th century paintings in the Piccolomini library. You have to line up to get in, but entrance is included in your ticket to the cathedral.
Interior of the Piccolomini Library in Siena Cathedral
If you visit Siena Cathedral, buy a ticket that includes all of the various components, even if you don’t visit them all. I made the mistake of only buying a ticket for Siena Cathedral and then discovering later that I couldn’t access the Museo Opera where the fabulous Maesta by Duccio is housed (it has a cameo appearance in The Towers of Tuscany). By the time I figured out that I didn’t have the right ticket, I couldn’t summon the energy to trudge all the way back to the side of the cathedral to line up to buy the correct ticket. Fortunately, I’ve seen the Duccio twice before!
I return “home” for an hour’s rest before setting off for the other side of Siena where we find a great place for dinner prior to attending a concert.
Italian Opera in Siena
When we’d arrived at I Merli di Ada, I’d picked up a brochure about opera concerts held three times a week in Siena. The price is reasonable and tickets are available. We decide to check it out. The Italian Opera in Siena concert turns out to be very entertaining. A soprano accompanied by a pianist sings many opera favorites by Puccini, Verdi, and Bizet.
Afterwards, we float out on an operatic high and stroll the thirty minutes back to our hotel through the moonlit streets. Siena at night goes beyond magical to mesmerizing. Most of the time, we are alone, the only sounds our footsteps on the cobblestones and the muted clanking of iron rings in the wind.
Out in the Campo for the last time, I shoot a 360-degree video of one of my favorite places in the world!
Siena will forever hold a special place in my artsy traveler heart!
Where to Stay in Siena
Here are more options in addition to the highly recommended I Merli di Ada:
Tour Options In and Around Siena
On one trip to Siena several years ago, I joined a small group tour of wineries in Montalcino and Montepulciano that also included an amazing lunch. If you’re in Siena for a few days and want to spend one of them touring the wine regions, then check out some of the many tours available. You could also choose a cooking class (I always enjoy a good cooking class!), or guided tours of some of Siena’s sites. As I’ve mentioned many times on Artsy Traveler, I’m a huge fan of Get Your Guide tours. Without exception, every tour I’ve taken has been excellent value. Full disclosure – if you click on any of the tours below and purchase a tour (any tour) from Get Your Guide, I receive a small commission. Thank you.
Have you visited Siena? Share your tips for an awesome experience with other artsy travelers in the comments below. And here are more posts about Italy:
I love Amsterdam, which is why on almost every trip to Europe I make it my first stop. Since 1970 on my epic first trip to Europe with my mom, I’ve visited Amsterdam fifteen times. You’d think I’d have run out of places to see by now, but I haven’t. On my most recent visit to Amsterdam in April 2024, I discovered two new-to-me museums that I highly recommend.
First is the National Maritime Museum (#1 on the map below) and second is the Rembrandt House Museum (Rembrandt Huis – #2). Both deliver an excellent bang for your euro. The map below also shows the location of my recommended hotel (#3) and for context, Amsterdam’s two heavyweight museums: the Rijksmuseum (#4) and the Van Gogh Museum (#5).
Despite all my visits to the city, I’d never heard about Amsterdam’s excellent Maritime Museum. On my latest trip, the taxi drove us right past the massive replica of an 18th century Dutch three-master sailing ship (the Amsterdam) moored in the harbor. I asked him what it was and he told us it was part of the National Maritime Museum. Intrigued, I looked it up when we got to the hotel, which turned out to be only a six-minute walk away.
Arriving at the National Maritime Museum
The National Maritime Museum is housed in a stately three-storey building on the edge of Amsterdam’s massive harbor and adjacent to the Amsterdam ship moored in the harbor. After entering at the south side of the building, we walked into a spacious covered atrium with entrances leading to the north, west and east.
Outside the National Maritime Museum in Amsterdam
Touring The Amsterdam
We headed first for the north door that led straight out to a wharf and the docked replica of the Amsterdam. What a sight! The huge hull rose several storeys above our heads, above which soared three masts.
A replica of the East Indiaman Amsterdam at the National Maritime Museum
We boarded the ship and were immediately engulfed by a posse of schoolchildren all wearing yellow safety vests and swarming through the sailors’ quarters. Apart from the kids, the quarters looked spacious until I realized the space would house a crew of 191 sweaty sailors. The smells and swells on a rough day at sea would not have been pretty.
Sailors quarters in the Amsterdam tall ship at the National Maritime Museum in Amsterdam
Information about the Amsterdam
Throughout the ship, descriptions in both English and Dutch provided fascinating glimpses into the history of the original Amsterdam and Dutch trade back in the 17th and 18th centuries. I learned that on one voyage, the Amsterdam carried one captain, 191 sailors, 128 marines, 11 artisans, and 3 women passengers for a total of 334 people. That’s a lot of bodies to squeeze onto a ship that, while large, wasn’t that large. I found it a bit crowded with a school group of maybe 30 kids!
Eating on the Amsterdam
In the galley at the front of the ship, the cook would prepare meals for everyone on board, who would then take turns eating in groups of seven. The captain and passengers got the best and freshest food, leaving the crew to half starve and fall prey to diseases such as typhus, dysentery, and scurvy. It must have been pretty grim, particularly since long voyages to destinations in the East Indies took many, many months.
Women Dressed as Men
I was particularly taken by a description of women dressed as men who sailed on the Dutch ships. Some were forced by circumstances to earn money; some were likely trying to escape an unhappy marriage; some maybe just wanted adventure. Unfortunately, any woman who was trying to pass herself off as a man on a ship was severely punished.
In 1770, a woman called Margereta Reymers dressed as a man and joined the crew of the East Indiaman Schoonzicht under the name Hans Hendrik Reymers on a ship sailing to Asia. Margereta was discovered two months into the voyage and put ashore at Cape Town where a man who had promised to marry her left her pregnant.
Eventually, Margereta managed to find a place on a ship returning to the Netherlands. Her daughter was born at sea. No one knows what happened to Margereta and her daughter afterwards. Hmmm – therein lies an interesting idea for a novel!
The Maritime Museum Exhibits
The museum itself is quite vast and beautifully curated. If you are into ships, navigation, and sailing, you could spend many happy hours there. I particularly enjoyed the displays of figureheads and model ships.
For more information about the National Maritime Museum, check out their informative website: https://www.hetscheepvaartmuseum.com/
After touring the National Maritime Museum, we enjoyed lunch in a typical Dutch pub, then headed to the Rembrandt House Museum, which was about a ten minute walk from our hotel.
The Rembrandt House Museum
Unlike the National Maritime Museum, I had heard about the Rembrandt House Museum, but had never managed to visit it. I thought it would be a rather dusty old place with little to recommend it beyond the fact that Rembrandt once lived there.
I discovered that I was wrong and that the Rembrandt House Museum is well worth an hour of any artsy traveler’s time.
Renovated Museum
The museum has been recently renovated to include an adjacent building containing the entrance area, a gift shop (of course), and two floors of exhibition space.
We entered the airy modern foyer, purchased our tickets and picked up our audio guides. We don’t usually go for audio guides, but the man at the desk told us they were essential to our enjoyment of the museum and so we dutifully donned the earphones and headed for door leading into the house that Rembrandt called home for 19 years.
Touring Rembrandt House
For the next hour or so, we drifted from room to room and up several sets of winding staircases to explore the nooks and crannies of what was—and still is—a large and comfortable home. Rembrandt was flying high when he and his wife purchased the house. He was receiving many commissions in addition to earning a sizable chunk of his income from teaching wannabe Rembrandts.
But regrettably, Rembrandt was not the best of businessmen. After nineteen years of enjoying the good life, Rembrandt’s many creditors forced him to sell just about everything not nailed down and move across town.
Rembrandt’s Misfortunes are History’s Gains
I learned that it was thanks to Rembrandt’s financial misfortunes that his house has been so immaculately recreated. When Rembrandt was forced to liquidate all his assets, he left behind an extremely detailed inventory of the house contents. Historians were able to use this inventory to faithfully recreate the rooms in his house so that today we can wander through them secure in the knowledge that they looked more or less the same as they did in Rembrandt’s day—except with electric light and tourists listening to audio guides.
The comprehensive audio guide provided us with a wealth of information about each of the rooms we entered—from grand salon to the room of curiosities to Rembrandt’s gorgeously bright and airy painting studio. In each room, audio commentary described the room and its uses, and provided information about Rembrandt’s life and work.
Rembrandt House Highlights
Box Beds
One of several box beds in the house was situated in the main salon, and like every box bed in the house (there were several) was much shorter than would seem reasonable to accommodate an average-sized human. I learned that back in Rembrandt’s time, people slept sitting up and so had no need of a bed that extended their full height. Apparently, the prevailing medical wisdom of the day dictated that sleeping completely prone was very bad for the health. Peering into the box beds, I shuddered at the thought of actually sleeping in one. If you are at all prone to claustrophobia, you wouldn’t last ten minutes.
The box bed shown below was in the main salon and would be for visitors.
Box bed for visitors
Etching Studio
Rembrandt was known for his etchings, many of which he made in the etching studio. Nowadays, a rubber-gloved attendant demonstrates the art of etching. Unfortunately, we missed her demonstration but it was likely very similar to the one we saw at the house of Albrecht Dürer in Nuremberg. In fact, the setup of the Rembrandt House Museum reminded me of the Dürer museum. You can read about our visit there in my page about Artsy Sightseeing in Germany.
Painting Studio
Stepping into Rembrandt’s large painting studio feels quite magical. Although now filled with visitors all listening intently to their audio guides, it’s salutary to remember that you are actually treading the same floor boards and looking out the same windows as Rembrandt did four hundred years previously.
The room faces north, an aspect favored by painters because the light varies the least throughout the day. The studio is at the top of the house and so would have been as bright and airy as any room in a 17th- century house could be.
The studio includes a large video screen that shows a demonstration of how Rembrandt and his assistants made pigments. I’m familiar with the process of grinding and mixing the pigments from my research for The Towers of Tuscany. But whereas my characters in 14th-century Italy mixed their pigments with egg yolks, Rembrandt and his contemporaries mixed pigments with linseed oil.
Small Painting Studio
I was quite taken with the second painting studio which was partitioned into four sections to accommodate four students.The whole setup looked so modern. Apparently, Rembrandt made 30% of his annual income from students, but even that income wasn’t enough to keep him afloat. I wonder what became of the students after Rembrandt had to liquidate!
But check out these studios. Many artists would feel quite at home in one today!
The Room of Curiosities
Like many people of his time, particularly artists, Rembrandt was an avid collector. His many collections fill the room of curiosities–from parrot feathers and stuffed caimans and armadillos, to tortoise shells, butterflies, rocks, and a hundred other exotic bits and pieces he accumulated over the years. Amsterdam, of course, was a port, and so Rembrandt was able to acquire objects from around the globe that had been brought to Amsterdam by the sailors.
Exhibition Center
After touring Rembrandt’s house, we funneled back into the exhibition center. There wasn’t much on when we were there, but I did appreciate the projection of a montage of Rembrandt’s greatest hits.
Visiting Rembrandt’s House
For more information and to purchase tickets, check out the Rembrandt House website: https://www.rembrandthuis.nl/en/
You can also purchase your tickets in advance from Get Your Guide. As I’ve mentioned many times on Artsy Traveler, I’m a big fan of Get Your Guide. Click the image below to go to their website.
On my stopover in Amsterdam in 2024, I stayed only two nights, but still managed to log several kilometers of wandering. Amsterdam is a fantastic city for walking, so long as you keep a very sharp eye out for cyclists. They go very, very fast! I wonder how many tourists who stepped off a curb without looking ended up in Emergency.
In the evening of our only full day in Amsterdam, we met Gregg’s artist friend Rik Lina in his home and went out for a wonderful Caribbean dinner. Here Rik is with Gregg in front of one of his paintings. He and Gregg have been collaborating for years. Notice the collection of masks. Like Rembrandt, Rik is an avid collector.
Dutch artist Rik Lina in front of one of his paintings with Canadian artist Gregg Simpson
Amsterdam at Night
After dinner, we strolled through Amsterdam in the moonlight, crossing many canals and passing an endless number of intriguing storefronts. Amsterdam has an admirably eclectic variety of stores carrying everything from Old Master knock-offs to rubber duckies to high fashion to painted cows. I adore window shopping in Amsterdam.
Painted cows in a shop in Amsterdam
Amsterdam at night truly is magical! The side streets are quiet, the canals serene in the moonlight, the bike traffic considerably calmed. You can wander for hours, imagining yourself into a cityscape that hasn’t changed appreciably for four hundred odd years.
Other Tours in Amsterdam
There’s so much to see in Amsterdam for the artsy traveler! I highly recommend booking one of the Get Your Guide tours, if only to skip the line at the most popular museums. I’ve consistently found Get Your Guide tours to be good value, and have taken them in Rome, Venice, Paris, Madrid, and Sirmione. Here are links to Get Your Guide tours in Amsterdam.
Full disclosure: If you click on a Get Your Guide link and purchase a tour (any tour), I receive a small commission. Thank you.
Staying in Amsterdam
Over the years, I’ve stayed in many different places in Amsterdam–from Airbnbs to hotels on the outskirts. Our stay in 2024 was one of the best–and also the most reasonably priced considering the location and amenities.
I’m not usually a big fan of chain hotels, but to my surprise the Holiday Inn Express – City Hall in Amsterdam, steps from the harbor and within walking distance of old Amsterdam, was a perfect choice. The view of the canal from our window was endlessly fascinating depending on the time of day and the shifting April weather, the room was comfortable, and the staff friendly and helpful.
View of canals from the window of a room at the Holiday Inn Express – City Hall in Amsterdam
I also appreciated the large urn full of citrus fruits and water in the lobby. Every time I came into the hotel, I helped myself to a refreshing glass of citrus water.
Here are other options for staying in Amsterdam. I recommend you resist the temptation to opt for the cheaper places outside the city center. Amsterdam is worth the splurge. Book a place as close to the ring of canals as you can and enjoy many happy hours of wandering–particularly after dark.
Conclusion
Have you visited Amsterdam? What are some of your best picks? Share your experiences in the comments below.
The Uffizi Gallery in Florence is an Artsy Traveler must-see, particularly for artsy travelers who love Renaissance art. I’ve visited Florence six times over the past thirty years, and on most visits, I take the time to visit the Uffizi Gallery. Few artsy traveler pursuits equal the joy of wandering blissfully through rooms full of many of western Europe’s most iconic masterpieces.
In this post, I highlight ten of my favorite pieces in the Uffizi Gallery, based on my most recent visit in November 2023.
When to Visit
The very best time to visit the Uffizi Gallery is first thing in the morning, particularly if you are visiting in high season (April to October). You’ll have the vast complex to yourself, at least for a little while, so you can trip wide-eyed from room to room in peace. You may even snag a place in front of one of the two most famous Botticellis without sharing air with dozens of other people.
If you’re visiting Florence between November and March, you’ll find fewer crowds and a more relaxed pace. As a result, you’ll likely be comfortable visiting at any time of day. On my recent visit in November, I chose an afternoon visit. Although the Uffizi was less crowded than I’ve found it at other times of the year, it was hardly empty. I still saw a long line-up of people who hadn’t gotten the memo about buying their tickets in advance, and large groups of art lovers jockeying for position in front of the Botticellis.
Getting Tickets
No matter what time of year you visit, purchase your tickets to the Uffizi Gallery in advance. In high season, purchase them at least a week or more before your visit. You’ll get the entry time that suits your schedule and you won’t need to queue up.
We arrived at the Uffizi about 45 minutes before our 13:15 entry time. The weary ticket collector let us in anyway, probably because it was November. The only delay was getting through security.
Location of the Uffizi Gallery
The map below shows the location of the Uffizi Gallery in Florence. Also shown is the location of the Accademia (#2), the Duomo (aka Cathedral of Santa Maria del Fiore) at #3, the Bargelo (#4), the Museo di Palazzo Davanzati–an awesome small museum showing what life was like for a wealthy person in medieval Florence (#5), and the gorgeous apartment we stayed in on the banks of the Arno during our three-day stay in Florence in November 2023 (#6: see below for more information about the Palazzo Serristori Residence — high recommended).
The Uffizi Gallery is large and brimming with amazing art. Pace yourself. I suggest you focus on enjoying ten to twenty pieces rather than stopping to admire every piece. Doing so will quickly exhaust you.
Even in November, visitors throng the long corridors in the Uffizi
The Uffizi’s collection is spread across two floors, with the most famous pieces by artists such as Botticelli, Michelangelo, Raphael, and Giotto located on the second floor. I suggest taking the elevator, or climbing the long flights of stairs to Level 2 and then starting with the room of medieval art that contains gorgeous works by Giotti, Lorenzetti, and Martini.
Here are my ten favorite pieces in the Uffizi, presented by artist and in the order in which I encountered them.
Giotto
I’ve become a big Giotto fan over the years. Although he died in 1337, Giotto is considered the first artist of the Renaissance because of his use of realism to depict his subjects. His most famous works are the frescoes in the Scrovegni Chapel in Padua and Assisi.
Madonna and Child Enthroned with Angels and Saints shown below is one of Giotto’s most iconic pieces. It’s truly breathtaking, particularly when you realize that Giotto painted it in 1306 at a time when other artists were still depicting everything on one plane. Check out the Madonna’s knee under the blue drapery of her gown. It’s three-dimensional. This use of perspective set Giotto apart from his contemporaries and heralded the realism that become the hallmark of the Renaissance painters such as Da Vinci and Raphael over 150 years later. This painting was a source of inspiration for Florentine artists for generations.
Madonna and Child Enthroned with Angels and Saints, 1306-10, Giotto
Martini
I have a huge soft spot for Simone Martini, who was active in the mid-14th century. I even include a reference to his Maesta fresco in Siena’s Palazzo Pubblico in my novel The Towers of Tuscany. In The Annunciation with St. Ansansu and St. Maxima, below, I love Martini’s over-the-top use of gold, as well as how he shows the Archangel Gabriel in relationship to Mary.
Martini depicts a fluttering cloak and unfurled wings to suggest that the angel’s appearance is sudden. No wonder Mary looks distressed, turning away and wrapping her cloak around her. The fact that Gabriel is telling her she’s to be the mother of Jesus would have likely added to her confusion and distress. In her hand, Mary holds a book. Martini is likening her to a wealthy Sienese woman–the only women who would be able to afford a book, much less read it. Memmo Lippi is also given credit for the work, although apparently Lorenzetti is considered by art critics to be responsible for the conception and execution of the painting.
Annunciation with St. Maxima and St. Ansanus, 1333, Simone Martini and Lippo Memmi
Lorenzetti
Every time I walk into a room of medieval paintings in an art museum, I make a beeline for anything painted by Ambrolgio Lorenzetti. He’s a Siena hometown boy who was a major figure in his day, before succumbing to the plague (so far as we know) in 1348. He painted The Allegory of Good and Bad Government frescoes in Siena’s Palazzo Publicco, one of the palazzo’s many breathtaking highlights.
Lorenzetti painted the four panels from the life of St. Nicholas shown below. I get such a kick out of Lorenzetti’s depictions both of people and life in medieval Siena and the architecture–the graceful archways, exterior staircases, and crenelated rooftops. I’ve spent a lot of time over the years looking at Lorenzetti’s work to help me visualize what Siena looked like in the mid-14th century so that I can accurately write about the period.
St. Nicolas Gives to the Poor
In the top left painting, St. Nicholas is throwing pieces of gold to a poor man to enable him to gather the dowry required to marry off his daughters. The point is that St. Nicholas is carrying out the charitable deed secretly and humbly, without seeking acknowledgment (what a swell guy!).
St. Nicholas Gets Ordained
In the bottom left painting, St. Nicholas is being ordained as a bishop of the city of Myra in Asia Minor. The legend is that the prelates who had gathered to elect the new bishop of Myra heard a voice ordering them to choose the first man named Nicholas who entered the church. And guess who just happened to walk in?
St. Nicholas Raises the Dead
The top right painting depicts a miracle performed by St. Nicholas after his death. He returns to bring a child back to life after the child was killed by the devil disguised as a pilgrim (the figure in black mounting the stairs). There’s a lot to look at in this panel. I particularly like the way the figures are portrayed in the upper and lower rooms.
St. Nicholas Talks to Sailors
In bottom right panel, Nicholas asks sailors to give some of the grain their ships are carrying to the starving people of Myra. When the sailors comply, the ships are miraculously replenished with grain.
Uccello
This large painting by Paolo Uccello dominated the wall on which it was installed in the Uffizi. Check out all the horses–so much vigor and action. The painting is called The Battle of San Romano and is part of a cycle of three paintings that celebrated the victory of the Florentine forces over the Sienese troops in 1432.
Poor Siena. It had a tough time after being devastated by plague in 1348 and then suffering numerous mercenary raids, famines, and hostile takeovers culminating in its defeat at the hands of the bellicose Florentines in 1432. While I’m firmly on the side of Team Siena since I’m currently writing a novel set there, I have to admire how Uccello depicted the battle in his painting.
The Battle of Romano, 1435-40, Paolo Uccello
Botticelli
Almost everyone who visits the Uffizi is captivated by two of Botticelli’s most famous paintings–Primavera and The Birth of Venus. They are both huge and both fantastic–that is, if you can get close enough to get a good, long look.
The large room in which the paintings are hung is mobbed with visitors, all brandishing cell phones and elbowing for position to get a good shot. I know. I was one of them.
Standing in quiet contemplation is out of the question. But it’s still worth seeing the paintings in the flesh, so to speak, just to confirm that yes, indeed, they deserve their vaunted place in western art history. The figures are ethereal and also realistic, the movement joyous, the themes full of promise and celebration. I don’t think it’s possible to look at Botticelli’s masterpieces and not smile.
Primavera
Here’s what you see while approaching Primavera.
And here’s the shot I managed to get when it was my turn to step in front of the painting. It truly is a wonderful work. Botticelli had chops, all right. Look at how he depicts the gossamer draperies encasing the three dancing muses and the figure to the right. The central figure in the painting is Venus, goddess of love and beauty. She’s a stunner for sure.
Primavera, 1480, Sandro Botticelli
TheBirth of Venus
TheBirth of Venus is just as mobbed as Primavera, which comes as no surprise considering versions of this work appears on everything from aprons to mugs to mouse pads in Florence’s gift shops. There is so much movement; you can practically feel the wind in your hair as you contemplate this painting, which depicts Venus, goddess of love and beauty, surfing to land on a clamshell, gently spritzed with sea spray and blown by the winds Zephyr and Aura.
I wasn’t able to get a decent shot of the painting, so the image below is from the Uffizi’s marvelous website.
The Birth of Venus, 1486, Sandro Botticelli
Michelangelo
Florence’s Number One Son is well represented at the Uffizi Gallery and elsewhere in Florence. Thanks to a long and prolific career, Michelangelo’s work is pretty much synonymous with the Italian Renaissance. The Uffizi Gallery has the magnificent, circular Doni Tondo, the only finished panel painting done by Michelangelo that has survived the centuries. It glows.
Doni Tondo, 1505-1506, Michelangelo
Piero della Francesca
This double portrait by Piero della Francesca positively defines aristocratic haughtiness. Imagine the amount of time the duchess must have had to sit still to have that hairdo done. I’m hoping it wasn’t a daily thing. Look at the background–how it continues through from one side to the next. Showing the two figures in profile is a typical device in 15th century portraits that was a throwback to ancient coins. The artist’s attention to detail is a result of his training in both Florentine and Flemish traditions.
The Duke and Duchess of Urbino Frederico da Montefeltro and Battista Sforza, 1473-75, Piero della Francesca
Leonardo da Vinci
Another big draw to the Uffizi Gallery is the presence of a handful of paintings by Leonardo da Vinci. My favorite is his Annunciation because I love the contrast in styles between da Vinci’s version done in the late 15th century and Martini’s version done in the mid-14th century (see above).
In da Vinci’s Annunication, the figures are rendered extremely realistically and are also quite static. The Virgin is not shrinking away but is is confident and receptive. The trees almost look like fantasy trees, and the distant mountains like something out of Lord of the Rings. The way da Vinci renders the folds of the clothing is remarkable, considering he completed this painting when he was still quite young.
Annunciation, 1472, Leonardo da Vinci
Raphael
I’ve grown to appreciate Raphael’s work over the years. He’s certainly one of the biggies, considered by some to be the greatest painter of them all. There’s a lot of justification for that view. Unlike Michelangelo and da Vinci, who had other pursuits (science for da Vinci and architecture and sculpture for Michelangelo), Raphael only did painting–and an astonishing amount of it considering he died young, while da Vinci and Michelangelo both lived to ripe old ages.
The work by Raphael I most liked in the Uffizi is Madonna of the Goldfinch. The Madonna’s expression is so youthful and serene; unlike many Madonnas, she really does look like a young mum. The trees and landscape in the background are so beautifully rendered. In places they almost look like something Cézanne would have painted 400 years later. And check out the red of the Madonna’s gown–so rich and full and Florentine. It’s a keeper.
Mary, Christ and the young John the Baptist, known as “Madonna of the Goldfinch“, 1506, Raffaello Sanzio
More Uffizi
After exploring the long galleries on Level 2 of the Uffizi, you can descend to Level 1 to take in even more masterpieces of the 16th, 17th, and 18th centuries. Highlights include several works by Caravaggio. If you have the energy, don’t miss them.
Enjoying Florence
You emerge from the Uffizi into the beautiful piazza della Signoria. Here, you’ll stare up at the Palazzo Vecchio with its iconic tower, check out a statue of Michelangelo’s David (the original is displayed in the Accademia), and marvel at the fountain and statue of Neptune. Here’s a shot of it in the evening.
Neptune’s Fountain in the Piazza della Signoria in Florence
Resist the urge to stop and have a coffee at one of the cafes in the piazza, These high-rent places cater to tourists and have sky-high prices. Walk a few blocks into the maze of streets leading from the piazza toward the river to find slightly less touristy places, although to be honest, Florence is Tourism Central. And no wonder! It’s crowded, crammed with souvenir shops, and far from undiscovered. But hey, it’s Florence, and there’s no place on Earth quite like it for conjuring the grandeur and pomposity of the Renaissance.
Staying in Florence
On each visit to Florence, I’ve stayed somewhere different–sometimes on the outskirts and sometimes in the middle. My very favorite place was Serristori Palace Residence where we stayed during our trip in November 2023. Although a bit on the pricey side, the Serristori Palace Residence is excellent value because of the size of the one-bedroom apartment, with high ceilings, view of the river, and its stunning location.
Here’s a video I shot from the bedroom window early on a breezy November morning.
You will need to walk a good fifteen minutes to reach the center of Florence. But the walk that takes you along the Arno is just spectacular, particularly at sunset. Compared to a typical hotel room in Florence, the Serristori Palace Residence is almost a bargain, at least for Florence.
Here’s me on the walk into Florence on a brilliantly sunny (but not particularly warm) November day.
What Else to See in Florence
You can easily spend several days in Florence, immersing yourself in the great art of the western world. If you’re short on time, consider a guided tour. Here are a few suggestions from Get Your Guide. I’ve taken several of their tours and been very satisfied with the price, the quality of the guides, and the ease of booking
In October of 2023, I spent two weeks in Madrid (minus a three-day excursion to Ávila and Cáceres at the end of week one) and fell hopelessly in love. Madrid is, quite simply, one of Europe’s easiest cities to visit and enjoy.
In this post, I chronicle my day-to-day activities during our two-week stay.
From sightseeing to strolling to eating to just chilling out in the many parks–Madrid is the place to hang out if you’re looking for a city that feels more like a cheerfully crowded village.
Before I launch into my celebration of Madrid, I’ll say a word about expectations. Gregg and I visited Madrid in 2010 and stayed just two nights. I remember Madrid as being loud, noisy, crowded, and really not very nice. Also, on the second night, both of us came down with colds! Of course, that wasn’t Madrid’s fault, but our experience there did color our opinion of the city, already tainted by the fact that on Gregg’s solo visit to Madrid in 2004, he’d been pick-pocketed in the train station.
So when Gregg was given the opportunity to have an exhibition in Madrid, I was at first dubious. Did I really want to hang out in that big city for almost two weeks? Was it fair to judge Madrid on the basis on two not-so-great experiences of short duration?
Thank goodness we decided to give Madrid another shot. Staying for an extended period in Madrid was a wonderful experience. We are hooked on this city of four million souls.
Day 1: Tuesday, October 17 – Arriving in Madrid
We set off from Burgos around noon and drive two hours south to Madrid through beautiful mountainous country. I hadn’t realized that a mountain range—the Sierra de Guadarrama—runs to the north of Madrid.
Our drive into Madrid is smooth and thankfully uneventful. We follow the instructions provided by our accommodation to find the parking lot, and in no time are parking the car and making our way into the fabulous ApartoSuites Jardines de Sabatini.
ApartoSuites Jardines de Sabatini
Located just to the west of the center of Madrid and across the street from the Royal Palace (the rooftop terrace overlooks the palace), the ApartoSuites Jardines de Sabatini is the perfect place to stay in Madrid, particularly if you’re driving. It’s located just outside the Limited Access zone on a main road easily accessed from the motorway, and a short walk from the historical center of Madrid.
I can’t say enough about how great this place is. We stay for twelve nights in two different but both excellent suites and could not have been more satisfied with our choice. Not only is the hotel stylish and well-appointed – the staff are extremely helpful and friendly—always smiling and saying hola every time we leave or enter the lobby.
Here are pictures of the living room/dining room, the bedroom, and the very spacious bathroom with one of the largest bathtubs we’ve ever had in a hotel room.
As mentioned, the ApartoSuites Jardines de Sabatini is directly across the street from the Royal Palace. A lively rooftop bar takes full advantage of the stunning view, especially at night when the palace is floodlit.
Settling Into Madrid
Once settled into our one-bedroom suite, we stock up on a few food essentials at the small supermarket just down the street, and set off to explore.
We cross the busy street and climb the stairs to the broad plazas and formal gardens surrounding the Royal Palace. Over the next two weeks, we’ll walk this route many times, never tiring of the many views of the palace.
The changing of the guard is about to take place so we hang out for a few minutes to see the troops march past. Like Madrid itself, the ceremony is low-key and easy-going, lacking much in the way of pomp and circumstance. A handful of guards troops in, two guards on horses join them, there are a few salutes, and that’s about it.
In search of the historical centro of Madrid, we take a wrong turn and end up walking too far in the opposite direction! Tired now and in need of food, we retrace our steps to our hotel with the intention of further exploration the next day.
First Impressions
We have almost two weeks in Madrid—plenty of time to explore! And our first impressions are very positive. My only problem is that I have zero sense of direction in Madrid. In Paris and Rome, I pretty much know where I am most of the time, even without GPS. Landmarks such as the Eiffel Tower and the Seine, or the Tiber and the Colosseum, help orient me. But in Madrid, I have no focal points yet, apart from the Royal Palace.
But orientation will come and I’m content to wait.
Eating In – Once!
In the evening, we decide to stay in and cook dinner—the only night we do so during our entire stay! Although our suite is equipped with a kitchenette, it’s a very small one with just a two-burner stovetop and very few cooking pots and utensils. But that’s okay. Madrid has thousands of restaurants catering to every taste, and prices are reasonable.
I make a tasty pasta dish with the limited facilities, declare that I’ll likely not cook in again, and then we’re early to bed.
Day 2: Wednesday, October 18 – Hanging the Exhibition in Madrid
The priority of the day is to visit the gallery and hang Gregg’s show. After a walk around the ‘hood in the morning, we take a taxi to the Gallery Captaloona where we finally meet Claudio, the gallery director, in person. He’s already got most of the paintings hung so after having a quick coffee in the bar next door, he and Gregg set to work hanging the framed pieces and tweaking the installation. I sit at Claudio’s spacious desk and work on my novel.
Public Transit in Madrid
Afterwards, we go in search of the Metro where we purchase a Metro card and load it with twenty rides—hopefully sufficient for the duration of our trip (it is). I ask the attendant if we need two cards, or if we can use just the one card with one of us going through the turnstile first, then handing it back to the other. I ask because in Paris both people require their own card. The attendant tells me that one card is fine and I confirm that Gregg and I must always stick together. He laughs.
We ride the Metro to Puerta del Sol, the very center of Madrid.
Puerta del Sol
Puerta del Sol (Gate of the Sun) is a large public square that is one of Madrid’s best known and busiest places. It is also the center (Km 0) of the radial network of Spanish roads.
Here also is the Statue of the Bear and the Strawberry Tree (El Oso y el Madroño) that was installed in 1967 and represents the coat of arms of Madrid. I take the obligatory picture and then we set off to explore the area.
Around the square is a warren of small streets, most pedestrianized. We soon relax into the Madrid amble as we window shop our way towards a stop for lunch and then home. We are slowly getting a handle on where we are so that my fixation on my phone’s GPS becomes less necessary as I become more familiar with the streets.
Plaza Isabel II
We emerge into the Plaza Isabel II, the location of the Opera Metro and our touch point for entering and exiting the centro from our hotel. A quick stroll around the Opera house brings us to the Royal Palace in all its brilliant white-façaded glory.
We hang a right in front of the palace, wind through the formal palace gardens to the top of “our” stairs and moments later, we’re crossing the busy Cuesta de San Vincente and entering the ApartoSuites Jardines de Sabatini.
Day 3: Thursday, October 19 – A Day of Art in Madrid
The day dawns wet and cold. Really wet! The word monsoon comes to mind. It’s the first really wet day of our trip which, considering we’ve been on the road almost a month, means we have nothing to complain about. We receive a text from Claudio at the gallery warning us that attendance at the opening that evening will be sparse. However, since invitations have been sent, we decide to go ahead with the opening and then to have another opening (more of a closing) the following week.
First up is a visit to a local hairdresser. The staff at the Jardines made the booking for me the day before. I tell the stylist to give me a short cut and she does, charging me a mere 14 euros. What a bargain! It’s one of the best cuts I’ve ever had–easy to manage and perfect for life on the road.
I slosh back to the hotel and we get ready for a visit to the Museo Nacional Thyssen-Bornemisza. It’s new territory for both of us and we’re excited to see what it has to offer. When we get down to the lobby and see just how ferocious the rain is, we ask the front desk to call a taxi. Sometimes comfort takes precedence over budget.
Well, quite often, actually, particularly as we get older!
Taxis in Madrid
Taxis in Madrid are very affordable, and Ubers are even cheaper, we discover later. We never wait longer than five minutes for either. A trip to the Thyssen on the other side of the centro costs about 10 euros and is well worth it. But even with an umbrella, I’m soaked by the time I exit the taxi, step into a puddle, and wrestle the umbrella open.
But no matter. Minutes later, we’re inside the Thyssen. The security guard deftly wraps my umbrella in plastic and directs us to the cloakroom where we join a long line-up to leave our coats and the umbrella. Better that than dripping all over the marble floors.
Visiting the Museo Nacional Thyssen-Bornemisza in Madrid
We start first with the marvelous collection of 19th-century art—mostly Impressionists—that graces the first floor. Within seconds, we are gobsmacked by the depth and breadth of the Thyssen’s collection. While it doesn’t contain many super-famous pieces like the Musée d’Orsay does, it contains a lot of variety and some truly stunning pieces.
Here are just a few highlights.
Reclining Nude Shepherdess, 1891, Berthe MorisotTwo Breton Women Under an Apple Tree in Flower, 1892, Paul SérusierThe Cliffs at Le Pouldu, 1884, Émile Bernard Still Life with a Parrot, 1907, Robert Delaunay
There are plenty more excellent pieces from all eras, starting in the 15th century right up to some by mid-20th-century masters such as Ernst and Dali. There’s also an interesting special exhibition of Picasso.
We see it all and then retire to the café for a well-deserved coffee and snack.
Opening of Flamenco Abstractions
We float out of the Thyssen and wash into a taxi for the rain-drenched journey back to our place for a quick pit stop before getting into another taxi to go to the gallery. We’ve been warned not to expect many people because of the rain, but as it turns out, quite a few people show up and we have many interesting conversations.
Afterwards, we ride the Metro back to our ‘hood and enjoy a late dinner in Old Madrid. The rain stops obligingly and we stroll home through the palace gardens. Madrid at night feels safe and family-friendly.
Day 4: Friday, October 20 – Cooking in Madrid
I start the day by walking a block down the street to a lovely coffee shop where I snag a table on the upstairs level and enjoy a caffe con leche, a fruit smoothie and a pastry while working on my novel. I’m in heaven! Here’s the view of the street from my writing perch.
Temple of Debod
After my writing stint, Gregg and I set off in search of an Egyptian temple. Called the Temple of Debod, the monument dates back to the 2nd century BC. It was donated to Spain by the Egyptian government to save it from floods following the construction of the Aswan Dam. The temple was transported to Madrid and rebuilt stone by stone, opening to the public in 1972.
The park where the temple is located is just a few minutes’ uphill walk from our hotel. After the rains of the day before, the air is brisk and clear. We climb several flights of stairs to a viewpoint that overlooks a massive park to the west of Madrid, then head out in search of the temple.
It’s pretty darned impressive! We enjoy a walk around it and snap a few pictures.
Lunchtime calls so we descend to the Plaza de España to check out Cervantes and his most famous creation and find something to eat (not exactly difficult in Madrid!).
Plaza de España
The Plaza de España was renovated extensively a few years ago with all parking and traffic sent underground, and the plaza itself reopened only for pedestrians in 2021. It’s a delightful space with playgrounds, sculptures, parks, and a huge statue of Cervantes behind his two most famous creations.
Tapas Cooking Class
At 3 pm, I set off for a location in the centro to take a tapas cooking class. With great confidence, I make my way to the bus stop only to discover that the GPS was directing me to take the Metro, not a bus. Fine. I jump on a Metro and within seconds realize I’m on the wrong line. Sigh. Of course, the next stop is miles away—taking a good five minutes to get to.
Times a-ticking, so I jump off and onto another Metro only to discover that it’s also going in the wrong direction. What kind of a seasoned traveler am I? The next stop is even farther away—so far, in fact, that when I emerge onto the platform, I hear birdsong and see only trees. The station is outdoors and I must go up stairs and cross the tracks to get to the other side. Finally, I get on the right Metro going in the right direction. I still have a good ten minute walk to the cooking school from the Metro and arrive breathless and late. The chef has already started describing the ten tapas we will make.
Making Tapas
No matter. I tie on my apron and listen to her talk about the dishes. She then assigns a dish to each person. My job is to make a cold tomato soup. I cut up garlic and a lot of fresh tomatoes, then throw them in the blender and turn it on. I then add several pieces of bread which apparently will help the soup thicken. Interesting! Finally, I drizzle in about a quarter of a bottle of olive oil and keep blending until the final result is smooth and red.
And wow, does it taste amazing! So fresh—like eating sunshine from a spoon.
Over the next three hours, we make ten tapas. The chef/instructor never stops–she’s a whirling dervish tending to everyone’s questions and directing us to do something new when we’ve completed a task. I’m one of a few participants chosen to flip a potato and egg tortilla. The pictures show that I wasn’t wholly successful!
After all the tapas have been made, we take pictures and then dig in. My favorite is the tomato soup I’d made and the cheese popsicles. I’m not so keen on the tortilla, not being a potato lover, but I did enjoy learning how to make it.
Book a Cooking Class Through Get Your Guide
Here are some options; mine was the 2.5-hour Tapas class.
After the class, I walk home through narrow, twisting streets. When I get to the palace, I snap pictures of a luscious sunset.
Day 5: Saturday, October 21 – Art and Flamenco
After enjoying my morning routine of breakfast and writing at “my” local café, Gregg and I go for a splendidly solitary stroll in the Jardines Sabatini–the landscaped gardens attached to the palace that we access from an iron gate (closed at night) across the street.
Jardines Sabatini
The gardens are simply magical–plenty of twisty paths and sunlit dells. For the remainder of our stay in Madrid, Gregg goes every day to the gardens to paint.
Visit to the Prado in Madrid
The main item on the agenda for the day is a visit to the Prado–one of Europe’s great art museums on par with the Louvre, the Uffizi, and the National Gallery. It’s a must-visit if you want to stand in the presence of some of western art’s most iconic pieces. What I love about the Prado as compared to the Louvre (not so much the Uffizi or the National Gallery) is that it’s very accessible. Yes, it’s large–three floors with dozens of rooms and hundreds of masterpieces–but it’s not too large. We are able to see almost every room and every time period, from medieval to 18th century, in about two hours of leisurely strolling.
I have bought tickets in advance (a must to avoid long lines) and within five minutes of arriving, we’ve sped past a long line and are standing at the entrance of the main gallery. I snap off this picture before discovering that photography in the Prado is forbidden. Oops!
No Pictures!
While at first I’m disappointed not to be able to snap pictures of my favorite paintings, I soon feel grateful for the photography prohibition. Often in art museums, I spend more time hovering in front of a painting waiting for others to move so I can get a good shot than I do appreciating the painting.
Freed of the compulsion to document our visit, Gregg and I wandered happily from room to room, thoroughly enjoying the opportunity to stop in front of paintings we like to discuss why we like them.
Get Your Tickets with Get Your Guide
I recommend buying your tickets in advance through Get Your Guide or even splurging for a guided tour. You’ll learn a lot and are sure to see all the highlights.
Banco d’Espagna
After our visit to the Prado, we walk over to the impressive Banco d’Espagna to catch the Metro home for a wee rest before another trip highlight to come–flamenco!
Here’s a shot of the wedding-cake banco d’Espagna. What a great building. It really says “Madrid” to me–so imposing and kind of in your face, but in a good way.
Plaza Mayor
Gregg and I love going to flamenco shows and so of course we’ve booked one in Madrid. We have an early dinner of tapas in the imposing Plaza Mayor, then make our way to the Tablao Las Carboneras.
The Plaza Mayor, by the way, is a great place to visit, but I don’t recommend eating at the restaurants there. Most are multi-lingual tourist traps with food that is at best mediocre. At least that was our experience, and I have read other reviews that say the same. Visit the plaza to enjoy its architecture, then eat at a place in a side street nearby.
Flamenco at Tablao Los Carboneras
We arrive and are ushered into a “tablao.” This is a room with small tables where patrons are given one “free” drink and a small plate of olives and cheese. Unfortunately, we are seated to the left of the stage and so need to crane our heads around to see the dancers and can’t really see the singers and guitar player at all.
Oh well. Once the lights go down, the three dancers (two women and one man), a male singer, and a guitarist come out and start playing, and we are mesmerized. Flamenco is endlessly fascinating to me. Every performance is different with every dancer, singer, and musician bringing their own soul to the dance floor. Flamenco reminds us of jazz because, like jazz, it is improvisational. One dancer listens and then responds to the singer and the guitarist while the other dancers egg them on with cries of Huzzah and Ole! You can see that they are completely consumed by their performances.
The only fly in the flamenco ointment is that the group of girls next to us won’t stop talking, particularly during the guitar solo (which is heart-rendingly fabulous). I tried to ignore them, but it is irritating and takes away from the pleasure of the evening. We resolve to catch another flamenco performance at a different place before we leave Madrid.
Flamenco Shows on Get Your Guide
Here are a few flamenco shows sold through Get Your Guide. We went to performances at Los Carboneras and Emociones.
Joining the Throngs
After the show, we sail out into the evening and join the throngs of Madrileños out strolling on a Saturday night. The crowds move slowly, everyone chatting and enjoying each others’ company. It’s so darned civilized, and so very different from how we spend our evenings back home! The solitude of island living can be soul soothing, but sometimes, it sure is cool to join the human race in a city like Madrid.
Day 6: Sunday, October 22 – Off to Ávila
We leave the ApartoSuites Jardines de Sabatini for a three-day trip to two small cities to the west and southwest of Madrid. Our first stop is Ávila, a walled city sometimes called the Town of Stones and Saints. The medieval walls are impressive, but they are a good twenty minute walk through dreary suburbia from our hotel. Orson Welles once named Ávila as the place in which he would most desire to live, calling it a “strange, tragic place”. He filmed scenes of his 1965 film Chimes at Midnight in the town, and more recently, some of the town was used as backdrops in Game of Thrones.
I rather wish we’d booked a hotel within the walls, but Gregg has a horror of driving into medieval villages, based on several mishaps over the years! And why add to the stress? Our hotel–the Hotel Exe Reina Isabel–is lovely and was very easy to drive to so no complaints except for its distance to the medieval part of the city.
In Ávila we encounter the first chilly temps of our trip. I am obliged to bring out the hat, gloves, and scarf I’d brought and hoped not to need.
Getting Medical Attention in Ávila
Once we’re settled, we go in search of a doctor to look at my plugged ear. The pharmacist in Madrid told me that I really should see a doctor since over-the-counter remedies have done nothing for five days. After much walking and a taxi ride, we end up at a hospital emergency that won’t take me because they can’t accept payments. They kindly direct us to a clinic that turns out to be five minutes from our hotel. Once there, the nurse hums and haws and finally lets me pay 120 euros to get looked at by a doctor.
The nice doctor who doesn’t speak much English concludes I have an ear infection and writes out a prescription – antibiotics for five days plus spritzing twice a day with another concoction, presumably to soften the wax buildup. Fun.
We trudge back through the dreary streets to the magnificent medieval town to look for the only pharmacist for miles around that is open on a Sunday afternoon. We’re discovering that Spanish small towns on a Sunday can be very, very closed.
Fortunately, we find the pharmacy, get the prescription, wander a bit through completely empty streets, admire the impressive medieval walls, then return to our warm hotel room for an early night.
Day 7: Monday, October 23 – Cáceres
We’re up and on the road early for the 2.5 hour drive to Cáceres, another medieval town quite close to the Portuguese border. We’re staying in a country resort that is remarkably reasonable considering it was once a palace. It’s called Hospes Palacio de Arenales and Spa.
We arrive after lunch and decide to stay put for the rest of the day. I try out the very warm swimming pool and various jacuzzi jets, then we have a light dinner in the bar. The weather outside is cold, so staying warm indoors wins over sightseeing. The palace itself is magnificent.
Day 8: Tuesday, October 24 – Exploring Cáceres
We are staying two nights in Cáceresso the next morning after a sumptuous breakfast, we drive into the town to check out the medieval center. Most of Cáceres is forgettable–a town like any town in Europe. We find a parking space and walk into the historical center. It’s pretty deserted but certainly atmospheric. We snap a few photos, visit the church, then have a hearty lunch in the main square.
Our three-day sojourn from Madrid has been relaxing but has involved a bit too much driving considering the payoff.
Day 9: Wednesday, October 25 – Return to Madrid
We are happy to return to Madrid this morning. The three-hour drive through fairly dreary landscapes flies by. Before we know it, we’re pulling into the parking lot next to the ApartoSuites Jardines de Sabatini. We are greeted like old friends and given keys to a new suite on the fifth floor at the back of the building.
Sunset View
The view of building rooftops is not particularly inspiring, but does include glimpses of some memorable sunsets.
Once settled, we go for a good long walk through the narrow streets of old Madrid before ending up at Plaza de España and the stairs leading down to “home.”
On this, our re-entry day into Madrid, we do very little beyond the walk. I have travel arrangements to attend to. We’ve decided to cut our trip short by two days, thereby eliminating a long drive from Padua to Lyon in France. As a result, I must spend several hours online with KLM making the flight changes, then reshuffling our accommodations.
Thank goodness for booking.com. I know that properties prefer clients to book directly with them because booking.com charges a 10% commission, and I sympathize. However, for a long trip such as ours, having all our accommodations together on one website is so convenient. I’ve never yet been on a trip when I didn’t make some changes to our itinerary and the associated accommodations. Canceling and rebooking accommodations on booking.com is a breeze.
For dinner, we opt for Thai food at a little place down the block. Its reviews are excellent and we are tired. Also, I’m craving Asian food after a fairly steady diet of Spanish tapas. They can be a trifle on the heavy side and vegetables are rarely featured. I want something spicy and fresh and Thai food fits the bill.
Turns out it is a good choice. We share one appetizer and one red curry made with crispy duck and are pleasantly full.
Day 10: Thursday, October 26 – A Day of Nothing Much in Madrid
Today is our day off from our 66-day sojourn. I start the day at my favorite café and write for an hour before Gregg comes by. We decide that a day off is a good day to go in search of a new suitcase for me. One of the wheels on my suitcase was broken on the plane and now lists to one side. I don’t fancy its chances of surviving two more flights.
Gran Via – The Heart of Madrid
Off we go up the stairs to Plaza de España and then along bustling Gran Via—the main artery that cuts through central Madrid. Gran Via is the Broadway of Madrid on which most of the theaters are clustered along with the big hotels, chain stores, and fast-food restaurants. It’s a delightful street to stroll along—wide and clean with imposing buildings on both sides. The Plaza de España is at one end (near where we are staying) and the Prado is at the other end. Here are some pictures of the magnificent architecture along the Gran Via.
Some Rest and Relaxation
When we get back from our shopping trip, new suitcase in tow, I indulge in an afternoon nap and it does feel good to just rest! Traveling is wonderful, but it can also be hard work. I’m grateful to have such a comfortable place to stay. In the evening, we climb the stairs back to Plaza de España and look for an Indian restaurant. We are the first customers at 8 pm. The food is plentiful and tasty.
Day 11: Friday, October 27 – A Visit to El Retiro
A sunny day! We plan another quiet day in Madrid prior to going to the second opening this evening. I start my day at my favorite café. By this time, the servers know me and smile with recognition first at my order and then point upstairs to my favorite table overlooking the action. I love starting my day this way—the bustle and clink, the murmur of voices—never too loud in Europe, the wagging tails of the dogs brought in by their owners. When I get upstairs to “my” table, three little mop dogs are tethered to the table behind. They get very excited when I come up and jump up with much wagging of tails and bodies.
After working for about an hour, I drop my computer back at the Jardines and we embark on our outing of the day—a walk through Retiro Park. We stroll across the street and up the stairs to the gardens flanking the Royal Palace, skirt the palace and go around the Opera house to arrive at the Opera Metro station. A few stops later, we emerge across the street from Retiro Park.
Retiro Park in Madrid
Paris has the Luxembourg Gardens, London has Hyde Park, Rome has the Borghese Gardens, Berlin has the Tiergarten, and Madrid has El Retiro. I’ve been to all of them and I have to say that Retiro in Madrid is my new favorite.
Gorgeous trees, wide walkways, a large lake studded with rowboats being lazily propelled in the October sunshine, an exquisite rose garden, and a lot more make Retiro a delightful place to spend an hour or two. We walk from one end to the other, sometimes joining the throngs of people on the larger avenues, and other times veering off to small pathways where only the occasional jogger lopes past.
Retiro is 118 hectares of green space in the very center of the city and was built in the mid-17th century for King Felipe IV.
We walk the length of the park and emerge into a workaday neighborhood where I’m sure we’re the only tourists. We stop into a cafeteria for lunch and enjoy a bargain meal–two very filling sandwiches, two coffees, a soda water, and two desserts for about 12 euros. All very tasty and fresh! We are finding that food prices in Madrid, particularly away from tourist areas, are extremely reasonable. And even in the tourist areas the prices are still less than what I’d pay in Vancouver for comparable quality–a lot less!
Second Opening of Flamenco Abstractions
In the evening, we go again to Captaloona Gallery for the second opening. More people come and we enjoy many interesting conversations along with some sales. All in all, a successful evening! Afterwards, we take the Metro back into Old Madrid and enjoy yet another excellent meal.
Rez Mad Rid Festival
The Rez Mad Rid Festival (we finally figure out that it means Lights Madrid) has started and all over Madrid sound and light shows are set up. At the Royal Palace, black Hallow’eenish tendrils crawl across the facade to the accompaniment of suitably spooky sound effects. On the side of another building, the projection of an artist “painting” with light entertains us for several minutes.
The streets and walkways are teeming with people and the cold air is alive with their conversations.
Day 12: Saturday, October 28 – Royal Palace and More Flamenco
I’d booked a guided tour of the Royal Palace a few days earlier, and so at 9:40 set off from ApartoSuites Jardines de Sabatini to stroll across the road to the palace grounds and through them to meet the tour at the statue of Felipe II. The morning is chilly with a biting wind. I’m grateful when finally, after much milling about and waiting in line, we are ushered into the palace.
Our guide is a perky and well-informed young woman wearing a bright purple hat and blue raincoat so she’s easy to spot among the dozens of more soberly clad tourists.
I used to turn up my nose at guided tours, but I’m coming to see their worth in small doses—about two hours is my maximum. I learn more from a live guide than I do from the ubiquitous audio guides that always make me want to fast forward.
The Royal Palace Tour Begins
Our guide starts off by giving us a quick summary of the history of the palace, which is the official residence of the Spanish royal family (although they don’t live there). Back in the 1730s, Philip V decided to have a new palace built after the mouldering fortress that Spanish kings had been occupying for centuries burned to the ground. Apparently, the fire roared through the old place on New Year’s Day, not long after all the best paintings had been taken out. Coincidence?
Measuring 135,000 square meters with more than 1,400 rooms, the Royal Palace is massive. Thankfully, the tour explores only a handful of the rooms, but what a handful. The first room we enter is laden with massive chandeliers, and I snap a picture.
Seconds later, I’m almost bowled over by a very angry guard.
“No pictures!”
“Sorry!”
He wags a thick finger at me and for a second I’m worried he might tackle me to the ground and confiscate my phone. Instead, he turns away, grumbling under his breath as he readies himself to pounce on the next unsuspecting tourist.
The guide apologizes to the group for neglecting to tell us that photographs are not allowed. She also acknowledges that the guard was somewhat aggressive. No kidding! My heart rate doesn’t return to normal for two more rooms. I feel like the very worst sort of cultural criminal.
Sumptuous Rooms in the Royal Palace
Sumptuous is putting it mildly. Ceilings are covered in frescoes, walls with silks and paintings; objets d’art including some pretty nifty clocks sit atop beautifully carved tables, and there are chandeliers galore. It’s somewhat over the top but hey, it’s a palace. The guide provides just enough history and stories to bring the place alive without overdoing it.
One room displays a collection of five instruments made by Stradivarius. Each is worth tens of millions of euros and can only be played by a virtuoso. It would be amazing to hear how they sound!
We also check out the banquet room and the throne room, and learn that the current king came to the throne in 2014 after his dad, King Juan Carlos, abdicated following a series of scandals involving the misuse of government money. King Felipe VI looks to be an upstanding fellow. The palace is getting ready to host a major royal event when his eldest daughter, the heir to the throne, pledges her loyalty to the constitution. The palace will be closed for several days.
Should You Visit the Royal Palace?
Is a visit to Madrid’s Royal Palace worth a few hours of your time? I think so. Despite its massive size, it’s one of the more accessible palaces I’ve toured, and the history of the various kings and queens who inhabited it is fascinating. If you go, I suggest signing up for a guided tour and choosing the first tour of the day so you enter the palace when it opens at 10 am.
Access to the rooms is through very narrow entranceways. I find it crowded enough early in the day and can’t imagine what it would be like later on. I think getting from room to room would take twice as long.
When I emerge from the palace at 12:30 at the end of the tour, the line-up to get in stretches for a few blocks. So yeah, go early.
After my tour, I meander slowly through crowds of tourists (the most I’ve seen since arriving in Madrid) to return to the hotel. The air is still cool, but the sun is shining and the palace gardens are as inviting as ever. Once again, I’m struck with how comfortable a city Madrid is. People don’t rush around here, not like they do in Paris or Rome. There are also very few bikes and almost no cars in the center of the city so walking is a pleasure instead of an exercise in death-defying dodging.
Accessing Health Care in Madrid
Back “home” at the Jardines Sabitini, I connect with a local doctor to help me with my ongoing ear problem. Forty minutes after I call a number for a Madrid doctor on call, a doctor arrives at my door. She is from Colombia and quickly gets to work solving my ear problem and also providing help with some skin issues I’ve been having since coming to Europe. She is a wonder! The cost is 130 euros and she comes equipped with a Visa machine.
What a service! She tells me that she is on call for 24 hours and that the morning was very busy with people suffering from major hangovers after over-indulging in the Madrid night life. Many people told her they would never drink again, but she tells me with a twinkle in her eye that she doesn’t believe them.
Another Flamenco Show in Madrid
On the agenda for the evening is yet another flamenco show. Ever since seeing our first live flamenco in Barcelona in 2010, Gregg and I have been obsessed. In fact, Gregg’s exhibition in Madrid is heavily inspired by the flamenco shows we’ve attended over the years.
We opt for Madrid: “Emociones”, billed as one of Madrid’s best flamenco shows. It’s in a theater rather than a club and we hold out hope that we’ll snag better seats than we did for the flamenco show we attended a week earlier. With that goal in mind, we leave home at 5 pm and walk about 25 minutes through what are becoming the familiar streets of Madrid to get to the theater. Along the way, we join the throngs on Gran Via.
Saturday Night in Madrid
It’s Saturday night and the street is packed to the gunnels—and it’s only 5:30! But it will only become more crowded, as we’ll discover after the show.
We arrive and are shown to absolutely first-rate seats in the second row directly in front of the stage. The price includes one drink each. Gregg orders agua con gaz and gets a nice big bottle that I share, while I order a white wine (my first in over a week to celebrate finishing a round of antibiotics). It’s a good choice since it is a very small glass of white wine!
Still, we’re not there for the drinks. The lights go down and the hour-long show begins. We are introduced one by one to the six performers who will pour their hearts onto the stage, literally to be stomped upon. The cast consists of two female dancers, one male dancer, a guitarist and two female singers. Together, they present a mesmerizing show that really showcases the various roles each of the components play—dancers, musicians, singers.
The Flamenco Performance
The three dancers dance together and then each takes the stage separately to perform breathtaking solos. We are at eye level with the feet and especially during the man’s performance, I fix my gaze on his shoes and watch with wonder as he slides, slides, stomps, stamps, taps, and even jumps. Meanwhile, he fixes a haughty gaze high above the heads of the audience and with his hands alternates between slow snaps, sinuous arms movements, and then rapid grabbing of his jacket and wrenching it back and forth like a matador’s cape.
As in every flamenco show we’ve attended, the guitarist takes a solo.The flurry of runs shivering up and down the neck of the guitar has me swooning. I don’t think there’s any kind of guitar playing more perfect, more soulful than Spanish guitar playing. It truly is poetry performed by ten impossibly strong fingers.
Day 13: Sunday, October 29 – Tango in Madrid
In the morning, I go out to my favorite place for morning coffee and to work on my novel. At 11:30, we hop in a cab and go to the gallery where Gregg and Claudio take down and pack the show. It has been a success in many ways, not just with some sales but also because of the contacts made and people met.
Claudio is very supportive of Gregg’s work and promises more connections and possibly another show in Madrid. Will we return? Who knows? I certainly like this city with its calm and easy atmosphere. Madrid feels more like a village than a big city, despite the crowds. Perhaps it’s because there is virtually no traffic noise in the streets of Old Madrid. With almost all cars banned from the city center, most streets are either pedestrianized or have so little traffic that it’s common to walk most of the time in the center of the street, only moving calmly aside when a car comes sedately along. No cars horns blaring, no sirens, no feeling of imminent demise, and as mentioned, almost no bikes or scooters.
Uber in Madrid
After packing up the show, we call for our first Madrid Uber. I’m surprised that I’m required to enter my passport number before I can order one. Apparently, it’s a requirement of the Spanish government. I have no idea why but I guess I’ll forever be registered in some Spanish government archive as having ordering a 7 euro Uber on October 28, 2023.
Back “home,” we go for lunch at a nearby café that’s packed to the gills with locals enjoying a cheap Sunday lunch. The food is definitely budget-friendly and filling, but the one server is run off his feet and a good lunch is followed by twenty minutes of waiting for il cuenta. Finally, he tends to us after passing by numerous times with a promise to return, only to have us pay the wrong amount! He has to run out of the café to collect an extra thirty cents because I thought the bill read 20.50 and it was 20.80!
Gregg spends the afternoon drawing and I head out for a last swing through the centro to see if I can pick up some Madrid souvenirs. I’ve bought nothing so far in this wonderful city. Souvenir shops are brimming over with tackiness. I snag some jewelry, a flamenco fridge magnet and a mug.
Tango in the Evening
At 7 pm, we meet Claudio and his wife for what turns out to be an epic treat–a performance by two masters of the tango at Café Berlin. One sings and the other plays the harmonica and all the rhythms are inspired by tango.
What a tour de force! Accompanied by an amazing guitarist, the two men entertain us for over 90 minutes. In addition, every so often, guests come up on stage and sing. We love every minute of it. Here’s a link to a video Gregg took: https://www.facebook.com/1262160445/videos/350491717540159/
After the performance, we go out to a marvelous meal with our new friends. As we stroll home through the Sunday evening crowds, we feel very grateful for how well our Madrid odyssey has gone.
Day 14: Monday, October 30 – The Ballet
Last full day in Madrid! I have nothing planned beyond working on my novel in my favorite café, working on this journal, doing some research, going for lunch somewhere, and getting packed up before we head out of town tomorrow.
After my morning stint at the café, Gregg swings by and we go for our last stroll in the Jardines Sabatini across the street. We wind our way down sylvan paths completely alone with the trees and unable to hear the traffic from the street above us. We walk farther than we have in the past and discover a rose garden, more statues, and a few other follies, along with some great views of the palace up on the hill. The leaves are turning fast now and with the sun filtering through, we are in a magical place.
After dropping back into our place to recharge my phone, we set out again to find an art store. Gregg needs to stock up on more conté pastels before the next phase of our trip. During our travels, we spend a fair amount of time searching out art stores.
The big event of the day is a performance of Swan Lake by Ballet Kiev.
Swan Lake
Neither of us has ever seen a full-length ballet (with the exception of The Nutcracker when I was a little girl), so we are excited to see what Ballet Kiev has in store for us. The dancing is beautiful, with glittering costumes and sets. At a mere 40 euros for excellent seats (and no one next to us so we are able to stretch out), the evening is excellent value.
We dance our way home through almost empty streets. It’s a Monday evening and apparently even Madrid sometimes slows down.
Day 15: Tuesday, October 31 – Maestras
Our last morning in Madrid! We pack the car and set off via Uber for the Museo Nacional Thyssen-Bornemisz to see a special exhibition of women artists called Maestras.
Our driver is obliged to take almost an hour to get from our hotel to the museum (about a 30-minute walk away) because many roads are blocked off. The Crown Princess is giving her oath fo the constitution in Parliament today and security is tight.
Maestras at Museo Nacional Thyssen-Bornemisz
Finally, we arrive (I add on an extra-big tip!) and we tour the exhibition. It’s excellent! Not only are the pieces chosen gorgeous to look at; the thematic organization is very thought-provoking. Works by so many of my faves are featured, including Artemisa Gentilleschi, Berthe Morisot, Mary Cassatt, and Rachael Rausch.
Time to Say Goodbye
And finally, it’s time to say adios to Madrid and hola to Valencia. We say our good-byes to the staff at the ApartoSuites and promise to return! They have truly made our stay a pleasure.
Minutes later we’re on the road out of Madrid. The GPS doesn’t disappoint and before we know it Gregg’s staring down the A3 for the next three and a half hours.
Even after twelve days in Madrid, we missed a few museums I’d wanted to visit, such as the Costume Museum, and didn’t get a chance to pop into the Reina Sofia to say hi to Picasso’s Guernica. I also never visited the imposing cathedral and I’m sure missed a few more worthy sites.
But hopefully, we will return!
Madrid Tours
Here are lots of options for getting tickets and tours through Get Your Guide. I use their tours frequently and can recommend them wholeheartedly.
Conclusion
Have you been to Madrid? Share your recommendations in the comments below. Also, here are more posts about Spain.
A visit to Lascaux IV in the Dordogne region of France is a must for the artsy traveler. Here you will view the incredible paintings done by our artistically-inclined ancestors over 30,000 years ago (give or take a few centuries). The size, breadth, and sheer beauty of the paintings definitely will take your breath away.
In this post, I’m sharing my experience at Lascaux IV near the charming town of Montignac in the Dordogne region of France in October 2023.
We first visited Lascaux II in 1995 almost reluctantly. The original cave closed to visitors in 1963 after they’d been allowed to crowd through for about fifteen years. Unfortunately, bacteria from their breath was eradicating the paintings at an alarming rate.
Lascaux II
Lascaux II opened in 1984–an almost exact facsimile created to show tourists the paintings in the Great Hall of the Bulls and the Painted Gallery. Purists as we were back in those days, we didn’t think a facsimile could be as good as the real thing.
We were very wrong.
Lascaux II was small, cramped, and fabulous. The magnificence of the prehistoric paintings blew us away, particularly inspiring Gregg (my husband & an artist–meet him on the About page) to create several paintings related to our visit. We could hardly believe the paintings were in fact almost exact replicas of the real thing.
Lascaux III and IV
The Lascaux cave’s fame as the premier destination for prehistoric art lovers in France, or indeed all of Europe, continued to grow. In 2012, reproductions of the paintings, called Lascaux III, were taken on the road. Then, in 2016, the massive complex that now houses Lascaux IV and its accompanying museum opened to the public.
Preparing for Our Visit to Lascaux IV
We secured our reservations for the English tour weeks before leaving Canada—and a good thing. There were only three English tours available daily during the three days we were in the Dordogne. Even a month out, only a few spots remained in the time slot we wanted (11:10 am). We snapped them up, printed off our tickets, and looked forward to the ultimate prehistoric treat. We knew the paintings themselves would not have changed since we saw them in Lascaux II, but were interested to see how the Lascaux IV iteration had enhanced the experience.
Buy Tickets in Advance at https://www.lascaux.fr/en
Touring Lascaux IV
We arrive about twenty minutes before our designated time slot and park in the huge lot across from the long, low modern building housing Lascaux IV, built below the hill that houses the real Lascaux cave.
In the airy atrium, we spend the time before the tour starts browsing the gift shop and discovering a whole new level of Lascaux-themed merch. We resolve to return after the tour and make our choices.
But before leaving the gift shop, I can’t resist snapping a pic of a whole wall of prehistoric animal stuffies. Is life truly worth living without a stuffed mammoth? I think not.
The tour begins with a flurry of English-speaking people affixing headsets and audio receivers as the cheerful guide asks if we are “hearing my voice in your head?” After several minutes all thirty or so of us are kitted out and the tour begins in an elevator.
Starting Outside Lascaux IV
We zip up to the roof of the low-slung building and learn about the discovery of the Lascaux cave in 1940. A man was out with his dog Robot (yep, that was the dog’s name) and discovered the narrow entrance to the cave at the top of the wooded hill behind the building. He returned the next day with three boys. They entered the cave through a 15-metre-deep shaft and discovered cave walls covered with depictions of animals—aurochs, bison, deer, horses, and more.
Our guide plays up the drama of the discovery and then invites us to cast ourselves back 30,000 years to imagine leaving the fresh air to clamber into a dark cave. He reminds us frequently that the humans who created the paintings in Lascaux are the same as is, biologically speaking. They were Cro-Magnon, relatively recent arrived in the area which had been inhabited for several hundreds of thousands of years by their Neanderthal cousins.
Entering Lascaux IV
With a flourish, the door slides open and we troop into the narrow cave. Our guide exhorts us to proceed in total silence and with reverence for what we are about to witness. He does a good job of setting the scene.
My art sensors are on high alert.
The door slides shut behind us and we are in the first room. Arching high above us and on the walls either side are an awe-inspiring jumble of painted animals. Some overlap, and the prevailing impression is one of constant, joyous movement. Looking up in the eerie light cast by the guide’s flashlight, the animals sway and gallop across the uneven surfaces of the cave. Each bump and swell of the simulated rock has been incorporated into the bodies of the animals in exact imitation of how the animals appear in the real cave.
Description of Images
The images of animals cavorting above us are not primitive scratchings on a rock wall. This is the prehistoric Sistine Chapel. The beauty and freshness of the vividly colored animals explode in front of us. We gasp with wonder and respect. These early painters truly were artists.
Throughout the tour, the guide emphasizes that we have no idea why the long-ago artists made these paintings. The prevailing theory is that they were made because the artists wanted to make them. In other words, these cave artists were not much different from an artist in any period. They created the animals they saw outside the cave in all their kinetic glory because, well, they just kinda felt like it. Perhaps they painted during the winter when game was scarce. Being inside a relatively warm and cozy cave was better than being outside in the snow.
Who knows!
Types of Images in Lascaux
The cave contains nearly 6,000 figures, the vast majority of which are animals. One bird-headed human figure appears in a shaft that they don’t include in Lascaux IV (but show in the museum). The cave also includes various symbols whose meaning archeologists have yet to determine.
There are no images of the surrounding landscape or the local vegetation. The animals charge across the cave walls and ceiling unencumbered by gravity.
Creating the Images
The artists used three colors: red, yellow, and black made from minerals and sometimes mixed with grease. Tools used include early versions of brushes along with tubes for blowing the paint onto the rock. The museum we enter after touring the replica cave provides many more details.
Hall of the Bulls
First up is the Hall of the Bulls. The clarity, brightness and size of the many images is spectacular. Each animal looks like it was painted yesterday, which is sort of true since it’s a replica, but it’s a replica of what the real caves look like.
The Hall of the Bulls contains 130 figures, including cows, horses, aurochs, and the only bear in the cave. One of the bulls is enormous. Spanning 5.5 meters, it’s the world’s largest known prehistoric representation of an animal.
Also in the hall is the first unicorn—a representation of an animal that never existed in nature. What was the artist thinking? Why did he or she choose to paint it? We’ll never know. The guide spends a lot of time focusing on the unicorn and speculating.
Axial Gallery
We keep going through the hall to the axial gallery, a 30-meter passage dubbed the Sistine Chapel of Prehistory. My favorite is the line of small horses merrily cantering along one wall. Called the Frieze of the Small Horses, they face the direction of the entrance to the Axial gallery. Each one is different in color, size, and shape. I unfortunately did not snap a picture of the little horses later when we entered the museum.
Overhead flow more horses and bulls and cows and aurochs and even two ibexes in a joyous celebration of movement and color. Below is a photo of one of the ceilings, taken from Canva. Photography inside the replica cave is forbidden so I wasn’t able to snap my own pics.
The Nave
Five large stags follow in a row, only their heads and antlers visible as if they are swimming. Also there are two black bison facing back to back with the rump of one placed just ahead of the other to give a 3D effect. They look like they are galloping off in opposite directions.
Where Are the Reindeers?
Being inside the replica cave is somewhat claustrophobic and yet wondrous at the same time. I tried to imagine what compelled people just like me to lower themselves into a cave and use tools and pigments to cover walls with a riot of animals in motion. And what’s even more astonishing is that not one of the animals depicted is a reindeer—the most plentiful animal roaming the landscape at the time.
Why did the artists only depict the less common animals instead of the one they depended on most for food? Again, no one knows.
The population of France during the time when the paintings were created was less than 50,000 people. And yet a fair number of them must have been artists, considering the large number of painted caves in the Dordogne area, elsewhere in France, and in northern Spain. The guide tells us that all the painted caves in existence will never be discovered.
Ending the Tour
At the end of the tour, we emerge into the sunlight to the sound of running water. The guide asks us to consider the role water played in creating caves of hollowed-out rock beneath the earth.
After answering questions, the guide leads us into the museum. Here, each of the main panels in the caves is reproduced so we can study them more closely and also take pictures. As mentioned, photography is forbidden within the caves.
Exploring the Museum
The museum is very high-tech and stylish. I would like to stay longer, but it’s already one o‘clock and tummies are rumbling. After snapping pictures of my favorite parts of the cave, I check out some of the interactive stations where people are invited to try “painting” on the screen using the colors and tools available to the cave artists. It’s all very cleverly done.
Once out, we make a quick pit stop at the gift shop and load up on Lascaux-themed merch. I buy myself a Lascaux mouse pad, a fridge magnet to add to our growing collection, a stylized figurine of an auroch, and a book about Lascaux so we can read about what we’ve just seen.
Conclusion
A visit to Lascaux IV is a must if you’re traveling in the Dordogne area. It’s located close to the charming village of Montignac. Have you visited? Share your impressions and your tips for other artsy travelers in the comments.
Tour Options for the Dordogne
Here are some options for touring the Dordogne area of France. Allocate at least a week for the area. We stayed for just three days and it was not long enough!
We’ve come to beautiful little Pont-Aven in southern Brittany for six days. The works created by painters of the Pont-Aven School, most notably Paul Gauguin, Emile Bernard and Paul Sérusier, has long intrigued my husband Gregg Simpson. These artists—plus many more over the past century—have found the light and landscape of this corner of Brittany inspiring. Gregg wants to find out if inspiration will also hit him. (Spoiler alert: it does!).
I’m toying with an idea for a character who comes from a provincial French town and makes her way to Paris during the Belle Époque. Why not have her come from Pont-Aven? I resolve to spend the week soaking in the atmosphere and the vistas, and learning what I can about what life was like here in the 1880s.
Tuesday, October 2
Morning in Rennes
After breakfast at our hotel in Rennes (Hôtel Anne de Bretagne—a good choice for a one-night stay), we set off to explore the medieval streets of Rennes, the capital of Brittany. The city allegedly has the greatest number of half-timbered medieval houses still standing in France—360 houses in total. We don’t think we’ll have time to see all 360, but I’m determined to see a goodly portion of them. Armed with a route I mapped out from various blog posts about Rennes and its medieval architecture, we set off.
There are few people on the streets on the fine and sunny Tuesday morning. We walk about ten minutes, retracing our steps from our post-dinner stroll the night before, then turn a corner and voilà! We come face to face with the famed Rennes medieval houses—well, a few of them at least.
Half-Timbered Houses in Rennes
They are gorgeous! Half-timbered, often painted, some crooked and leaning out into the street. It takes a very small leap of the imagination to see myself back in the 1400s so long as I keep my gaze upwards to avoid looking at the modern storefronts at ground level.
After a while, we notice that ghostly images of what we think are white ferrets fill the windows of many of the half-timbered buildings. These are the buildings that must be in the process of being preserved because instead of storefronts at the bottom, there are … ferrets. We quickly become obsessed with snapping pictures of these rather creepy guys!
En Route to Pont-Aven: A Stop in Josselin
We leave Rennes and take our time driving to Pont-Aven. According to our navigation system, it’s just two hours away, and since we can’t check into the house we rented until 4 pm, there’s no need to rush.
On our way, we stop in Josselin. I had no idea it would be as pretty as it turned out to be. I was looking on Google Maps for a good place to break our journey. A click on Josselin showed it had a château. I’m always up for checking out a château, so we set the navigation system for Josselin.
Wow! Josselin is adorable! Its half-timbered houses have been meticulously renovated and restored, many painted in bright colors.
The town is small—really more of a village, so it doesn’t take long to walk along its cobbled streets and down toward the river where stands the château. It opens in an hour, but we won’t wait to go in. In my experience, most French châteaux are pretty much empty inside, and according to the website, the château at Josselin is no exception. We opt instead to walk down by the river and snap photos in the glorious October sunshine.
Arrival in Pont-Aven
Then it’s back in the car and onwards to Pont-Aven. At 4 pm, we enter Pont-Aven, our home for the next six nights. We’ve visited the town twice before—first in 1995 when Gregg discovered its association with several of the painters he admires, and again in 2013 when we spent a night there during a short jaunt to Brittany. Both times, we loved the picturesque little town and hoped it hadn’t changed.
The navigation system wants to take us across what looks like a pedestrian plaza. We balk and opt for the long way around that ends in a very sharp turn up a very steep driveway marked privé. But the address is correct and so Gregg barrels up the road and makes a second very sharp turn into the parking area.
Although I’d seen pictures of the place on booking.com, I am not prepared for just how stunning it is, perched on a ridge with a view across the boat-choked inlet. Called Le Fusain, the house itself is large and modern with a massive kitchen, a large living/dining area, a master bedroom with attached bathroom downstairs, and two smaller bedrooms and another bathroom upstairs. It’s too big for us but we don’t mind. And it’s an incredible bargain, compared to what we paid in Paris and Amsterdam.
The person who manages the place shows us around and then leaves us to get acquainted with our new digs. We both stake out our work areas—me at the modern dining room table in the living room (left) Gregg at the large wooden table in the kitchen (right), and resolve to use a lot of our time to get stuck into some work.
First Stroll Into Pont-Aven
But first, we must check out Pont-Aven and buy food for dinner. We set off down the hill for our first of what will be several forays into exquisite little Pont-Aven. I can’t stop snapping pictures!
Eventually, we end up at the Intermarché near the edge of town, load up on provisions, and head back up the hill to our beautiful domain. That night, we enjoy a light dinner of crêpes stuffed with ham and cheese. Divine (and also so much cheaper than eating out!).
Overview of Pont-Aven
Henry Bacon, an American artist, “discovered” Pont-Aven in the 1860s. Many more artists began flocking to the area, attracted by the light and the beauty of the town and the surrounding landscape. Painters came from Scandinavia, England, and the United States, but were all called the Americans by the locals. Pont-Aven‘s reputation as a mecca for artists was cemented in 1886 when Paul Gauguin arrived. Other artists in the Impressionist and Synthetist school soon followed, including Émile Bernard and Paul Sérusier. Their work became known worldwide as the “School of Pont-Aven”. Their likenesses are painted on a wall in Pont-Aven. From left to right – Sérusier, Bernard, and Gauguin.
Check out my post on the Musée d’Orsay for some of the most famous examples of their work.
Wednesday, October 4
Pont-Aven weaves its magic spell around us and we can’t get enough of enjoying its many vistas. We set off mid-morning for our first real exploration. Pont-Aven is located at the end of a very long inlet. It’s a good 90-minute walk along a wooded sentier to get to the sea. Back in the day, the town was a popular fishing port, apparently attracting so many French sailors that locals tended to speak French rather than Breton as did most of the people in the surrounding towns and villages.
Bois d’Amour
We head first to the tourist information office and pick up a map of the area and directions to the Bois d’Amour—the Wood of Love, a delightful walk alongside the river where Paul Gauguin and Paul Sérusier first “discovered” abstraction. Well, that’s the legend, anyway. The very spot where Gauguin apparently told Sérusier how to use color vibrantly is marked with a plaque as well as the painting that Sérusier created, entitled Le Talisman.
We are entranced by the beauty of the walk as well as the almost complete absence of other people. A visit in October is just the ticket to avoid crowds. The area is very popular with holidaymakers during the summer months.
Pont-Aven is tiny and yet boasts 60 art galleries! Pretty much every shop on the four main streets that make up the town is an art gallery of some sort. Most of the art in the galleries is of the sailboat landscape variety, competently done but not that interesting.
Thursday, October 5
After a morning walk into town for coffee and croissants followed by catching up on writing (me) and doing some drawing (Gregg), we head out at 4 pm to explore the area by car. Our first goal is to find the sea! We know we’re close—we can smell it and hear the seagulls, but so far we haven’t yet seen it. That changes pretty quickly after we leave Pont-Aven and drive along beautifully winding country roads to emerge onto our first beach. It’s wide and windy and absolutely stunning. It’s also empty.
For the next two hours, we swoop and swerve along the country roads, stopping every so often to admire yet another sea view of blue ocean and rocks tortured into weird shapes.
Visit to Concarneau
At close to 6 pm, we drive into Concarneau, a relatively large town that consists of a modern portion on the mainland and then a walled old city across a bridge in the harbor. We arrive just in time to watch the merchants closing up their shops. Here’s a shot of the old town from the new town. One of the flags is a Canadian flag!
I had thought we’d eat dinner in the old town but nope. The drawbridge comes down at 6:30! We have a quick walk around and then go in search of restaurant on the street facing the harbor. We are the first people in at 7:15 and ushered upstairs to a table with a lovely view over the harbor (see below).
The server is attentive and friendly. He happily speaks English and laughs good-humoredly at our attempts to order in French. While we eat, the place fills to capacity. Ours is the only server and I watch fascinated as he deftly and efficiently attends to the many tables.
We order steak and both have too large a piece to finish. I ask the server for a box and he brings me a large plastic container into which I unselfconsciously stow our leftovers. It will make a perfect dinner the next day. I remember a time when asking for a “doggie bag” just wasn’t done in France, but fortunately all that’s changed, and a request to pack up leftovers doesn’t even elicit an eyebrow raise.
Friday, October 6
We decide to stay close to home and make a visit to the Musée Pont-Aven our priority. Good call! The museum is wonderful! After four days in Pont-Aven, I’m getting plenty of inspiration for my WIP (Work in Progress) and have decided that an American artist must play a role, preferably a female American artist. Were there any?
Musée Pont-Aven
The museum provides the answer! The oldest painting by a female artist visiting Pont-Aven was done in 1883 by Marie Luplau, a Danish artist and ardent feminist. Apparently, many women artists came to the town to paint during the period, including Emily Carr at the beginning of the 20th century. Marie’s painting is of the Bois d’Amour, where we walked the day before.
Ideas ping and pong off each other as I wander the beautifully curated displays at the museum. In the first room, I take a picture of every single frame of a short slide show about Pont-Aven in the 19th century when it first started attracting artists. Pictures of people at the time in which an historical novel is set provide a wealth of information about what people looked like, what they wore, what the houses were like, and so on.
What strikes me most is how little Pont-Aven has changed. Although now attracting thousands of tourists a year, the town has kept its original buildings and flavor so that photographs taken in the 19th century don’t look all that much different from photographs taken today. Here are just two of the many photos I snapped.
I also learn that local people wore wooden shoes—a nice detail to file away for future reference.
The museum includes works by all the main School of Pont-Aven artists, including the “Big Three”: Gauguin, Sérusier, and Bernard. Here are some highlights.
Les Porcelets by Paul Sérusier
This delightful piece beautifully combines cold blues in the background and warm yellows in the foreground and, while not abstract, definitely shows tendencies towards favoring shapes over realism. It’s a good example of the aesthetic of the Pont-Aven School in its use of simplified lines, bright colors and unusual framing that cuts off the top of the woman’s body.
La Grammaire by Paul Sérusier
This painting represents Sérusier’s interest in the sibyls, ancient prophetesses, but his version is a contemporary Pont-Aven woman. I love the simple shapes and flat planes of the piece, and also how the woman’s hand clasps the book. She looks like she’s just come in from milking the cows, so having her writing in a book like she’s a scholar is both jarring and intriguing.
Special Exhibition
We check out the special exhibition on the second floor and are blown away to discover it’s an exhibition of women artists and photographers who documented their travels in the 19th century. These were some pretty intrepid women—traveling all over the world to paint and photograph local landscapes and people. The exhibition is a great example of how, finally, artwork made by women is being showcased in major exhibitions.
Saturday, October 7
Quick Trip into Quimper
We set off mid-morning for a day trip to Quimper followed by another country drive, this time in search of prehistoric sites. Quimper is the oldest city in France and is known for its cathedral and its many beautifully preserved half-timbered houses. We arrive and park, then make our way into the delightful town. The central area is compact, with plenty of attractive houses to photograph and lots of shops selling local delicacies. We wander around, stop for a good lunch at a café overlooking the cathedral, buy Gregg more art supplies, and then set out in search of prehistory.
Menez Dregan
A thirty-minute drive takes us to the coast to a site called Menez Dregan, a paleolithic site of major importance. We are suckers for paleolithic sites (see my post about Prehistory Sites in Europe) and are astonished to discover that evidence found in the oldest layers of the rock at the site show that it was inhabited around 465,000 years B.C.
Excavations have uncovered flint tools, bones (especially from large mammals like perissodactyls, and an elephant’s tooth) and hearths, making the site one of the oldest in the world where fire is known to have been used. It’s beautifully situated. We sit on a rock and look out to sea, imagining our distant ancestors pausing in their work to gaze out at the same sea on a warm October afternoon.
Getting Lost in Brittany
We leave Menez Dregan and for the first time on the trip, our navigation system lets us down! The main road back to Pont-Aven is blocked but nobody told Madame GPS with the soothing English accent. As a result, she keeps trying to take us to the same exit over and over again. Finally, I tell Gregg to take another exit that leads in the opposite direction and try to plot a route using my phone’s Google Maps across country back to Pont-Aven. We end up driving a good hour longer than we should have, but we do eventually make it home. Fortunately, the bucolic Brittany countryside we drove through made the extra time fly by.
Sunday, October 8
Our last day in Pont-Aven is just as warm and beautiful as each of the days we’ve spent here. The weather is eerily warm for this time of year—high twenties every day. We decide to spend most of the day at our place, finishing up work and generally relaxing before setting out on another road trip the next day.
We walk down to the town and have a delicious lunch of crêpes and salad. Pont-Aven on a warm October day is hopping—the busiest we’ve seen it all week. We end the day with a final stroll down to the inlet to get rid of our garbage. Because our house is on a private road, there is no garbage pickup. As a result, we need to take our garbage down the hill and across the bridge to some public poubelles in a park. I’m not sure what people do if they have a lot of garbage! But after just under a week, we can easily transport our two bags.
And then it’s back up the hill one last time. We’ll miss this little corner of heaven in Pont-Aven. There’s even a cross on a rock alongside the little private road leading to “our” house.
En Route to La Rochelle
After saying good-bye to the manager of the house, we set off for Carnac on our way south to La Rochelle, our destination for the night. We’ve resolved on this trip to never drive more than three or four hours in a day. La Rochelle on the Atlantic coast is about four hours south of Pont-Aven and four hours north of our next destination in Les Eyzies in the Dordogne, so it’s a good choice for a break.
We’ve visited Carnac twice over the past thirty years and both times been blown away by the sheer number of stones in the famous alignments. They really are remarkable! And what were they for? No one really knows.
We park and share a picnic lunch, then check out a few of the largest stones. These days, people are not allowed into the alignments. Thirty years ago, Gregg walked up to a gate and asked a farmer if he could go in to take some pictures, and the farmer was happy to open the gate and usher him in. That wouldn’t happen now!
And finally, a rare photo of the two of us! An obliging hiker was walking by as Gregg was taking a picture of me in front of the alignments and asked if we’d like one of us together.
Touring Brittany
Brittany is a very large department, so choose an area to home base in. We’ve spent time in northern Brittany on the spectacular Côte Granite Rose and in the Gulf of Morbihan area. Here are other posts on Artsy Traveler about various areas in Brittany:
This post presents a day-by-day account of six days I spent in Paris in September 2023. During our stay, my husband Gregg Simpson mounted an exhibition of his paintings at a small ‘pop-up’ gallery on the Left Bank. While he sat the gallery, I visited my favorite museums and took a cooking class.
Overview
I’ve visited Paris many times, starting with my first visit at the age of 14 with my mom. I didn’t much like Paris then, nor was I much entranced during the next trip when I was about 20 in 1976. In those days, people were not friendly, men were constantly cat-calling, and the whole place felt a bit grubby. But fortunately, I haven’t let my earliest impressions of Paris prevent me from returning many times during the last four decades, starting with a marvelous family trip in 1994.
On each trip, I discover something new, and on each trip, I love Paris even more. I even set my fourth novel there—Love Among the Recipes—about a cookbook author who comes to Paris and rediscovers love in all its flavors.
Day 1: Arrival in Paris
We leave lovely little Ghent around 10 am for the pleasant three-hour drive to the Porte d’Ivry in the south of Paris where we will park our car for the duration of our stay in Paris.
Parking with Parclick
On our last trip to Europe in 2022, I discovered Parclick. It’s an awesome parking app that finds parking wherever you want to go. Enter the location into the app (or on the website) to view a list of all the parking lots in the area that accept Parclick customers. The prices range, from exorbitant to park in the center of any city to incredibly reasonable to park on the outskirts. And price is not the only consideration. Most European cities severely restrict vehicular traffic. This means you risk a fine if you drive into a city without a permit or fail to register your presence if you do have a permit.
Several weeks before our trip, I booked a parking place at the Comfort Hotel near Porte d’Ivry, which is just off the Périphérique—the massive ring road that circles Paris and is always, at least in our experience, plugged solid with traffic. Parking for a week costs 53 euros, which is a pretty darned good deal compared to what parking in the center of Paris would cost—and without the hassle of actually driving into Paris, which is a nightmare. We know because, unfortunately, we’ve driven into the center of Paris a few times over the years and yeah, it’s not easy.
We quickly find the Comfort Hotel thanks to our car’s excellent GPS system. After receiving a code from reception, we drive into the super-dark underground parking lot, park our car and emerge into the sunlight to call an Uber. Yes, Paris has Uber, which is a godsend (well, it starts out as a godsend –more on that later!). The Comfort Hotel is in quite an obscure location, and we have a lot of luggage. It’s unlikely we’d have easily found a taxi in the vicinity.
Uber into Paris
The Uber driver arrives and cheerfully helps load our luggage into his car and whisks us through Paris to our apartment on rue de Sèvres on the Left Bank. We chose the apartment because, although ridiculously expensive, it wasn’t quite as expensive as apartments closer to the gallery where Gregg will be exhibiting. It’s about a ten-minute Mètro or bus ride followed by a 10-minute walk to the gallery. The area is well serviced with restaurants, food shops, and some swanky department stores such as the Bon Marché.
Entry to our Apartment
We are early and so wait in front of the place until our contact arrives at 4 pm. She leads us through a long and involved gamut of locked doors and courtyards to our apartment. First, we use a fob to open the heavy outdoor gate. We then walk through a large courtyard to a set of stairs. After hauling our heavy suitcases up the stairs, we use the fob to get into one of the buildings that is part of the large, sixties-built apartment complex. We walk through that building to another set of doors that leads out to another courtyard. After crossing that courtyard, we go through a third set of doors that are fortunately open and then blip the fob again to enter our corridor. We walk down the long, darkly paneled corridor to the end and finally use the one key to open it.
Or, as we discover later, we could have just entered via the front of the building, used the fob twice and walked a quarter of the way. I still haven’t figured out why she took us in the back way.
Our Apartment on rue de Sèvres
Our apartment is modern and very spacious—almost ridiculously spacious! We have an enormous living room with two enormous couches and a dining table, a kitchen equipped with everything we could possibly need and a large entrance area that includes a desk. In addition, we have a bathroom with a bathtub (a rarity these days), a toilet room, a walk-in closet and finally a bedroom. I spend the first day getting lost, particularly in the middle of the night when searching for the toilet.
It’s certainly a comfortable place, which, considering the cost, it should be. Mind you, a hotel room that is a quarter the size costs the same, so I could say the place is a bargain. We’ve stayed in many apartments in Paris and this one ranks as the most comfortable. It is not charming, but I will take modern conveniences and a ground floor place over an 18th-century loft up five flights of twisting stairs any day.
Why Choose the Center of Paris
You can certainly find cheap rooms on the outskirts of Paris, like those at the Comfort Hotel where we parked. However, I don’t recommend doing so unless your budget is really tight. You’ll end up spending a lot of time on the Mètro to get into the center of Paris, where the vast majority of the best sightseeing is located. After your day of sightseeing, you’ll return to a neighborhood that is often dreary and devoid of the Parisian charm you’ve traveled so far to find. A few times, for various reasons, we’ve stayed near or just beyond the Périphérique and will never do so again if we can help it.
Finding the Gallery
After getting settled, we decide to walk to the gallery to meet the person who will let us in. After walking for about 5 minutes, we realize we’ll never make it in time and so get an Uber. We arrive at the gallery to meet our contact after being stuck in traffic a few times.
She leads us through the complex protocol for accessing the gallery. First, we enter a code to open the huge wooden door next to the gallery. We then use the fob to get through the next door and one of the four keys provided to get through a squat red door that leads into a passageway that looks like it hasn’t changed since the Middle Ages. I imagine people cowering under the low ceiling while citizens during the Revolution scour the area for people to send to the guillotine. I must turn on my phone flashlight to get down the passage, my head ducked. Gregg has to bend almost double.
We reach a slightly open area where yet another door awaits. This one requires a special key that must be inserted in exactly the right way, turned and then the door shoved hard. This door leads into the back of the gallery. But we’re not done yet! We must use the round key to unlock the massive metal grate protecting the window. With a great clanking and grinding, the metal grate rolls up and up, finally coming to rest with a satisfying clunk. Then and only then can we use the fourth key to open the front door of the gallery.
The gallery is gorgeous! What a relief! We rented a gallery in 2022 from the same outfit and were disappointed because although the space itself was functional, the location was not. This gallery is smack dab in the middle of gallery land. And most of the art in the galleries is modern art. Gregg’s work will look right at home.
First Meal in Paris
With the gallery keys secured and the instructions on my phone, we head out for our first meal in Paris. I booked a posh place for our first dinner—Le Christine just a few meters away from the gallery on rue Christine. The place is comfortable and full of both French people and tourists. The servers bend over backwards to give us a memorable experience.
We start with a shared appetizer—an interesting concoction of zucchini, green onions, and a bunch of other ingredients swimming in a crispy puff pastry crust. It goes down easy.
For the main course, Gregg has a fillet of cod cooked with all sorts of tastes and even a smattering of foam. I opt for the lamb with chanterelles—succulent and rich. We each have a glass of wine but decide against dessert. The prices are a bit above my comfort zone although because it’s Tuesday, we are getting a 20% discount on the main courses. Still, the bill comes to 117 Euros, which in Canadian terms isn’t that bad considering the incredible quality of the food, but it’s certainly not bargain basement.
Day 2 in Paris: Visit to the Louvre
Paris teems with eight-million-plus Parisians, who all seem to know exactly where they are going and why. Interposed with the fast-walking, forward-facing French people are plenty of tourists, eyes fixed on phones as they navigate the back streets of the Left Bank.
In the morning, we take the Métro to the gallery and I leave Gregg to wait for the shippers to deliver his boxes of paintings while I make my way across the Pont des Arts to the Louvre. Although I’ve visited many times, I decide to give it one more try. To be honest, it’s a bit of a mistake. The Louvre is over-crowded, over-hot, and over-amped. I give it the old college try but eventually have to admit defeat and leave.
Louvre Highlights
Here are two of the highlights, only scratching the surface of what’s available if you have the stamina. Most of the really famous pieces by artists such as Delacroix, David, and Ingres are so large that they can’t be photographed effectively, and I quickly lost heart, mostly because every room I entered looked like this:
The Three Muses
This Roman copy of a Greek statue of the three muses catches my eye. The three women are symbols of beauty, the arts and fertility.
St. Jerome in His Study
My attention is caught by this piece, an oil on panel painted around 1450 by Colantonio, an artist of the Naples school. He is famous for his meticulous depiction of objects–and no wonder. Check out how he renders the books and other objects to give the impression of a somewhat messy but productive office. There are even paper notes tacked to the wall. And then there’s the sad, patient look on the lion’s face. The scene has a wonderful immediacy, as if St. Jerome is at his desk writing, then breaks off to attend to the lion who has just limped in. As soon as he gets the thorn out of the lion’s paw, St. Jerome will return to his work–turning the page of the book on the desk, reaching for one of the other books to look something up, carrying on with his studies as if nothing untoward had happened.
Louvre Suggestions
If you do visit the Louvre, buy your ticket in advance and go as early as you can to avoid the crowds. Check the map provided and plan in advance which paintings and sculptures you want to see. Avoid wandering aimlessly through the Louvre—that way lies madness (along with sore feet and frayed nerves).
Also, don’t bother checking out the Mona Lisa. You’ll not get within ten yards of her and you’re in danger of getting pick-pocketed. I did actually wander into her room, but only to take a picture of the crowds!
Après Louvre
I stop for a crêpe from a street vendor and watch, fascinated, as he carefully pours the crêpe batter onto a large circular griddle, then uses a tool like a windshield wiper to spread the batter into a perfect circle. With incredible care and precision, he lifts the edges to reveal a crisp brown, then deftly flips the crêpe over and sprinkles it with cheese. Finally, he performs a complicated set of maneuvers with his flipper to create a cone-shaped crêpe that he slides into a paper and hands to me.
I eat it sitting at the edge of one of the fountains next to the Louvre pyramid while watching the tourists flow past. It’s delicious and a bargain at just 5 euros.
In the late afternoon, I treat myself to a glass of wine and a very nice slab of paté in a café very close to the gallery. The outdoor patio is bigger than most and I find a table in a corner. Unfortunately, next to me is a group of young Frenchmen who are extremely loud. Every so often, they burst into raucous laughter, making me jump. It’s a tad annoying and also unusual. In my experience, Europeans are generally much quieter in restaurants than North Americans.
As usual, the servers leave me strictly alone once they’ve brought my order, which is fine by me because they also don’t mind how long you stay. But when I do want to go, it’s almost impossible to get their attention!
I pick up Gregg at the gallery and we catch the bus along the Seine to the Grand Palais where we are to see an exhibition of art nouveau. Alas, we arrive at the Grand Palais to find it completely boarded up. I check the ticket and realize that the exhibition is sponsored by the Grand Palais but is actually being held way across town near Place de la Bastille—a good 40 minutes away by Métro. Since the exhibition closes at 8 pm and it’s already 7:30, we decide to pass. C’est la vie!
We’re not too bothered since both of us are exhausted—Gregg after spending half the day putting up his show and me slogging through the long, long galleries at the Louvre.
Day 3 in Paris: Musée d’Orsay & Vernissage
Today we’ll be hosting the vernissage at the gallery, but that’s not until the late afternoon, so after walking with Gregg to the gallery, I take myself off to the Musée d’Orsay. I’m hoping my experience will be more positive than it was at the Louvre. Fortunately, it is, and then some. There is no line-up, even for people without tickets. I waltz in and go directly to the 5th floor and have lunch. I want to be well fortified before being confronted with some of the world’s most famous Impressionist and Post-Impressionist paintings.
I decide to walk back to the gallery, arriving with a few hours to spare before the vernissage starts. Gregg and I have a late lunch/early dinner at a nearby café where I treat myself to escargots and French onion soup. Gregg chooses a robust-looking croque monsieur served with some of the best French fries I’ve eaten for a long time.
There are few things more charming than sitting at a sidewalk café in Paris and watching the world go by. I feel myself finally slowing down and just being in Paris, not worrying about schedules and to-do lists. My most pressing problem is how to get the escargot from the shell. I fumble with the tool provided and the waiter kindly comes over and shows me how to hold the clamp in my left hand, pick up the shell, then fish out the escargot with a tiny fork held in my right hand.
After our late lunch, I buy some wine and pretzels for the vernissage. It turns out to be a quiet affair. We connect with a very old friend that Gregg played music with forty years ago and whom I also knew, so that’s fun. A few associates from the various French surrealist groups also drift in and I have an interesting conversation with a woman who teaches at York University in Toronto and is also a novelist. We had hoped that because the gallery is in an area with many galleries that we’d get some foot traffic, but it wasn’t to be.
Still, the exhibition looks amazing.
Day 4 in Paris: Cooking Class at Le Cuisine Paris
I’m up bright and early to catch the bus across the Seine to the Hotel de Ville where I’m taking a three-hour cooking class with Le Cuisine Paris. Back in 2013, when we stayed in Paris for a month, I took a market class with them that I thoroughly enjoyed. This time, I’ve booked a sauce-making class.
Along with seven other people (all Americans), I troop downstairs to the basement kitchen where Chef Philippe teaches us how to make eleven sauces over the course of three hours. It’s intense, practical, and very tasty.
We start with the sweet sauces. Philippe hands me a metal bowl half full of chocolate lozenges and instructs me to whisk while he pours in hot cream. Within minutes, I have a smooth, velvety chocolate sauce that Philippe tells us can be used in a multitude of ways—for dipping, drizzling, mixing with other flavors, etc. Next up are two versions of a simple caramel sauce. We learn how to boil the sugar and what to look for (no candy thermometers here) and how to slightly darken the boiled sugar to make a more robust caramel sauce. Philippe adds some salt et voilà! The resulting salted caramel sauce is divine.
We move on to salad dressings—vinaigrettes to start and then creamy dressings. I learn about the 1-1-5 ratio—one part each vinegar and mustard to five parts oil. Philippe suggests experimenting with combinations of olive oil and sunflower oil.
Next up are creamy béchamel sauces—one with cheese and one without. We learn how to cook the flour and milk together for long enough to get rid of the floury taste and then how to vigorously whisk in the liquid.
There is a lot of whisking required in this class! I find that it takes practice to sustain a good, vigorous whisking action, and need to stop several times to rest my aching wrist. I’m not quite ready for chef school yet.
From béchamel sauces, we progress to wine sauces. The red wine sauce Philippe teaches us to make is to die for. He also makes a green peppercorn sauce that he flambés with cognac—a process I catch on video. Very dramatic!
Finally, we learn how to make a béarnaise sauce with butter, egg yolks, vinegar, tarragon and chervil. A lot of whisking is required to mix the egg yolks with the butter, but the resulting sauce is worth the effort. Philippe demonstrates how a chef whisks!
The three hours fly by and before we know it, Philippe passes out plates and hands around all the savory sauces we’ve made, adding a dollop of each to our plates. We are then invited to mop up the sauces with bread, potatoes, carrot sticks and salad.
After we’re done, Philippe gives each of us a beautifully plated dessert, drizzled with the chocolate and two caramel sauces we created at the beginning of the class.
I highly recommend taking a class at Le Cuisine Paris. The staff there are friendly and the prices are reasonable for an educational and fun cooking experience. They offer a wide range of classes—from making macarons and croissants to creating a full menu in one of their market classes.
Notre-Dame Cathedral & Shakespeare and Company
After my class, I wander across the river to the Île de la Cité and sit for a while in the bleachers set up in front of the building site that encloses Notre-Dame Cathedral. Fortunately, the façade was not affected by the fire so from some angles I can almost believe the cathedral is still intact. Hundreds of tourists are gathered on the bleachers snapping photos of the façade and generally relaxing in the glorious late September sunshine.
I walk across the bridge back to the Left Bank and visit Shakespeare and Company—the famous English bookstore that was the haunt of the likes of James Joyce and Hemingway. I buy a copy of David McClaughin’s book about American artists and writers visiting Paris in the mid-to-late 19th century—part of my research for a novel I’m thinking about setting in Paris during La Belle Époque.
Back at the gallery, I hang out with Gregg for a while and then take the bus back to our apartment. I love taking the bus in Paris. It’s so much easier than taking the Métro—less walking, often faster, and you get to see Paris instead of a dark tunnel. The Métro is great for long rides, but for short hops, the bus is my first choice every time.
Paris now uses a Navigo card rather than the iconic green tickets we’ve used for years. They were phased out at the end of 2022. I rather miss them but must admit that the new Navigo card is much more convenient. Instead of fishing in my pocket for an unused green ticket, I just whip out my Navigo card and tap it on the reader at the front of the bus or at the entrance to the Métro. I can load up the card for more trips any time I wish at a Métro station.
Day 5 in Paris: Visit to the Eiffel Tower
On Saturday morning, we take a leisurely walk to the Luxembourg Gardens, the scene of many good memories over the years. On our first visit to Paris as a family in 1994, we discovered the children’s playground at the Luxembourg Gardens. Julia loved it there, and so on our trip in 1995 when she was nine, we spent a lot of time sitting in front of the playground sipping coffees while she played. I set an important scene in the Luxembourg Gardens in Love Among the Recipes.
We check out an exhibition about Gertrude Stein and Picasso at the Musée de Luxembourg that is okay, but not particularly impressive. I snap some photos of a few of the more memorable pieces, but in truth, there aren’t many.
Afterwards, we sit a spell next to the large pool in the center of the gardens and watch the world go by. Since it’s Saturday, the park is thronged with families, people getting fit (there’s a lot of jogging in this park!), and groups doing Tai Chi under the trees. It’s all very civilized and wholesome.
I spend a relaxing afternoon back at the apartment while Gregg sits the gallery, then take the bus to the Eiffel Tower where I’ve booked a tour that I think will take me to the very tippy top.
Touring the Eiffel Tower
I arrive at the Eiffel Tower with moments to spare before the tour is to begin only to discover I’m in the wrong place. I run to where the guide is allegedly supposed to be, arriving ten minutes late to find her waiting and not at all worried. After joining her and eight other people, we set off at a brisk pace back to the base of the Eiffel Tour where we wait a good thirty minutes (at least less than the 90 minutes for people without tickets) to ride the elevator to the second stage. I ask if we’re going to the top.
No.
Oh well. I guess I misread the description.
I enjoy her commentary which I’m sure she appreciates since I’m the only one in the group who appears to speak English. The rest of the people are not listening to her which makes me pay even more attention. I’m considering setting a novel during the time of the building of the Eiffel Tower in the late 1880s so my tour is part of my research. I’ve visited the tower many times over the years, first in 1970. And it also plays an important role in Love Among the Recipes.
The view from the second stage is fine but not particularly breathtaking. In truth, spending a large part of a visit to Paris waiting to go up the Eiffel Tower is a waste of vacation time in my opinion. Go once if you’ve never gone, but try to go very early in the morning, or go after dark when the lights are twinkling. It really is a lot of fuss and a lot of waiting for what is essentially an elevator ride. Here’s a view to the south.
A Memorable Taxi Ride
After the tour, I descend to the bottom and snap lots of photos in the beautiful golden light, then go in search of a bus. I can’t find the right stop and finally admit defeat and hail a taxi. The traffic is practically gridlocked. I could probably walk it faster. The driver entertains me with a lot of voluble French commentary about the shocking state of the circulation in Paris, the bicycles, the other cars, the stupid pedestrians, etc. As the fare creeps up over 20 euros (I have a 20-euro bill clutched in my hand), I reach for my wallet. He gestures for me to put it away. Non, non, Madame. Il est vingt. He waves away the number on the meter as if to make it disappear. I gather he’s not going to charge me more than the 20 I had ready to pay him because the traffic is so bad. That’s very kind of him!
He drops me in front of the gallery, takes the twenty and wishes me a bonne soirée. I’ve yet to meet the fabled rude French people that Paris is supposed to contain in abundance. In my experience over many trips to Paris, the Parisians are almost uniformly helpful, friendly, and good-humored. They frequently like to make jokes. For example, the night before, we asked the clerk at the supermarket the way out. He shook his head and told us gravely that there was no way out, that we will have to stay all night. He then led us to the exit and efficiently scanned our items while telling us all about his brother who is moving to Calgary.
Dinner on the Left Bank
Gregg and I set out to find a place for dinner. We settle on a crowded place (all the places are crowded!) on the lively rue de Seine very close by. It’s a hopping place on a Saturday night!
Day 6 in Paris: Cluny Museum
On our last full day in Paris, I spend the morning at the recently renovated Cluny Museum. While the entrance is much more spacious and accessible, I rather miss the old version with its twisting stairwells and dark corridors.
I spend a goodly amount of time in the room housing the Lady and the Unicorn tapestries. They never lose their appeal for me. I really can just stare at them for hours.
The Cluny is filled with treasures from the Middle Ages—lots of stonework, woodwork, porcelain, and some paintings. My favorite painting is still there, although hidden away in a smaller room. Painted in 1445, it depicts a large family of sons and daughters dressed in attire befitting their role in life. Mom and Dad (first picture) are followed by eleven children. Two of the daughters are nuns, two of the sons are archbishops and two of the daughters wear elaborate headdresses signfiying their high status. The other boys are knights. It’s a pretty fine-looking family!
After the Cluny, I wander through the atmospheric streets near Saint Michel to reach the gallery, then spend a few hours writing and sipping coffee at a nearby café. Gregg arrives with two friends, and we catch up over drinks.
And then it’s time, finally, to take down the show! With me helping, Gregg gets packed up in record time. The walls are again bare and all that is left of the beautiful exhibition are three taped-up crates at the front of the gallery waiting for pick-up the next day. Gregg lowers the iron grating for the last time.
We catch the bus “home” and opt for an easy dinner in for our last night. Paris is wonderful, but we’re tired and ready for a new adventure.
Day 7 in Paris – Leaving
But before our new adventure can begin, we need to get ourselves out of Paris. This proves to be more of a challenge than we anticipated. We must first get ourselves and our luggage from our apartment on the rue de Sèvres to the gallery, then pick up the boxes of paintings at the gallery, then get us, our luggage and three boxes up to the shippers in the north of Paris and finally get us and our luggage and two boxes all the way back to the very south of Paris where our car is parked. Easy!
Not so much!
We intend to use Uber but it lets us down spectacularly. We attempt several times to order an Uber for the first leg to the gallery and finally must admit defeat when one driver cancels, another drives by and doesn’t stop and then cancels, and the Uber app informs us that there are no drivers. Fine. We hail a taxi. So far so good.
At the gallery on the VERY narrow Left Bank street, we leave the taxi and pile all the luggage in front of the gallery while Gregg goes in through the multiple doors to get the boxes. One of the boxes is far too big too carry and the other two contain glass and must be handled carefully. We have to have a ride; taking public transport is completely out of the question.
While Gregg negotiates the ins and outs of the gallery for the last time, I start ordering another Uber (a van this time) to take us north to the shipping place. Nope. Nada. Uber gets our hopes up multiple times only to let us down an equal number of times.
Driver not available. Try again.
Trying not to panic, I download a taxi app and struggle to enter credit card information so that we can be registered. I then use the taxi app to order a van. No dice. No vans. We are just about on the point of despair when I look down the street and what do I see? A regular taxi van with its green light on coming straight for us. I almost don’t flag him down, thinking its presence at that exact time is too good to be true. Fortunately, I come to my senses and wave frantically, only just stopping short of stepping into the street so he has to stop.
Can you take us to rue de Cardinet in the north? I say in execrable French.
Le dixseptième arrondissement?
Oui!
I actually have no idea if it’s in the 17th, but I’m desperate. Meanwhile, Gregg is saying C’est une emergency!
Fortunately, the driver, who speaks no English, agrees to take us. Perhaps he takes pity on us. I’ll never know but I wish I knew his name because I owe him a large debt of gratitude. Out he jumps and helps us load the luggage and boxes into his capacious van. Phew!
On our way to the shippers, we ask him if he would arrête pour cinq minutes while we unload the big box at the shippers and then take us to Porte d’Ivry where our voiture is parked.
Oui, Madame!
Oh joy!! We sit back, hearts pounding, and watch Paris fly by as Monsieur expertly maneuveres his van around bikes (there are a LOT of bikes in Paris) and other cars, buses, and pedestrians. We arrive at the shippers, and he helps Gregg unload, then smoothly gets us to our final destination, even checking the back seat after I’d gotten out and finding my pack that I’d left behind (the one with the computer!). Many, many mercis later and a pretty hefty tip, and we were retrieving our car and on our way to Rennes.
I don’t think I’ve ever not visited the Musée d’Orsay on any of my many trips to Paris. The museum never disappoints, no matter how many times I walk through the grand hall on the main floor and ride the escalators to view the outstanding collection of Impressionist and post-Impressionist art on the 5th floor.
The Musée d’Orsay is more than a must-see for me. It’s akin to a pilgrimage! It certainly ranks as one of my all-time-favorite European museums. In this post, I share my favorite pieces at the Musée d’Orsay. If you’re visiting during tourist season, make sure you reserve in advance to avoid line-ups (more on that later).
Location of the Musée d’Orsay
The map below shows the location of the Musée d’Orsay (#1) in Paris. Also shown is the location of the Louvre (#2), the Cluny (#3), the Pompidou (#4), and that of the huge apartment we stayed in on rue de Sevres on the Left Bank (#5) during our week in Paris in September 2023. Although pricey, the apartment is excellent value because of its size and central location. Compared to a typical hotel room in Paris, it’s almost a bargain (not that bargain is an appropriate word for any accommodations in the center of Paris).
The Musée d’Orsay is a converted railway station and as such, part of its attraction is the massive atrium that stretches the length of the museum and is filled with light and sculptures. Long galleries run either side of the atrium and contain mostly academic paintings from the 19th century. Some of these rooms are skippable, unless you’re a fan of the overly florid, heroic style popular during the mid-19th century. However, make sure you pop into the galleries to the left that include several masterpieces by Courbet and Millais.
Most visitors head for the far end of the atrium and take a series of escalators to the fifth floor where they find room after room of works by all the late-19th century biggies–Manet, Monet, Renoir, van Gogh, Morisot, and more.
In the following round-up of some of my favorite works in the Musée d’Orsay, I present works according to artist rather than the order in which you’ll encounter them while walking through the museum. All of the works mentioned are in the collection on the fifth floor.
Edouard Manet
The Musée d’Orsay includes several iconic pieces by Edouard Manet in its collection. I zeroed in on two of them as representative of my favorite aspects of his work. I like the way he flattens the planes and uses a fairly neutral palette. Even bright colors such as red and blue have gray undertones. Manet’s work always seems much more understated than the work of some of his contemporaries like Monet and especially Renoir.
Sur la Plage by Manet
Manet’s wife and brother sit on the beach—she is reading and he is staring out at the boats sailing along the English Channel. By making the sky take up a very small percentage of the painting, the focus is on the beach itself and the figures. Manet’s sketchy, fluid brushstrokes makes the scene look like a snapshot in time, as though at any moment the figures will shift position.
Dejeuner sur l’herbe by Manet
I’m not alone in loving this piece, which has been reproduced countless times and analyzed within an inch of its life. Manet painted it in 1863 and included it in the Salon des Refusés along with other artists who were excluded from the Salon (the exhibition of all the accepted painters of the day). Manet’s large painting shocked critics and the public because it represented such a marked departure from the academic tradition of only depicting mythological figures as nudes. In this painting, there is a naked woman next to two men wearing modern dress. She looks brazenly out at the viewer as if to dare them to be shocked. The work was deemed to be obscene not only because of its subject matter but because of its loose brushstrokes, contempt for the rules of perspective, and violent contrasts. Nowadays, we consider it a masterpiece, and it is certainly arresting.
Paul Gauguin
Gauguin’s paintings always make me smile. He combines bright colors in sometimes startling ways and depicts his figures and his landscapes with a flattened perspective that gives them a pleasing immediacy, as though they could easily step out of the canvas. Gauguin’s work is exhibited alongside several other painters of the Pont-Aven School. On our 2023 trip to Europe, we headed to Pont-Aven after we left Paris, mostly because Gregg is fascinated by the work that was done there by painters such as Gauguin, Bernard, and Sérusier, and wanted to be inspired by the same landscape that inspired them.
Paysage de Bretagne by Gauguin
This beautiful landscape of a typical scene in Brittany practically glows. The red and orange bushes on the mid-section contrast intensely with the blue sky and bright green foreground.
La Belle Angèle by Gauguin
Gauguin completed this portrait of Marie-Angélique Satre in 1889. He depicts the woman in traditional dress in a composition reminiscent of both Japanese prints and medieval stained-glass windows. Perhaps as a nod to his Peruvian heritage (his mother was born in Peru), Gauguin includes a Peruvian-inspired piece of pottery next to his model.
Émile Bernard
Bernard was another painter in the Pont-Aven School. Called Les Bretonnes aux ombrelles, this striking depiction of Breton women wearing traditional dress shows how Bernard, as a post-impressionist, ignored perspective, instead filling both the foreground and the background with his figures, bringing them into prominence. I’m reminded of medieval paintings where the figures take precedence over perspective.
Paul Sérusier
Another member of the Pont-Aven School, Sérusier has become one of my faves from this period. His work almost borders on abstraction and I love how he uses color.
Le champ de blé d’or et de sarrasin by Sérusier
This golden field takes up almost the entire painting, with just a bit at the top for the sky. I feel like I could walk straight into it and be instantly enveloped in a riot of flowers.
Tetrahedra by Sérusier
Painted around 1910, this piece showing floating objects in a formless space is part of a cycle of pictures by Sérusier that pushed the boundaries of Symbolism towards abstraction. Sérusier believed that geometric forms were sacred and in this painting he depicts his thinking on the origins of life and the universe. The chromatic range of colors progresses towards the light, passing from the coldest to the warmest shades. The painting is just a delight!
Vincent van Gogh
It’s never difficult to spot a painting by van Gogh in the Musée d’Orsay since there’s always a clutch of people holding cameras aloft in front it. There are several van Goghs—all fabulous—but I include here just two that I particularly love.
La Salle de danse à Arles by van Gogh
I was surprised to discover a painting by van Gogh that I’d never seen before. At first, I thought it was by Gauguin since the way the figures are depicted and the colors used remind me of his work. But nope – it’s van Gogh. What an energetic, lively piece this is! Van Gogh really captured the almost frenzied crush of people, the women wearing Arlesian headdresses, their expressions blank.
The Starry Night by van Gogh
Van Gogh painted a few versions of Arles on a starry night. This one is not quite as well known, but it’s still fabulous. Van Gogh worked by candlelight to complete a night view of Arles illuminated by gas lamps and the Great Bear constellation glittering in the sky.
Henri Toulouse-Lautrec
Although Toulouse-Lautrec hailed from a wealthy family in Albi in the southwest of France, he became famous for his gritty depictions of real Parisians, many of whom were down on their luck, lonely, and marginalized. I’m particularly intrigued by two of his pieces depicting prostitutes.
Blonde prostitute, also known as Study for the Medical Inspection by Toulouse-Lautrec
The partially-clothed model is Gabrielle, a prostitute in a Parisian brothel. She’s getting ready to be inspected for venereal disease. Her expression could be interpreted as angry or stoic in the face of what must have been a very demeaning procedure.
Woman Pulling Up Her Stocking by Toulouse-Lautrec
Toulouse-Lautrec was a frequent visitor to the brothels and was able to sketch the prostitutes in all manner of poses. This drawing shows an everyday act—pulling on stockings—under the watchful eye of the brothel’s Madame.
Maximilien Luce
This artist may not be as well known as many of the others in the collection, but this piece is a striking depiction of the violence that stalked Paris on and off throughout the 19th century. This particular scene shows the aftermath of Bloody Week (May 21 to 28, 1871) when the Paris Commune was brutally suppressed and hundreds of people were shot down in the streets.
Paul Signac
This gorgeous portrait of Signac’s wife uses very sharp contrasts between complementary colors: yellow with purple, and orange-red with green. It’s a very stylized composition that shares an affinity with Art Nouveau posters.
Berthe Morisot
I’ve long been a fan of Berthe Morisot and am delighted to discover several paintings that I hadn’t seen before on display at the Musée d’Orsay.
Les Deux Soeurs by Morisot
This painting depicts two dreamy-looking young girls just emerging from adolescence. The blossoming hydrangea symbolizes their imminent emergence into womanhood. Morisot is considered by many (myself included) to be one of the most impressionist of the Impressionists. She uses very loose brushstrokes and almost abstract backgrounds to convey a real sense of immediacy. Her paintings look so fresh and alive. I like them so much more than works by painters such as Renoir that can look too over-worked and florid.
Le Berceau by Morisot
This portrait of Morisot’s sister gazing at her newborn child is so tender and domestic. And the way Morisot conveys the sheerness of the fabric draped around the baby’s crib is incredible–again proving just how skilled (and under-appreciated) a painter she was.
Paul Cézanne
Cézanne’s works are so redolent of the south of France that I can almost feel the heat coming off the canvases. His palette of warm greens and oranges perfectly captures the landscape around Aix-en-Provence.
Montagne Sainte-Victoire by Cézanne
Here’s one of many versions of Mont Sainte-Victoire near Aix-en-Provence. It’s such a bright, cheerful painting that perfectly captures the heat and space of one of France’s most beautiful landscapes.
Rochers près des grottes au-dessus du Château-Noir by Cézanne
In 2019, Gregg and I spent some time in the area around Aix-en-Provence where CUzanne painted this piece. It perfectly captures the profusion of rocks and dense foliage. No wonder painters who came after Cézanne credit him with being the father of Cubism.
Claude Monet
One entire wall is taken up with five views of Rouen Cathedral that Monet painted at different times of day. Here are three of them.
Mary Cassatt
Cassatt joined the Impressionist group after moving to Paris from America in the 1870s. In this painting, she depicts the young girl, using very subtle white tones to stand out against the brightly colored background. While the clothing is almost sketched in, the face and hands are rendered with gorgeous precision.
Edgar Degas
Degas is most famous for his paintings of ballet dancers at the Paris Opera, and the Musée d’Orsay has several examples, including this one showing dancers practicing on stage. The figures are in various attitudes–some dancing, some stretching, one even scratching her back. Degas uses subtle tones and ethereal brushwork to convey filmy tutus and barely hinted-at expressions.
Auguste Renoir
I’m not a huge fan of most of Renoir’s work. He’s an important painter but I find his figures a little too florid. The exception is, for me, this piece called Dance at the Moulin de la Galette–perhaps his most famous work. It depicts the famous guinguette–an open-air drinking establishment with food and dancing–that was located at the foot of a former windmill on the Butte de Montmartre in Paris. The dance is attended by locals–workers, artists, regular folks. The play of light and shadow bring the painting to life, making the viewer feel like they could step in and take a turn around the dance floor.
Gustave Caillebotte
I first saw and was entranced by this painting in the Musée d’Orsay several years ago. Its subject matter is so different from the other paintings in the collection. It’s not a portrait or a landscape, but instead a depiction of three working men (The Floor Scrapers) who are busily scraping a floor in a fine Haussmann-style apartment in Paris. Critics at the time condemned the painting’s subject matter as vulgar. Few would agree with that assessment nowadays! There is something so compelling about the concentration of the men and the way in which Caillebotte uses such a limited palette to convey so many tones of browns and grays. And check out how the light spills in from the window!
Love Among the Recipes at the Musée d’Orsay
After touring the Musée d’Orsay, I couldn’t resist taking a shot of Love Among the Recipes, my fourth novel (set in Paris), in front of the great clock. The Musée d’Orsay plays a role in the novel, with one of its most important scenes taking place on the 5th floor in front of a painting by Mary Cassatt!
Practical Information
The Musée d’Orsay can sell out so buy your tickets online at least a day or two before you plan to travel to Paris (possibly more during the busy summer months). Click one of the options below to purchase your ticket.
Conclusion
If you’re an art lover, then I would suggest making the Musée d’Orsay your first choice (even above the Louvre). Its collection is smaller and much more accessible than the vast collection in the Louvre and the crowds are considerably smaller. A visit there is well worth several hours of your time on even the shortest visit to Paris.
Have you visited the Musée D’Orsay? What are some of your favorites? Share in the comments below.
I first visited the Rijksmuseum in Amsterdam in 1970 and remember it as a gloomy, rather dingy place. The famous Night Watch by Rembrandt was so dark as to be virtually invisible, and I don’t recall seeing any of the amazing objets d’art, from porcelain violins to full-size doll houses, that we saw on my most recent visit.
On my trip to Amsterdam in September 2023, the newly renovated Rijksmuseum is a total delight.
It’s even more amazing than the Van Gogh Museum, although I suppose it’s not fair to compare! But the main thing to keep in mind is that you’ll need considerably more time to tour the Rijksmuseum than you will for the Van Gogh Museum.
In this post, I share my favorite pieces at the Rijksmuseum, a must-visit for Amsterdam-bound artsy travelers; make sure you reserve well in advance (more on that later).
Overview of the Rijksmuseum
The most important thing to remember about the Rijksmuseum is its marvelous scope. Yes, there are many, many paintings, including a respectable number of Dutch and Flemish Old Masters, but there are also many, many rooms full of other “stuff”, from model ships to wood sculptures to doll houses. You could spend days exploring.
Location of the Rijksmuseum
The map below shows the location of the Rijksmuseum (#1) in Amsterdam’s Museumplein, easily reached from the Centrum via trams 2 or 12. Also shown is the location of the Van Gogh Museum (#2) next door, and the location of the charming apartment we stayed in on tiny Sint Nicholastraat in the lively Centrum area (#3). Called Here’s Lucy, it’s highly recommended if you’re looking for a private one-bedroom apartment and a much better deal than any hotel I’ve ever stayed at in Amsterdam. The location, not far from the Central Station and the Damrak, is pretty much perfect.
The first room we enter features art from the Middle Ages—and wow! I have a soft spot for art from this period that spans from 1100 to about 1500, and the Rijksmuseum has a superb and varied collection. Here are a few of the knockout pieces.
Wood Sculptures
The figures in this wood sculpture were created in 1475 from a hunk of oak and formed part of a large altar. It depicts the adoration of the newborn child by the Virgin, Joseph and the angels. Check out the detail and the expressions on the faces.
This amusing sculpture from around 1380 of a monk who can barely see over the edge of the pulpit is actually a medieval ink pot. The scribe dipped his pen or quill in the sleeves of the monk’s habit.
And look at this gem of a sculpture that dates from 1520 – closer to Renaissance than medieval. It’s one of three related pieces. This one depicts the celebration of Mass with Christ. Check out the bread Christ holds in his hands and also the impassive look on the servant girl’s face.
One of the reasons I like medieval art so much is because it depicts the elaborate gowns worn by both men and women, but particularly women. This wooden sculpture is one of 24 similar-sized sculptures that ringed the tomb of Isabella of Bourbon, the wife of Charles the Bold, Duke of Burgundy. She died in 1465. The figures represented mourning family members and ancestors and were known as “weepers”.
Renaissance Paintings
While most of the paintings in the medieval and Renaissance rooms at the Rijksmuseum were created in the low countries, this depiction of Mary Magdalene comes from Italy and is an example of the International Gothic style. I’m quite taken by the elaborate coiffure and the beautiful way in which the red gown is rendered.
This landscape depicts an episode in the conquest of America and was painted in 1535 not long after the conquest. The painting is the first to depict Spanish soldiers subduing the people who lived in the “new world.” Jan Jansz Mostaert, the painter, created a traditional European landscape and then added a few exotic elements—a monkey, a porcupine, and some parrots— to show that the landscape was not in fact European.
Dutch Ships at the Rijksmuseum
Several rooms are devoted to displaying models of Dutch ships. They are remarkable! This model of a Dutch warship in the late 17th century was made at the same dockyards where real warships were built. It’s about one/twelfth life-size. The real ship would have had 74 guns. I am particularly taken by the elaborate decoration and the sheer size of the stern area where presumably the captain would have his quarters. I doubt conditions were quite so luxurious for the regular sailors.
Here’s another view of the many ship models in the Rijksmuseum.
Masterworks at the Rijksmuseum
Most visitors to the Rijksmuseum make a beeline for the “Hall of Honour” which includes several paintings by Rembrandt and Vermeer–probably the two most famous Dutch artists.
The Night Watch by Rembrandt
The Night Watch is displayed in a temperature-controlled structure so we can’t get very close. It’s an impressive piece, for sure, and certainly much better to look at now than it was when I first saw it at the age of 14 when it was almost black. Here’s Gregg checking it out.
And here’s a close-up sans viewers. Thanks to glare, it’s almost impossible to get a decent shot, but you get the idea. There’s so much life and movement in the painting. Everyone is doing something. I like the drummer to the right and the little girl to the left of the guy with the red sash.
The Jewish Bride by Rembrandt
In this beautiful portrayal of a newly married couple, Rembrandt used thick, impasto paint and worked it with a palette knife to create a glittering and sculptural relief. There is a bittersweet quality to this painting. The man looks to be quite a bit older than his bride. While richly dressed, she looks very uncertain about what the future might hold for her.
The Milkmaid by Vermeer
The small, intimate paintings by Vermeer are a big draw at the Rijksmuseum with several groups clustered around them listening to tour guides or audio guides. I managed to sneak through and get this picture of The Milkmaid, which I’ve always had a soft spot for, perhaps because the subject is so humble and yet so exquisitely rendered. She is totally intent upon her task, unaware she will be looked at by millions for centuries to come. This painting also shows how Vermeer was a master of light. You really “get” how great Vermeer was when you compare his paintings to those of most of his contemporaries. While most are competently painted, they don’t glow like Vermeer’s paintings do. He didn’t complete many paintings in his life, but each one was a masterpiece.
The Threatened Swan by Jan Asselijn
This painting by Jan Asselijn is an oil on canvas from 1650. It’s reproduced on bags, mugs, tea towels and other products in the gift shop so obviously it strikes a chord with people. It depicts a swan fiercely defending its nest against a dog. In later centuries, the scuffle was interpreted as a political allegory, with the white swan symbolizing the Dutch statesman Johann de Witt who was assassinated in 1672 while protecting the country from its enemies. This meaning was attached to the painting when it became the first work to be accepted into the collection of the Nationale Kunstgalerij, the forerunner of the Rijksmuseum, in 1800. I’m guessing that the Dutch liked the image of their nation as a swan furiously defending itself.
Still Lifes at the Rijksmuseum
I’ve developed a real fondness for still life paintings—of flowers, kitchen scenes, fruit, and the like. I’m not sure why, but there’s something kind of comforting about super-realistic paintings of everyday things–and the Dutch are masters of the genre.
The Well-Stocked Kitchen by Joachim Beuckelaer
This piece by Joachim Beuckelaer painted in Antwerp in 1566 depicts Christ’s visit to Mary and Martha, although that’s hard to figure out because the action takes place in the background while in the foreground is a profusion of richly painted vegetables, fruit, meat, poultry, and pots and pans. The contrast between the foreground and the background conceals the message of the painting: do not give in to earthly temptations.
Still Life of Flowers in a Glass Vase by Rachel Ruysch
I’m thrilled to discover that this stiff life was painted by a female artist I’d not heard of. Her name is Rachel Ruysch and I have discovered that she was big news in her time. In fact, she was the most famous female artist of the period. Patrons loved her monumental, sumptuous flower still lifes like this one and paid big guilders to own one. Even after marrying and having ten children, Rachel Ruysch continued to not only paint, but also to sign her paintings with her own name. Now she’s an artist I want to know more about.
Later in the gift shop, I buy a stunningly illustrated book about still lifes from the Dutch Golden Age that includes quite a few of Ruysch’s paintings. Unfortunately, the text is in Dutch, but I buy it anyway so I can enjoy looking at the paintings and drawings, most of which are by women artists. It appears that still lifes—and flower paintings in particular—were popular subjects for female painters of the period.
Still Life with Gilt Cup by Willem Claesz Heda
This painting includes an astounding array of grey tonalities. Heda’s palette is subtle—pewter, silver, damask, glass, mother-of-pearl, with a few yellow and ochre accents thrown in for good measure. He specialized in near monochromatic still lifes that were known as “tonal banquet pieces.”
Still Life with Cheese by Floris Claesz van Dijck
Van Dijck really brings the subjects in his painting to life. Check out the ridges in the slabs of cheese and how the pewter plate extending over the edge of the table seems to come right out of the painting. Floris van Dijck was considered one of the pioneers of Dutch still-life painting.
Flower Still Life with a Crown Imperios Fritillary in a Stone Niche by Jacob Woutersz Vosmaer
This impressively named painting is an exceptionally large example of a still life. There’s a tactile quality to the flowers that makes them look like they are moving. And then there’s the wee mouse and the cracks in the wall—real life intruding on the luscious beauty of the flower arrangement.
Porcelain at the Rijksmuseum
The Rijksmuseum includes a lot of porcelain and china. I don’t have the energy to tour all the rooms, but my eye is caught by this tin-glazed earthenware violin. It cannot be played and was made purely as a decorative object. The violin is considered to be an absolute masterpiece of Delft earthenware—and no wonder.
Doll Houses at the Rijksmuseum
One of the rooms in the Rijksmuseum is devoted to showcasing two extraordinary dollhouses. They’re both HUGE! And the detail in the rooms is truly astonishing. Here are just a few of the interiors.
Practical Information
The Rijksmuseum can sell out so buy your tickets online at least a week before you plan to travel to Amsterdam (possibly more during the busy summer months). Most visitors appear to get the audio guide which probably enhances the viewing experience. We did not get it, preferring to discuss the pieces as we look at them. Click one of the options below to purchase your ticket.
Conclusion
The Rijksmuseum is well worth several hours of your time on even the shortest visit to Amsterdam. I would venture to say that it’s even better than the neighboring Van Gogh Museum simply because it’s a lot bigger and has a lot more to look at. But at the same time, the Rijksmuseum is not overwhelming. In my opinion, it’s a perfectly sized major museum to keep me entertained for a good two or three hours, with a wee break at some point to sample a coffee and a piece of cake in the airy cafeteria and of course to check out the gift shop.
Have you visited the Rijksmuseum? What are some of your favorites? Share in the comments below.
I remember the first time I saw the Van Gogh Museum, almost 50 years ago. Compared to the gingerbread façade of its neighbor, the Rijksmuseum, the Van Gogh Museum is sleek and modern, and when I first saw it in 1974, it was fringed with massively tall sunflowers. I burst out laughing. How appropriate!
On my latest trip to Amsterdam in September 2023, I didn’t see the sunflowers, but the sleek, modern building remains and still houses the world’s most extensive and lovingly presented collection of work by the Netherlands’s fave artist–Vincent van Gogh. During his lifetime, he didn’t get much love from his home country, but that oversight has been more than made up for in recent decades.
Vincent van Gogh, who barely sold a painting during his life, is big business now.
In this post, I share my favorite pieces at the Van Gogh Museum, a must-visit for Amsterdam-bound artsy travelers, although make sure you reserve well in advance (more on that later).
The map below shows the location of the Van Gogh Museum in Amsterdam’s Museumplein, easily reached from the Centrum via trams 2 or 12. Also shown is the location of the Rijksmuseum next door, and the location of the charming apartment we stayed in on tiny Sint Nicholastraat in the lively Centrum area. Called Here’s Lucy, it’s highly recommended if you’re looking for a private one-bedroom apartment and a much better deal than any hotel I’ve ever stayed at in Amsterdam. It’s situated not far from the Central Station and the Damrak is pretty much perfect.
Message at the entrance to the Van Gogh Museum in Amsterdam
Overview of the Van Gogh Museum
As the name suggests, the Van Gogh Museum is dedicated to exhibiting and celebrating the work of Vincent van Gogh, one of the world’s most beloved artists. It opened in 1973, three years after my first visit to Amsterdam and a year before my second visit to Amsterdam at the age of 18. I remember being so excited to tour the museum in 1974 when I was already a firm van Gogh fan.
The museum is the most visited museum in the Netherlands, and one of the top most-visited museums in the world. And no wonder! The collection is organized across four floors and includes pieces from several of van Gogh’s contemporaries, including Monet, Gauguin, Pissarro and others. The intention is to show van Gogh’s work in context and according to various themes, including self-portraits, early work, landscapes, and portraits.
Van Gogh provided hundreds of paintings and drawings over the course of just one decade, from 1880 to 1890. The collection at the Van Gogh Museum shows van Gogh as an artist intent on improving himself and his art while also being deeply engaged with the artistic developments of his day.
View of the Museum
A central atrium extends from the ground floor to the fourth floor and is dominated by a staircase and projections of details from van Gogh’s paintings that change regularly. The exhibition spaces run around three sides of the building.
Self-Portraits of Van Gogh
The first room we entered featured a good collection of van Gogh’s self-portraits. I include two of my favorites. I like the contrast in how he handled the brushstrokes in these two works, and the intensity of his stare.
Self-Portrait, 1887
Self-Portrait with Grey Felt Hat
Van Gogh didn’t start painting seriously until he was 27 when he set to work to learn the rudiments of painting, mostly by studying the art of other artists. He was a great admirer of French 19th-century painters such as Jean-Francois Millet and Jules Breton who portrayed peasant life in the countryside.
Early Work
Most of van Gogh’s early work that he completed before he went to Paris and then finally to Provence use a very limited, even dreary palette. They have almost an Old Master feel to them.
Still Life with Open Bible
I particularly enjoyed a painting of his recently deceased father’s bible set next to van Gogh’s copy of La joie de vivre by Emile Zola–a ‘bible’ of modern life. The intention of the painting is to juxtapose the religious and traditional mores of his father with van Gogh’s more modern sensibilities. I was intrigued with how he rendered the open pages of the bible with rough brush strokes.
The Potato Eaters
One of van Gogh’s most famous works from his early period is The Potato Eaters. The darkness of the painting and the almost grotesque roughness of the figures exemplifies the harshness, even despair, of peasant life. Van Gogh wrote that a true peasant painting should smell of bacon, smoke, and steaming potatoes.
The Potato Eaters
Van Gogh in Paris
The gallery devoted to works that van Gogh created while living in Paris also include several works by his contemporaries, including Monet and Degas.
Nude Bathing by Degas
This nude by Degas is executed in numerous shades of pastel crayon and is one of several nudes that Degas exhibited in Paris and which van Gogh saw and greatly admired.
View Seen Through a Balcony by Gustave Caillebotte
Another work by one of van Gogh’s contemporaries is the painting of a Paris street seen through a wrought iron balcony by Gustave Caillebotte. I’ve seen several of Caillebotte’s paintings at the Musée d’Orsay in Paris and like his work.
Café Table with Absinthe
And here’s a painting that van Gogh did while living in Paris. It depicts a glass of absinthe in a café. Already his palette is starting to lighten up with more pastel colors and looser brushstrokes.
Still Lifes – Red Cabbage and Garlic
I don’t associate van Gogh with still life paintings except, of course, for his flower paintings. This painting of red cabbages and onions is a revelation. I love the blue, red, and gold palette and the vibrancy of his brushstrokes. This still life is anything but still. Van Gogh was apparently intent on studying color contrasts in the painting–the complementary colors of yellow and blue reinforcing each other. He was well aware of color theory and how different color combinations work together to produce different effects and even emotions.
Portraits
Several of van Gogh’s most famous paintings are portraits of people he met and interacted with–regular people such as a bar maid, a postman, and his landlord. The Van Gogh Museum includes a few of his portraits, although not any of the super famous ones.
Woman in the Bar
This painting of a solitary woman in a Paris café is a great example of how van Gogh used regular people he encountered every day as his models. The look on her face is so relatable–staring into the middle distance, lost in her own thoughts. Is she annoyed? Pensive? Or just bored?
Van Gogh in the South of France
Van Gogh left bustling Paris for the south of France in late winter, arriving just as the trees were beginning to blossom.
The White Orchard
Here is one of three paintings he did not long after arriving in Arles. I’m entranced by the movement of the trees and the joyous freedom of the brushstrokes. It’s as if van Gogh’s been released from prison and poised on the edge of a whole new adventure, which indeed he was.
The Harvest
I felt very verklempt when I saw this painting, the very first van Gogh I ever saw and the first painting that launched me into a lifetime of loving art. I saw it at Expo 67 in Montreal when I was 11. A pretty uneventful childhood spent in Vancouver had not prepared me for modern art. I was blown away, first by The Harvest by van Gogh and then in the same exhibition at Expo 67 Lavender Mist by Jackson Pollock. It’s kinda no wonder I’ve ended up spending my life with a painter!
The Harvest makes me feel happy every time I see it. I’m not sure why. Perhaps it’s the bands of color and texture or maybe the balancing of the complementary colors of gold and blue. It just feels totally right. I look at it and I feel glad to be in the world.
The Bedroom
How many times have I seen this iconic piece in reproductions and on mugs and mousepads, puzzles and pens? And yet seeing it in “real life” is still a thrill. There’s something so endearing about a man who paints his humble little bedroom and manages to infuse it with such warmth and loneliness. And again, it’s his use of complementary yellows and blues that makes the painting so satisfying to look at.
Sunflowers
And another iconic favorite! Composed of just three shades of yellow, this Sunflowers (he painted several versions) glows like lemons in the sun. The sunflowers are in various stages of dying and yet the painting is beguilingly cheerful.
The Yellow House
And here’s yet another study in blues and yellows! Gosh, he’s good. Van Gogh manages to capture heat shimmering against the walls of the houses in Arles. He was hoping to turn his yellow house into an artist colony but only Gauguin came, and only stayed two months. Poor Vincent led a rather solitary existence.
Japanese Influence
Van Gogh was a huge fan of Japanese art, as were many of his contemporaries, and several pieces were directly influenced by it.
Almond Blossoms
He painted this gorgeous, Japanese-print-inspired piece depicting almond blossoms against a blue sky to celebrate the birth of his nephew and namesake, Vincent–the son of his beloved brother, Theo. It’s almost abstract in its focus only on the blossoms and the sky with no other landscape elements. Van Gogh himself recognized the piece as one of his best–and he wasn’t wrong!
The Sower
And finally, here is The Sower, one of van Gogh’s smallest and yet most well-known paintings. It has so much movement and energy. I can sense the man purposefully planting his seeds, completely trusting that they will come up in the spring. In this painting, the sky is green instead of blue which casts an eerie glow over the scene, giving it an almost foreboding look, although the sower seems oblivious to anything beyond the sowing of his seeds.
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Practical Information
The Van Gogh Museum sells out many days in advance. Get your tickets online at least two weeks before you plan to travel to Amsterdam (possibly more during the busy summer months). Most visitors appear to get the audioguide which probably enhances the viewing experience. We did not, preferring to discuss the pieces as we looked at them. Every so often, you can discreetly eavesdrop on a guided tour. All of the ones I came across the morning we toured the museum were in English. Click one of the options below to purchase your ticket.
Conclusion
The Van Gogh Museum is well worth several hours of your time on even the shortest visit to Amsterdam. The only downside is that the world holds millions of van Gogh lovers and even with daily limits on visitors, a good chunk of them will be at the museum at the same time you are. It does get tiring dodging the crowds, particularly if you enjoy taking photos of the pieces like I do and also read all the captions. Most people are listening to audio guides and sometimes stand immobile for long periods in front of each painting. When several of them are congregated in front of a parituclarlty popular piece such as The Sunflowers, you’ll have to wait awhile to get your viewing turn.
But hey, it’s worth it. These are original paintings by Vincent Van Gogh! Artsy traveling doesn’t get much better. And when you’re done, you can tour no fewer than three gift shops (there may have been more) loaded to the gunnels with van Gogh schlock. On this trip I resisted, but I do own a very nice van Gogh pen that I purchased on a previous visit.
Have you visited the Van Gogh Museum? What are some of your favorites? Share in the comments below.
