A thing I learned yesterday and forgot to mention: charity shops are called solidarity shops.
This morning we were Mostly Asleep (which is, er, not surprising, at least on my part); once we had wrangled ourselves into clothes and through the boulangerie I got A to plot us a route to the Musée d'Orsay, where I dragged him round the Impressionists and had a lot of feelings about Monet; we had lunch in the cafe behind the clock, accompanied by a baffling dessert -- floating island with pink praline in custard flavoured with poppy -- before Investigating the way to the van Gogh. I am NOT SURPRISED I didn't find it last time, okay. (We also paused by all the scale models of Great Exhibition and opera house buildings, while attempting to navigate the lifts.)
Subsequently we wandered down the river a little to Notre Dame, where A was baffled by the sheer architectural scale and especially the little red doors; along the way I was particularly charmed by a set of three adjacent doors getting progressively bigger -- one small narrow single-storey, one slightly taller double door, and immediately adjacent that a bloody enormous two-storey-high set of double doors with a balcony and a two-storey window right above them. We also v much appreciated the various blocks that had just... had another entire house dumped on their roof, because
why not.
And then ever-so-slowly back to the hotel, via the exterior of the Centre Pompidou and the Centre LGBT and dinner & some Pokemon & an adventure in public transport i.e. a bus that believed in
two wheelchair spaces.
Somewhat clarified thoughts on Impressionism: part of what makes it work
so well for me in person and fall so flat in reproduction is the fundamental three-dimensionality of the oil paint. Given that three-dimensionality, and given Monet's depiction of light, and given my short-sightedness, and given the light in the exhibition space, I end up feeling a very strong sense of
realness, of miscellaneous complex sensory input: sun-warmth and movement-of-plants-in-wind and smell-of-hay-dust and all that sort of thing. In conversation with A I articulated that at least some of what's going on is that the nature of Impressionism is representing a probability envelope, if you will, of places the scene
might be, in contrast with the static frame of photorealism: Monet's paintings
look like how I perceive trees-in-motion without my glasses. Combined with the way the three-dimensional painting of the surface catches the light and my own motion, I perceive motion in the static-yet-not canvases, too. Which turns into "wind ruffling plants or grass" and "hay-dust haze" and "moving ripples in water", which means I want to sit and stare at all of the overlapping pictures for a very long time.
To my amusement, this works much better for me with the intimate landscapes than the buildings or the mountains; on a scale or in context where I wouldn't expect the subject to move (even if I might expect changes in light or cloud!) I don't get sucked in in the same way.
So yes. There you go. Probability-envelope articulation, along with why-reproductions-leave-me-cold.
(I was also very pleased by coincidence of the lit buildings and the brightest stars and their reflections in
van Gogh's Starry Night Over The Rhône, which I hadn't previously noticed.)
Tomorrow, if we wake up in time: a flying visit to the interior of the Centre Pompidou, and then hooooooooome.