DAILY RECORD
/ ART RECORD
EUROPEAN TRIP -
1966
George Ehrlich
INITIAL OUTLAY
AIR TRANSPORTATION
$659.70
RAIL BRUSSELS TO AMIENS TO ROUEN TO PARIS
15.70
HOTELS $5/DAY PLAN 25 X 7.00
175.00
HOTELS IN AMIENS AND ROUEN
18.35
$868.75
CHECKS TO BERRY WORLD TRAVEL
#166
MAY 4, 1966 (deposit)
$42.50
UMKC GRANT CHECK (re:
travel)
500.00
#193
JUNE 24, 1966 (balance)
326.25
$868.75
TRAVELERS' CHECKS
$450.00
15 $10
130-670-850 to 864 150
15 $20
287-333-181 to 195 300
SERVICE CHARGE -
COMMISSION 4.50
U.S. CASH
50.00
$500.00
SUNDAY, JUNE 26, 1966
(K.C. and London)
Scheduled to leave Kansas City on
TW8 [sic] #418 at 2:45
pm for Chicago. Arrival Chicago 4:54 pm. Leave Chicago
on BOAC #568 at 6:45 and scheduled to arrive London, Monday 9:30 am.
In general the flight went on schedule. In
Chicago tried to call both
Joe Gregg and
Ted Ruhig—but
no answers. Chicago to Montreal was most pleasant. Only
two of us in our side—an art history major from Wellesley no less.
Excellent repast with wine. Montreal hot and humid!
Plane loaded to capacity. Received another meal (K.C. time 10
pm). Received two hours fitful sleep only to be awakened by
dawn and breakfast.
MONDAY, JUNE 27,
1966
(London)
Arrived 15 minutes late at London Airport. Extremely long
wait for passport check, cursory customs. Exchanged three $20
travelers checks for £21 7/4 (or
$59.83). To stay at
Overseas Visitors Club.
* Expenses on the flight $3.00 (refreshments)
* Expenses in London
Bus to London terminal
7/
Porter (caught me off guard) 2/
Taxi to O.V.C.
8/
O.V.C. membership
35/
Map of London
3/6
6 air letters
3/
*
58/6
Went exploring in the neighborhood. Mailed an air letter to
Jean, had an omelette (cautious) across the street, went to the West
Terminal (BEA) and there bought a
Ward Lock Red Guide to London.
I can easily walk there from the "hotel" when I go to Holland.
Use of facilities at BEA
/1
Ward Lock Red Guide to London 12/6
Mid-afternoon meal
5/
*
17/7
Took a most needed 2-hour nap, then
refreshed, mastered the intricacies of my nearest British
W.C.
Took extended walking tour of about two miles. A
rough triangle with Earls Court the short side, the Old Brompton
Road and a return along Harrington Road, Stanhope Gardens etc. from
the South Kensington Station. Still cautious about my
internals, had a Whimpy [sic] with a Pepsi * 2/6 with /6 tip.
Returned to room, studied out the best [hand] laundry arrangement with
[clothes]
line, etc. Prepared for Tuesday's excursion to the National
Gallery. Plan to start on the French language review, then do
laundry and to bed. As I write this, it is 9:15 pm (still
light out) which means 2:15 pm in K.C. Perhaps by the morrow
my sense of time will adjust.
[illustration of
room, page 4]
ART RECORD
Major experiences were
architecture via bus run to Victoria Terminal, the cab to Earls
Court, and walking within the triangle formed by Earls Court,
Cromwell and Old Brompton roads.
Main reactions were to the "pile" of the Victoria
[&] Albert Museum seen in passing and the significant difference between
English architecture and American. Old and new brickwork
rather sensitive. I realized, however, that my stylistic
awareness for dating works of architecture would not serve me here.
I am at a loss to "pin things down" to even a century. Saw
Hogarth's house in passing; that was obviously old though the bus
went by too fast to see the details. When on foot, I could
study at leisure, but it is clear a new set of benchmarks is
required. Maintenance varies tremendously, but when well kept,
there is a Victorian (?) [sic] elegance I have never seen
before.
The Mews are curiosities. I noticed, however,
that the self-service laundries and cleaners are everywhere, and in
anonymous international decor. The butcher shops, however, are
vintage. The Earls Court area is very
heterogeneous as to
style.
TUESDAY, JUNE 28,
1966
(London)
* Expense account
Underground
2/ 6
Michelin Benelux Guide Book 18/ 0
Guide book to National Gallery
3/ 6
Museums in London
3/ 6
Food
1/13/ 3
Miscellaneous
6/10
Theatre
1/ 8/ 6
+ program
4/ 6
Arose early and after "breakfast" (continental style)
excursioned via the underground to Charing Cross. Walked
toward Trafalgar Square where I saw
St. Martin in the Fields.
Went in and found a service under way. Stayed and looked at
the details of the interior while seated in a pew. Then walked
the exterior. Moved on toward
Foyles Bookstore north on Charing Cross Road.
[It] was open when I arrived and browsed
through the map and guidebook section. Purchased a
Michelin
Benelux guide. Returned toward National Gallery, seeing the
sights. The
National Gallery occupied me until near 2 pm (open
10 am). Went out for a change of pace and bought a ticket to
Oliver at the
New Theatre. Wandered a bit and saw the
245th exhibition of the
Society of British Artists. Returned
to National Gallery and then went to the 4:30 pm first performance
of Oliver. Charming and well done. Returned to
Earls Court, had a "steak" at a nearby
Angus Steak House and
returned to my room.
The food sat, so I suspect I'm back on
track. Called the
Branyans (seems most public phones have been
vandalized and so hard to find one when on the go). Plan to
see them Thursday pm. The day was an art day, hence the bulk
of experiences will be logged in the other book. Now it is
laundry time and time for bed (10:30 pm).
ART RECORD
First stop [at the National Gallery] was the
early Netherlandish. Needless to say,
formidable. From there a systematic review using a plan.
Took upwards [of] 2½ to 3 hours to cover—superficially—the
collections (including the reserves). Immediate reactions vary, but several things stick in
one's mind.
(1) The size of many of the works! Here we
have some better impression of the scale of painting sizes.
This sense of scale [is] more noticeable than in even the
Metropolitan.
(2) Condition of the works vary. Major
fault is the need for cleaning of major works. The
Titian
Bacchus and Ariadne is very dark. The
Velazquez Rokeby
Venus had just been cleaned (after
58 years in the collections?)
and they left four patches of old varnish for a brief period (to
come off in July) to show the condition prior to cleaning. Now
it literally glows! I trust this means a systematic job of
other key works. Happily, many of the things I wanted to see
are in fine shape.
(3) There is excellent provision for seats in all
the galleries. In some places, [there are] individual armchairs—and if
memory serves, everywhere upholstered. A real boon for someone
like me.
(4) Some of the galleries have been refurbished.
New lighting and air conditioned, but the major portion still in
earlier setting.
(5) The reserve collection is jammed into eleven
rooms on the ground floor. Each room (except one?) has
dividers. Pictures floor to ceiling everywhere. An
incredible display—enough to make a museum of consequence.
I need to return for a more
selective study.
Saint Martin's-in-the-Fields
Here the exterior was, of course,
familiar. The interior was a pleasant surprise with its ivory
and gold detailing. A handsome and subtle performace by
Gibbs.
245th Exhibition of the Society
of British Artists
By and large a competent and
conservative display. Spent very little time here, mostly to
see its character. Few au courant pieces on display, but not
without its "modern" touches. The watercolors—excellent, and
some of the sculpture interesting. Made no attempt to learn
more.
National Portrait Gallery
An amazing display ranging from the
Holbein cartoon for Henry VIII to a cubistic T.S. Eliot. In
between and alongside some weird things. The Holbein has the
perforations required for transfer. Something on the order of
1,500 portraits (including busts) on display. Did not really
study anything except the Holbein cartoon.
WEDNESDAY, JUNE
29, 1966
(London)
Partial Expenses
Transportation
2/ 3
Publications
96/ 6
Food
4/ 5
Umbrella
4/ 9/ 6
Miscellaneous
3/11
*
sub-total 196/[blotch]
or $27.46
Used $20 travelers check for the umbrella
discounted - received
$19.60 (7/ )
check discount 40¢ (ouch)
Total spent - accounted for 17/
2/8
Cash on hand as of account 9/11/4
total 26/14/0
unaccounted
1/13/4
(Either my records lack, or I am being taken on
occasion—probably both)
* Ah ha, the theatre was 1/8/6 which just leaves
4/10 unaccounted, a reasonable figure
Note 4/6 for programs—hence only 0/4 "missing"
Food
1/13/0
Tip
5/0
Chocolate
1/2
*
1/19/2
Beer
1/1
Had dinner across the street at an Italian restaurant. Had
veal—quite good. Unusual item was
a stewed celery.
The major events of the day centered
on the British Museum. Before arriving there I returned to
Foyles to purchase additional guidebooks. Obtained:
Nagel's France
27/6
The Blue Guide to Belgium and Luxembourg 35/
and Michelin Normandy
15/
At the British Museum bought
Guide to the British Museum
3/
Guide Map
1/
Exhibition catalogue to Viking Art
3/
As I write this in the evening (8:30) it is still quite light out and
I have the BBC playing music (on the piped-in selector).
The British Museum is, of course, an expense all unto
itself. Commentary is in the Art Record.
Seemed to have mastered the Underground. A truly
efficient operation, and a pleasure (so far) to use.
Also had my first half-pint in a pub at the nearby
corner.
I seem reasonably well adjusted to the routine.
Certainly the days are remarkably occupied. Plan to visit the
Victoria and Albert tomorrow, and the Branyans in Kew Gardens in the
evening.
ART RECORD
Retrospective impressions of the
National Gallery
The sight of large, complete
altarpieces of many descriptions—truly impressive. An entire
room devoted to Crivelli has impressed me even more concerning that
artist.
The Masaccio Madonna badly rubbed.
The Botticellis did not impress themselves upon me, but
Piero della Francesca did—even though condition was so-so.
The Leonardo cartoon interesting, but very hard to
study in its setting—small room, reduced lighting and numerous
visitors.
The Bronzino Allegory is sparkling (cleaned
recently?) but Raphael and others of this ilk still fail to move me.
I am not the logical one to teach Italian High Renaissance, that is
for certain. Perhaps the condition of the Titians, etc. is a
factor.
The Northern 15th and 16th Century works were, of
course, of considerable impact. A great deal of
David, but
others are also impressive.
Van Eyck and
Campin are joined by
their goodly company. Oh, so nice to see
van der Weyden,
Bouts
and the others. Excellent
Mabuse works. A proper
orientation for later in the trip.
Mantegna and
Antonello impressive.
The Germans are dominated by the two Holbeins.
The Ambassadors is badly rubbed but a very fine piece. The
Durer (father?) a rich piece (the Van Eyck portraits seemed so small
in contrast to the impression given by photos).
The 17th Century is so richly represented. Great
works by all the key artists. The list is a catalogue of the
exhibition.
The later periods are also represented by choice works
through Cezanne. The only gap was 18th Century French due to
temporary closing of the room.
A return visit in an afternoon near the end of the
London visit is required.
The British Museum
Visited throughout the day. A
singular experience.
The major impressions were, interestingly enough, the
master drawings (an incredible selection was on view), and the
illuminated manuscripts. The images of the
Grenville Library
and the King's Library will last. In the latter, a history of
printing gave me my first view of a
block book.
Considerable reconstruction and reinstallation under
way. Major loss to me, as a result, was the reduction of Greek
and Roman sculpture and the
Assyrian Lion Hunt behind closed doors.
The Egyptian antiquities in large quantity and compressed display
was quite something. The smaller things upstairs—including
paintings and papyrus leaves, along with tomb contents—impressed me
more than the "big stuff." I feel Boston or Brooklyn does more
(not better) with the big things. Then too, I've see the
Metropolitan fairly recently.
The Ancient Near East has the Ur things
Wooley found.
The section on Greek and Roman life was beautifully
displayed, and the sheer number of Greek vases was beyond reason.
I found this all "too, too much" to digest.
British and Medieval antiquities was [sic] good
fun. The Sutton Hoo treasure was enriched by a loan exhibit of
Viking art. Very nice indeed.
The Ilbert collection of clocks was great fun.
Other impressions:
To see a half dozen
Claude drawings, and then "stumble
on" the Liber Veritatis.
The drawings with several
Michelangelos, da Vinci, Rembrandt, Rubens, and Durer, plus oh so
many others.
The small group of Roman wall paintings was most
pleasing. The quantity of gold and silver impressive. If
this remains, what has perished?
But the final image of the British Museum will be the
tremendous display of books in the cases (and I did not see the
reading room). Considering the fact that this was but a
fragment of the total—oh my. I can now see why people "have to
come here" for research.
A truly memorable day on the heels of one.
THURSDAY, JUNE
30, 1966
(London)
Today went first to Harrods department store. Shopped and
found a lovely cashmere stole for 63/0 (or not quite $9). I
cannot guess if this is a fair price, but it is lovely. The
toy department was nothing. I can do better elsewhere.
* Cashed a $20 check at Harrods banking
facility (the regular banks were closed at the time) and received
7/1/1 on a 25¢ discount.
* Expenses
Transportation
1/0
Stole for Jean
63/0
Publications
28/0
Food
8/3
Miscellaneous
/6
sub-total 100/9
Went to the
Victoria and Albert. Staggering size.
* Bought at the V.A. guide
1/0
Also purchased
100 things to see in V.A.
3/6
The Aubrey Beardsley exhibition catalogue
8/6
The commemorative album of the 1851
exhibition 15/0
I am intrigued to see that each of the museums, so far visited, have
much renovation going on. Where visible, the new installations
are handsome. Also a fair amount of new construction going on
as well as refitting of structures. I plan to go to
London
town on Saturday and am given to understand that much is under
construction there.
London is far more pleasant than New York, or should I
say Manhattan. It is scaled to human dimensions. There
is, however, an extraordinarily large number of young people in the
latest fashion (if that is the word). Much long (and often
filthy) hair with an incredible variety of
styling. I noticed
hairdressing (for men) establishments everywhere. The short,
short, short skirt, the bell-bottomed gay print, hip-hugging slacks.
The boots, the peek-a-boo blouses, etc., etc., are very much in
evidence. But then there are the bowler hats, and the "proper"
ladies everywhere too. I guess there is something in this
rebellion against conformity, since the variety of costume and
hairdos does provide more choice. But cleanliness has merit of
a practical side, and that is not uniformly observed.
* Additional expenses
Food
7/1
Transportation
3/0
Miscellaneous
11/3
sub-total 21/4
Total cash expended as of end of Thursday
[$]75.32
discounts on checks
.82
* Total expenditures 5 days
[$]76.14
Went out to Kew Gardens to see the Branyans. Had a nice
visit with Helen. Bob was in London all day engaged in study
and a session with a friend on the faculty of the U of London.
Helen said he wasn't overly eager to gossip about the University and
it is a long ride to see me "just before" I would catch the
underground back to Earls Court. Took them some beer.
Tomorrow morning will be Westminster and Whitehall.
The afternoon will be the Tate.
I've noticed that London starts late, and goes later.
When I caught the underground in the morning (about 9:15 am) it was
the rush hour!
ART RECORD
Discounting the architectural scenery, as viewed while walking,
the day was [spent] at the Victoria and Albert Museum.
An incredible pile, and an even more
staggering collection. I was bowled over by the sheer
magnitude. I don't know what I expected, but 160 rooms
(plus-or-minus) jammed with works. There is no rational way to describe one's
impressions
except to note that there is method clearly present, and if one
knows the organization of the rooms, then one can sort it out.
There was the Beardsley exhibit on, but the
informational display on printing techniques was more intriguing for
me. To see a
pole mezzotint rocker and partially prepared
plates, etc. was most interesting.
Other major impressions included, believe it or not,
the great Hall of Casts. Illinois made a mistake when they
destroyed theirs.
The medieval objects, the period rooms and the
tremendous quantity of sculpture.
The architectural fragments (often large in size) was [sic]
impressive.
The departmental collections with row-on-row of cases
or installations was [sic] an incredible experience. The iron work,
or the silver, or the pottery, or the tiles, or whatever. I
was truly impressed by the resource.
The library (with 300,000 volumes) is a magnet.
A short winter trip to the V.A. could well be more to the point than one to N.Y. The cost extra would be about
$180-200 for airfare.
While I was beat to the socks, I managed to walk
[through] every open room. Even if many works were seen only
en-masse, I have a pretty good idea of what is available, and the
presentation.
I am happy to note that here too, reinstallations are
under way, and where seen, are rather effective. A new and
larger bookshop is under construction.
The place was filled with art students doing drawings.
There are, apparently, classrooms above, and they [the students] descend on
occasion. I can't help but wonder why we don't try this, if
possible, at UMKC.
My final impression is that the Victoria and Albert is
not a place for recreation ("let's take a look at the Elgin marbles"
sort of place), but rather a reference-study place. This is
borne out, perhaps, by the fact that the British Museum (despite its
reference library) [has] a tea-room, while the V.A. has a
full-fledged cafeteria restaurant which is heavily patronized.
Are art scholars different from book scholars?
FRIDAY, JULY 1, 1966
(London)
Expenses
Corgi toy for
Matthew 8/11
$1.25
Transportation
2/ 6
Admissions
Whitehall Baq't Hall 1/ 0
Abbey Treasures
2/ 0
Publications
Description Jones B.H. 0/ 6
Tate Guide
2/ 6
French Phrase Book
3/ 6
Toast Rack
16/ 6 2.31
Package postage
14/ 9
Miscellaneous
4/ 2
*
sub-total
65/ 1
Took the underground to Charing Cross Station, and then on foot
walked through Whitehall, stopped in the banqueting
Hall of
Jones, and then on to Westminster.
Parliament is sitting, so
could not tour there. May try to see the great hall tomorrow,
but that depends upon my stamina since I've scheduled St. Paul's,
the Soane Museum (on foot) and thence to the Wallace Collection.
Spent considerable time in Westminster Abbey.
Before I went there, went into St. Margaret's parish church.
Very charming.
Westminster was jammed, and the going slow. One
interesting moment occurred when 11 am came: there was a call to
prayer, and the entire place fell silent except for the disembodied
(for me) voice over the loudspeakers.
The cloisters pleased me, and so did the view of the
Abbey treasures. If the continental areas are as well
organized, I shall have no trouble finding my way. I've
purchased a phrase book (French), and I practice the reading—which
goes reasonably well—every night.
From Westminster (discussed in the Art Record) I walked
along Millbank to the Tate. Had lunch there (with wine, a
pleasant treat in contrast to many American customs) and then did
the galleries. Fortunately, the Tate is scaled to reasonable
dimensions, and so I could carry through easily.
From the Tate I walked to Victoria Station, there took
the underground back to Earls Court. Shopped a bit—got Matthew
a car—and some wrapping material. I wrapped some museum guides
and mailed them. I had to place a British customs
declaration on them, but I gather that they will go through O.K. if
I understand the system. If not, the loss is negligible (but
they do have sentimental value). I had hoped to lighten my
bag—the silly things weigh, even if they do not cost very much.
I have been wearing one shirt since K.C. I wash
it every evening, and it dries by morning. For next week, I
shall retire it (washed of course) and go to another. I
alternate [washing] underwear and socks. So far all goes well on that
score.
Though I'll have some English money left over, I
decided to cash another check. I cannot be certain when the
banks operate, hence I did not want to be caught short the last days
here.
I went to a Bank (Midland branch) and [for a $20
travelers check] received * 7/1/7 less 0/2 for a stamp (of some
purpose). That discounts them at 21¢ if I count the stamp.
I wonder why I did so well at the airport? Perhaps it is a
factor of amount (or possibly the man at the airport made an error).
Went to West Terminal and confirmed my ticket to
Amsterdam. Had dinner there * 28/11. Had a reasonable
filet with salad plus two ales. I sort of miss my cold water at my
place. Purchased a book for light reading (James Bond) * 3/6.
On return, studied for the Holland phase; also did most
of it in the Michelin. Handles fairly easily.
ART RECORD
Began the day by walking among the government buildings in
Whitehall. Studied the Inigo Jones Banqueting Hall, and had
considerable pleasure in seeing the great hall with its ceiling by
Rubens. Here, one can appreciate the scale and the function.
In contrast, the Raphael cartoons in the Victoria and Albert are big
fixtures on the wall of a museum. All in all a fine interlude.
Parliament was in session so one could not go into any
part. The next step was
St. Margaret's parish church—a
charming 16th Century parish church with a good, if late, window.
Then on to the Abbey church—Westminster. So, my
first Gothic church of consequence. In some ways very
disappointing. The exterior is not overly exciting, and the
interior has little stained glass, but a superabundance of monuments
and memorials—and people—thousands. Perhaps it is better
called Commercial Gothic, though I was one of the commerce.
The most impressive for me were the details, when I had
presupposed that the grandeur of the interior was the major impact I
would receive. Among the details are many of the tombs, the
Henry VII chapel vaulting, the details of both cloisters, though the
smaller is later, it is charming. The display of the Abbey
treasures, rather than the room, in the Norman
undercroft is
memorable. The effigies in garb have a curious impact.
All in all Westminster was a letdown (could it be the
card stall in the cloister?) or the heedless people—many English or
Commonwealth—which [sic] photographed everything.
I am now glad that I've scheduled Amiens.
Apparently Picardy is not tourist country, so maybe a day in the
cathedral will pay off.
From Westminster, went down Millbank to the
Tate
Gallery. The Tate looks and feels like the museums that I
know in the U.S. Its organization is similar (except for the
officious restaurant manager). It too is undergoing
reinstallations.
Covered the gallery except for the Duchamp show.
Admission was 5/0 and the catalogue 12/6 (although you could
rent catalogues. You paid 14/0 and received 10/0 back on
return as I recall). I've seen plenty of
Duchamp, so I skipped
that.
Noticed very little American, and comparatively few
continentals on display. There was a small room devoted to
Picasso, and one to Matisse, but on the whole it is an English art
museum. Here is the place, of course, for Turner. Then
there is Constable, Hogarth, Blake and the Pre-Raphaelites well
represented.
In the review of works, I can now see why
Peter Lely
did so well. He was far better than his local competition.
Hogarth (his
servants were off display) did not come
across as a painter of portraits. His technique wasn't much.
Many of the paintings on display have badly discolored
varnish.
Copley and
West are in evidence, including a 1759(?) [sic]
Copley. Can this be right?
Some artists I've not heard of, or have see[n] nothing
(or little) by, were interesting. Joseph (?) [sic]
Wright has merits.
The development of Turner is a fascinating experience.
The early Turner is dark, and his figurative pieces (this a
surprise) are not his forte. In large quantity, one can see
the variability. The Nelson Gallery's
Turner stands up well.
Turner's technical problems could be seen. Also his painting
case (a pleasant surprise) was on display. I saw some
paint-bladders finally. Also an early tube in evidence along
with dry colors. Then, of course, there were the drawings and
watercolors.
There is evidence of English interest in the Fauves in
the period 1910-20.
Constable was well represented, and there were a number
of small landscape sketches in oil.
There were good Whistlers and Sargents.
Among the
Pre-Raphaelites worth mentioning, beside the
obvious ones, are Windus, Deverell, Hughes, Dyce, and Richmond.
It is interesting to contrast the Pre-Raphaelites with the rather dark,
anecdotal works of their contemporaries.
Some interesting Blake examples on exhibit. I
found him more interesting with quality to see.
And then an excellent place to see Henry Moore.
The op and top [sic] art was much in evidence,
but not pop. Some of the op stuff really moved—fascinating but
hard on the eyes.
A pleasant museum indeed. Here too,
Duveen gave
galleries. Oh yes, evidence of a
bomb burst on west exteriors.
SATURDAY, JULY 2, 1966
(London)
Expense Account
Transportation
3/8
Food
2/7/0
Publications
Soane Guide
0/3
Description Soane 3/9
Miscellaneous
2/4
Wallace Guide
2/6
[subtotal]
59/7
Today went to City of London. Walked about and saw a fairly
large number of architectural items of consequence. A number
of Wren churches and various 18th and some 17th Century works.
A special treat was an 18th Century cul-de-sac (or court) off Bow
Lane. St. Paul's was most impressive inside. Heard part
of a service there. Continued walking which took me down
Fleet Street and then north on Chancery Lane to Lincoln Fields Inn.
The Soane Museum on the north side is sheer pleasure. I was
completely captivated.
From there, took the tube to Bond Street Station on
Oxford Street (massive commercial-shop center) and walked north to
Manchester Square and the Wallace Collection. Numerous 18th
Century structures. From the Wallace Collection returned to
Earls Court.
Took a late afternoon nap—all
that walking—and then had dinner after writing to Jean.
Returned to quarters to read until bedtime.
I often write in the Art Record in the early
morning—when things have settled a bit in the memory. The
evenings are often spent with the guide books—as well as laundry.
Tomorrow I shall pack and plan a final tour to include
architecture in the City and a last session at the National Gallery.
Then come Monday early (I must be at the West Terminal
by 9 am) I shall be off to the Netherlands.
I have worked each evening on the French. The
Michelin on Benelux is a major reading. I check grammar or
vocabulary in the other sources. I am improving, but I am not
slated to be a facile
linguist.
As far as I can see, the length of the London visit was
just about right. Any extra and I'd be off on out-[of-]London
tours.
ART RECORD
Began by debarking at Monument for Bank Station and started a
walking tour of the "Wren country." Saw such churches at
St.
Stephen Walbrook, excellent interior, and the remains (?) [sic]
of
St. Mary Aldermary.
Went into side areas off Bow Lane, and found a pleasant
cul-de-sac or court of 18th Century structures.
Then of course,
St. Mary-le-Bow. Interior is
completely modern, but in good taste, and [I] can say that there is
possibility of blending the contemporary with the past if you try.
Other churches:
St. Vedast alias Foster, St. Martin Ludgate, and St. Brides (grimy, but a lovely tower).
Stumbled onto the structure containing
Prince Henry's
Room. A happy half-timber change of pace.
St. Paul's pleased me very much. Here was the
grand interior I missed at Westminster. Westminster's Rood
Screen and plan-organization worked against the interior volume, but here at St. Paul's I found the grandeur that I wanted. The
experience was in kind related to that when I found Richardson's
Trinity Church interior and scale "quite right." Interior and exterior, St. Paul's is a great structure.
I was there at the time of a service, was properly pleased.
Indeed the day went well.
Walked on from Fleet Street north through Lincoln
Fields Inn area to the
John Soane Museum House. I was
completely captivated. It was a unique experience of
considerable charm. I purchased the longer description to have
occasion to review the fun I had prowling the place. This
early 19th Century architect's mansion has no parallel anywhere.
I itched to put my hands on some of the books. At least we now
have facsimiles of some of them. The attendant opened the
folding doors for me in the picture gallery. I suspect that
Soane could have survived even today's drab marketplace for
architecture.
Took the tube to Bond Street at Oxford and debarked to
go north to the
Wallace Collection. Manchester Square area is
lovely.
It is an obvious thing to compare the Wallace
with the Frick, but really there is no comparison.
Frick's
taste was made up for him. The Wallace Collection has a
different flavor. The House is interesting, and I enjoyed
reading the guide in the court. I've become a firm believer in
interior courts now that I've seen some genuine ones. The armour, furniture and paintings are significant.
Also the Sevres, bronzes and similar items. The guide reviews
it well. I was disturbed by the need for cleaning which many of
the pictures showed.
Special notes. The
A. van de Velde Migration
of Jacob is reminiscent of
Bingham's Boone and the Cumberland
Gap. For that matter, Hogarth's Election series smack of
an influence on Bingham. These [are] at the Sloane. I must
check with Ross Taggart on these. I wonder if van de Velde's
Migration had been engraved?
Noted that the Wallace's Rubens sketch of
The Defeat
and Death of Maxentius had the same technique as the Nelson
Gallery sketch. I liked ours much better—no
chauvinism here at all.
Rather fatigued, I took the underground back to my room
to read on what I had seen.
All in all, a truly memorable day, perhaps one of the
most pleasant since I arrived insofar as art experiences are
concerned.
SUNDAY, JULY 3, 1966
(London)
Daily Expenses
Transportation
5/ 3
Food
13/11
Description
Liesborn Altar 0/ 3
Movies (Cinema)
4/ 0
Coins for Paul
6/ 4
Miscellaneous
5/ 6
Tip for Chambermaid
10/ 0
[subtotal]
45/ 3
Took off early on the morning, contrary to my last plans, and
walked for three hours from the region of the Tower to Charing
Cross. Covered new terrain in contrast to yesterday. Saw
such as
All Hallows Berkynkirche,
St. Olave Hart Street,
Mansion
House,
Christ Church in Grey Friars, the
Guild House, the
Church of
the Holy Sepulchre and the
Guild Church of St. Andrews. The
Churches in the Strand. The 17th Century structure on Holborn
by Greys Inn. The Surrey and Norfolk Houses by the Embankment.
Returned to the room for lunch and rest. Then at
2:00 pm ventured to the National Gallery for a last tour. From
there began walking again. There was a stop-the-war rally (re:
Vietnam) sponsored by the London District of the Communist Party.
It was—of course—in
Trafalgar Square.
As I walked [I] saw the
Carleton House Terrace, then
over to the Mall to Buckingham Palace. More impressive than
newsreels or stills suggest. Over to Victoria Station.
Wandered about the mainline station interior, then took in a movie.
Went to the Cameo (nearby) and saw
[A] Shot in the Dark.
I had seen it before, but it was exactly the right, light stuff I
wanted. From there "home" to write letters and cards
(including one to Ily Szabo with some of my unfortunate French—at
least she will recognize the date, the hotel and my name).
Then it was supper, packing time and the records.
From this it is bedtime.
Calculate that I spent $28.33 since the last *
tabulation on June 30. Add to this 21¢ for discounting, and
total is $28.57.
ART RECORD
The day was largely architecture in the area from the Tower to
Trafalgar Square, from Holborn to the Embankment. Stayed away
from sections I saw yesterday. This is a considerable area,
and the walk lasted three hours. Saw a variety of structures
dating from some very early churches and a 17th Century half-timber
on Holborn, to the latest and most modern buildings. The
problems of scale and texture reemphasized themselves. I feel
that there is a lack of texture mostly (and I talk here about the
plasticity of surface—mouldings,
pilasters, cornices, projections, rustication, etc.) in the new
structures which the old ones have, and which gives them a life even
beneath the grime. Since most are not silhouetted against the
sky (except for cornices and chimneys or towers) the surface
is so important.
Made a final visit to the National Gallery and
studied in particular the 15th Century works (both Italian and
Northern) for comparisons to the Christian for the space problem.
The closest was a fragment of a German altarpiece, the Annunciation,
called the
Liesborn Alterpiece.
From the National Gallery, [I] migrated through
Carleton House Terrace, thence to the Mall and Buckingham Palace.
So then for the London Phase of the trip.
MONDAY, JULY 4, 1966
(London and Amsterdam)
Managed to get away from Earls Court without difficulty. I
hesitated walking to the terminal with the bags. That is a bit
more than I desired. Because of the hour, a cab was called.
My second experience with a cab in London and the first with what
they call a mini-cab
(we'd call them jitney). They charge outrageously, but I was
unprepared for the mini.
At the terminal I had my last English expenses:
Transportation
0/ 6
Cab
7/ 6
Bus to Airport
6/ 0
Two books for
reading
7/ 0
Remainder of coins
for Paul 2/ 7
*
[sub-total]
23/ 7 (or $3.30)
This brings the total spent to the point of $103.65 plus $1.03
for exchange and we have a total of $104.68, plus $3.30 (Monday) and
we have * expended while in England a total of $107.90.
Our takeoff was delayed from London due to a foul-up in getting
customs clearances for the plane. I have no idea what this
meant. But we arrived at the Amsterdam airport (called
Schiphol Airport) at about 11:50 am. We were processed
quickly and took the bus into the
KLM terminal (near the
Rijksmuseum).
Hailed a cab, and imagine my surprise when he more-or-less drove
around the corner to the
Aalders
Hotel. [in margin: 15 Jan Luykenstraat] I am
a five minute walk (by cutting across the Museum staff park area)
[from the terminal]. Aalders is a small hotel, about 34 rooms.
Mine is #31 at the top and back. A small [underlined
twice] but comfortable room. Traffic noise is fainter than the
chirping of the birds. I have French doors (instead of a
window) which opens out onto a little porch. Reminds me of the
porch at
4505 Madison in K.C. where I first lived. If I move the
bed (a cot) I can open both doors wide enough so that I can sit in a
chair within the opening.
As soon as I loaded my bags (no porter) into the room
(and they are right about the steep stairs in Amsterdam), I took off
to the post office to purchase some air letters. Decided then
and there to give the Rijksmuseum its first go-around since it was
across the street. The Aalders is only about two blocks from
the museum. Had lunch in their very fancy restaurant. A
letter from
Merrill Toms
in K.C. (Belgian Consulate office) saying that I was set up for
Belgium.
Returned to the room, wrote a letter to Jean, and took
off again, this time with umbrella. By golly we had a
thundershower, and I had my christening of the umbrella.
Worked well.
Scouted the terrain around hotel and found all of the
conveniences right at hand except for a launderette (which I
wouldn't use anyway). Also found the
Stedelijk Museum (Van Gogh—moderns) about three blocks away.
Most of the streets around here are named for artists. Had a
beer, grabbed a sandwich (had that big lunch) and now back to the
room summing it up.
* At the airport I exchanged 4/10/0 English for
ƒ
44.93 Dutch and cashed a $20 check for ƒ 71.00 Dutch, the discount ƒ
1.25 Dutch. I calculate the English at $12.60 (14¢ discount)
so the entire $32.60 netted me ƒ 115.93 Dutch. * At 28¢ a
guilder this is $32.46 or a discount of 14¢. Obviously my
calculations are inexact, since I am converting and rounding off
against U.S. equiv (which no one else is). Have cashed $140 of
checks. Remaining $310 in checks. $47 in USA.
Expenses in Holland
Airport bus
ƒ 1.50
Porter
ƒ 1.00
Maps
ƒ 4.00
Cab
ƒ 2.50
Air letters
ƒ 1.60
Rijksmuseum
admission ƒ
0.50
Lunch
ƒ 11.30
Rijksmuseum guide
ƒ 1.50
Supper
ƒ 2.50
Miscellaneous
ƒ .60
coins for Paul
ƒ 1.36
total
ƒ 28.36
[illustration of
room, page 17]
ART RECORD
With the hotel situation a block and a half from the
Rijksmuseum, it was practical to go there soon after arrival in
Amsterdam.
The building is a big Victorian Gothic pile with a
street going through the ground floor level. The museum (and I
saw only the primary collections) is beautifully organized and the
displays are handled with considerable taste. Heavily Dutch in
content (do they dislike their southern neighbors so much that they
won't try to collect even
Memling?), what is
there is splendid. I found the medieval collections utterly
charming. Some superb carvings. The first floor has
paintings 15th-17th Century and sculpture and the decorative arts.
This occupied my first visit. Some excellent early cut-brass
chandeliers.
Finally saw a
Pieter
Lastman (Mannerist)
and a
Hercules Seghers landscape (the latter very much in need of
cleaning).
The W.R.N.G. Rembrandt cannot be
Titus. The
paintings here show a strong jaw. Saw some atypical
Rembrandts, but
The Syndics
and
The
Jewish Bride appeal far more to me than The Night Watch.
Saw a fair number of the
corporation pictures of the period. They are, in fact,
impressive works.
I find that I can make out much of the Dutch captions,
even though I cannot but understand the sound of most German or
English sounding words (bier for example).
The section of Amsterdam in which I am
located is late 19th and early 20th Century. Typical tall and
narrow but little else. I did see a wonderful tile decoration
in the style of Mucha on the exterior of a house, tall and female,
Art Nouveau type, as a date marker (1902) at the corner of
Jan Luyken
Street and
Van der Velde Street.
TUESDAY, JULY 5, 1966
(Amsterdam)
As I write this, I am a very tired fellow. Began the day
with a walk to the very heart of town, the
Dam, and then beyond to
the Central Station. From there I moved on through the old
part of Amsterdam (I had been on the
Rokin and
the Damrak) toward the Rembrandt Huis. Saw the historical
museum in the old East Gate as well as Rembrandt's house.
Maneuvered back toward the Rijksmuseum by a different route and
arrived there three hours after I departed Aalders Hotel.
Spent time in the museum and there had lunch. From there
returned to the room for a rest. Later went to the Stedelijk
Museum (their museum of modern art). The rest of the evening
was dinner and reading (with my feet put up).
Impressions:
The quantity of bicycles and motorbikes is tremendous.
The canals have ducks and debris.
Dutch is readable—seems to
be a strange combination of English and German.
The Aalders Hotel has Art Nouveau decorations on the
exterior, as do other structures in the area.
The weather today was excellent and I cannot complain
on this score.
I confess that I am lonely. I do miss my family
and my home, but the activity of each day does a great deal to keep
me from becoming maudlin.
Expenses
Miscellaneous
ƒ 6.40
Admission fees
ƒ 1.75
Food
ƒ 19.00
[total]
ƒ 27.15
ART RECORD
Began the day with an extensive (three hours) walk from the hotel
to the Central Station, and from there through the older portions of
the city. This included a goodly portion of the 19th Century
city, and then by the
Munttoren,
down Rokin to the Dam, over to the
Paleis, the
Nieuwe Kirk,
then over to the Waag,
the old East Gate which is now a museum of Amsterdam history, and
Jewish History as related to Amsterdam. Continued through old
sections to
Rembrandt's House. Most of the etchings I knew, though
there were several large ones that surprised me. Some
drawings, but nothing exceptional. The house must have
been very elegant for its day. The most fascinating thing for
me was the 17th Century etching press which had wooden rollers, with
the adjustment made with blocks and shims. Just goes to show
that we rely more on fancy machinery at times than skill.
There were several Pieter Lastman paintings on display.
From there walked back to the Rijksmuseum by a route
different than going out. At the Rijksmuseum, I saw a large
drawing show which included all (?) [sic] of the members of
the Terborch
family. Then returned to the medieval sections, and enjoyed
once again the superb carvings (mostly wood) and the reliquaries,
etc. Then down to the lower level to see the decorative and
18th-19th Century paintings there. A very rich museum in Dutch
things, but not a great deal else.
Then over to the Stedelijk Museum (after a rest)
to see it. This is their museum of modern art. There was
an interesting show Vijftig jaur Zitten (Fifty Years of
Chairs). There was a very large
Dubuffet show
on. His last works look like striped and spotted
Leger jigsaw puzzles
scattered out. Then a look at the permanent collection.
The Van Gogh material I had of course seen (not every piece, but the
major portion) twice. The permanent stuff otherwise was O.K.
An early Mondrian Fauve-like Mill. There was, in contrast to
the Tate, plenty of U.S. Work. A huge and good
Sam Francis,
two Pollacks, plenty of Pop and Op. As with the Rijksmuseum,
beautifully installed. A superb air of control in
presentation.
Much architecture is under reconstruction, especially
the early medieval. They know it will attract the tourists I
guess. The brickwork in Amsterdam is excellent. Since
the section I live in is c.1900, there is ample Art Nouveau in
evidence; even at the top of the facade of Aalders Hotel (mine)
there are two Mucha-like panels. The total appearance suggests
why the Dutch took so early to
F.L. Wright.
He was in their idiom, but more daring.
WEDNESDAY, JULY 6, 1966
(Amsterdam and Haarlem)
Began the day by taking an hour-and-a-half tour of the city and
harbor via one of the tour boats. Found it interesting but not
spectacular. One can see the city, except for the harbor,
better (or as well) on foot, but this was easy on the feet.
From there, took the train to
Haarlem (about fifteen
minutes) and walked from the station to the Hals Museum.
Haarlem has much to recommend it in terms of the picturesque
qualities. On the return to the station, [I] managed to make a
wrong turn and get lost. The Michelin guide, which I used, has
all of the streets on it, but not all are named. Had I not
gotten overconfident, the map would have kept me on path. I
was so busy looking at the sights that I failed to notice that the
street curved to the left. I started out heading north, but
ended up going west. Managed to get directions and was on my
way back to Central Station Haarlem. They collect the ticket
on exit, similar to the London subway.
From the station went to the Rijksmuseum for a final
session. From there (by now 4 pm) I returned to the hotel,
there to find a most welcome letter from Jean. First
communication (other than the letter from Merrill Toms of the K.C.
Belgian Consulate) from home meant a great deal.
[Postmark:] KANSAS
CITY / JUL 2 / 1966 / MO. / Hire the Handicapped / It's Good
Business / 11¢ /
U.S. Postage / Air Mail
[From:]
M J Ehrlich / 5505 Holmes / Kansas City, Mo. USA
[To:]
George Ehrlich / Aalder's Hotel / 15 Jan Luykenstraat 15 / Amsterdam
/ Holland / Please hold
[Typewritten, except where noted]
June 30, 1966 [handwritten: Thurs.
4:00 PM]
Dear old darling,
Just got your airgram, and cheer up, you may have
drizzle, inoperable WC's, and small rooms in Britain, but at least
you can communicate with them (that's more than one can say for the
rest of your journey). At least the food gets better as you go
along, and you can end on a grand culinary triumph!
We are surviving pretty well (sorry about the typing, I
cut my finger defrosting the refrigerator and have a kind [sic]
sized bandaid on one crucial typing point). The first day was
ghastyl [sic] Ghastly! Matthew fell
out of bed twice the first night (Sunday), and had bloody cheek and
nose to prove it. Wanted no part of the new bed, but I talked
him back into it and for the past two nights all is serene.
The children bicker a lot, which sends me right up the wall, and I
bellow too. Matthew seems to be taking your absence
philosophically, but Paul is impossible. Is taking the
"responsibility" terribly serious, to the point where one of us has
to belt him verbally once or twice a day. ("No, you are not
the head of the family.")
All of us went to see Dr.
Hildreth yesterday, and
believe it or not, it was a charming experience. That man is a
whiz with children, had M. and P. helping him take X-Rays and before
he was done Matthew was fighting to get into the chair.
He got examined and had his teeth cleaned, Paul too, and I too.
I had
two teeth filled (not one twinge of pain), and I even paid him
right then.
My folks, of course, are being perfect
bricks.
So is everyone else.
Juanita took me to the Plaza shopping,
Tom paid our Bookstore bill (I'll pay him back),
Marie picked us up
at 8:30 this morning to go to the park [handwritten: with children],
shopping, and three hours this afternoon shopping (food is really
expensive) [handwritten: without children].
Tomorrow I go to an assembly at
Nelson (ugh, apparently
in honor of July 4th), out to Seminar in Overland Park, and then to
see Marat-Sade * [handwritten footnote: *
Dawna Bentley says
it's "gross & overdone"] with (get this)
Ernie Painter. She
called and asked if I'd go with her. July 4th we go back to
Marie's.
Saw
Dora Pakula in
Milgram's today. She said,
"Cheer up, before long, you'll begin to relish your freedom"—she is
always so blunt.
Merrill Toms called today and wanted the addresses of
your hotels in London, Amsterdam, and Brussels to make sure you get
the name and number of the man you are to meet. Seems that the
man never heard of the place you are supposed to have met in
Brussels. Toms is very nice (though precious).
It is hot here [handwritten: AND HUMID!] (around
both days of late), but nothing like other parts of the country.
New York City was over 100 for days on end.
Kris says it [is]
overwhelming. I heard from her again yesterday. They are
off to Maine on the 4th.
Don't stew about things at home but for God's sake
don't overdo or get sick either. We must have many dinners out
after you get back. I'm sick of cooking for unappreciative
children.
Hope this reaches you, / Love and missing you, /
[handwritten: Jean]
Have been studying the maps of Brussels, and the various guides.
I've located the street on which the hotel is located, and here
there is no question but that I shall have a bit of distance to go
from the Aerogare [terminal]. I did feel the fool when I found out how
close I am to the KLM depot here. I shall just walk over
tomorrow a.m. The bags are not that heavy, or the distance
that far.
Expenses
Postage
ƒ
1.00
Canal trip & tip
ƒ 4.00 (too complicated to use
the $5/day coupon—had to go to the center of town)
Taxis
ƒ 8.05
Train (Haarlem)
ƒ 1.80
Entrance fees
ƒ 1.50
Food
ƒ 9.35
Miscellaneous
ƒ 1.60
*
[total] ƒ 27.20
With ƒ 32.62 in cash on hand this
leaves ƒ 0.60 unaccounted for. Considering the problems of
recording everything, this isn't too bad.
Tonight wash, pack and be ready to strike out for the
KLM terminal shortly before eight.
A bit chilly tonight. Shall write up the Art
Record and read, rather than prowl some more.
ART RECORD
Began by taking a boat tour on the canals and in the harbor.
Saw some additional (particularly fine 17th Century houses)
buildings, and gained little new except a proper point of view and a
better sense of the
city's development.
Took the train to Haarlem. The use of brick is
quite impressive in both traditional and modern architecture.
Use of varied colored brick, and early, a small thin brick, and
brick in combination with stone very effective. Saw, in total,
three windmills.
Haarlem was closer to the past. I was, in fact,
overly impressed by the picturesque (to almost quaint) appearance of
much of it. Walk to and from the
Hals Museum.
Along the way saw the Gothic church (under restoration) and numerous
other early buildings. The narrow streets, curving, with
little or no footpath [are] more a reflection of a few side courts in
London than Amsterdam. The Hals Museum, building and contents
completely charmed me. The great corporation pictures (with
numbers on the figures in some) were so very good. Others of
the Dutch were very capable, but
Hals (and that clever lass
Judith Leyster) could bring people to life. Rembrandt's
[portraits] are so solemn.
The regents of the old men's alm house
terminate the carefully
planned arrangements. A truly impressive experience. Did
see a few Flemish works, but only a few.
I now realize how we distort our teaching of the
history of art. Between the Hals and the Rijksmuseum, I saw so
much interesting 16th and 17th Century works of which I knew (and
know) little, or had merely heard or read the names.
Roelant
Savery for one is fascinating, and a host of interesting Mannerists.
Saw Karel van Mander for the first time. His fame will rest on
his Schildbock (spelling) [sic], not the works I saw.
The setting, the impeccable organization, the display in an
authentic 17th Century setting (modernized) had considerable impact.
Saw interiors of the Haarlem church by several artists.
Despite the opportunity to pay for a tour, I decided (from the
paintings) that the experience could be waived.
Returned to Amsterdam, where I made a final tour of the
painting section 15th-17th Centuries. Yes, Dutch painting has
a great deal to it, more than we credit it (except for the 17th
Century). All in all a profitable and memorable short stay in
the Netherlands.
THURSDAY, JULY 7, 1966
(Amsterdam and Brussels)
Final expenses in Holland
Bus to airport
ƒ
1.50
Airport tax
ƒ 2.00
Food
ƒ 0.70
Miscellaneous ƒ
1.50
Coins for Paul
ƒ 2.17
*
[total] ƒ 7.87
Remaining: a 25 guilder note
This meant total expenditures in Holland of * $25.36 + 14¢
discount on exchange for total of $25.50.
Trip to Brussels [was] routine and upon arrival exchanged the 25
guilder note and $60 in travelers checks. Received 3,370
Belgian francs. This computes at $67.40 using fixed figures
hence the selling of U.S. [currency] is here at a premium. We
must call it * net 40¢ on the
transaction.
Arrived at
Hotel Pelican (has sculptured relief
pelicans in facade) to discover that no reservation had been made.
No difficulty however ($5-a-Day received castigations) and by paying
60 francs/day got a good room with a shower, toilet, douche as well
as a [toilet] bowl.
Expenses
Train to Aerogare
25 ƒ
[sic]
Taxi
35
Room
supplement/shower
360
Ten air letters
75
Food
183
Guide to Art Ancien
Bruxelles 80
Admission
5
Miscellaneous
5
*
[total]
768 [francs B.]
Did go out to the
Musée
Royaux des Beaux Arts Art Ancien, and gave it a quick but thorough
tour. Walked there via the
Grand Place.
On return tried to contact the
Institut Royal du
Patrimoine Artistique by phone but this proved to be a failure
because of my language incompetency. Needless to say, reading
and speaking are two very different things. I am developing my
mono-vocabulary rapidly.
The first day and night acclimatization is always a bit
of a problem.
Brussels, for some reason, reminds me of Manhattan.
There are profound differences, but some significant visual or
sensual similarities. Curious.
Tomorrow I plan to go to the Tourist Station in the
Gare Centrale (there is one despite the confusion—see
Tours letter) and organize myself for the trips to Antwerp, Bruges
and Ghent and see if I can unravel the question of what train and
where to Amiens.
There was some rain, and a chill wind at times.
Hard to believe it is July.
ART RECORD
After settling at the hotel, went for a walk to the Musée
d'Art Ancien via the Grand Place. A pleasant walk, with an
image of the city strongly flavored with N.Y. Perhaps it is
the sound-level, the multiplicity of signs, and the sense of visual
confusion which gives one the impression. Even the narrow
way[s] remaining from the early years have little of the "quaint"
quality I remember from Haarlem (was it only yesterday?).
The Museum of Old Art is tastefully organized,
but with a number of works unlabeled. I wonder what that
signifies.
The high point were [sic] the
Dirk Bouts
Judgment of Otto. But most everything "reached" me
including the two interesting pairs: 1)
Brueghel Y and E with
the Y copying faithfully the design of the E; and 2) Delacroix
with his copy of Rubens.
The large altarpieces, the
Jordaens, the Rubens oil
sketches all with impact. A small but nice collection of other
European [works], but as I now anticipate, major emphasis [is] on local art.
I gather that there are relatively few balanced collections in
Europe—as the British National Gallery.
My attempt to contact the Institut Royal du
Patrimoine Artistique by phone was a failure. I got hung up on
before I could obtain contact with someone who knew more English
than I do French. The language handicap is keen, but I shall
turn up in person and try once again. I may have to hire an
interpreter if need be.
FRIDAY, JULY 8, 1966
(Brussels and Antwerp)
Began the day avec le petit déjeuner
downstairs in the dining room. From there decided to consult
the tourist service in le gare centrale. The woman
couldn't understand why I needed help. I knew where to go, and
how to go, I had a hotel, I had train tickets for France—so what was
the problem[?] "I just wanted to clarify matters." I
guess a guy without problems who wants help meant little to her.
So I took her at her confidence and proceeded to test my ability by
going immediately to Antwerp (Antwerpen-Anvers). Since my
French is shabby, I might as well place myself among
Flemmings [sic].
I read the departure board, bought a ticket: une billet pour
Antwerpen et retour (might as well mix the languages). I
went up to voie 5 and at 9:46 the doors shut on the whistle and away
I went.
Antwerp was a pleasant surprise and a delightful
experience. If Brussels is N.Y. in atmosphere, Antwerp seemed
more like Chicago (this despite the fact that Antwerp is a major
seaport).
I walked everywhere—good old
Hush Puppies—and went
first to the
Musée Royal des
Beaux Arts. A very interesting museum (more complete than
Brussels). From there walked to the Grand Place. I had a
rather detailed map from their tourist office (bless these places).
In the Grand Place I sat down and had a beer (about noon) and
watched the tourists. Walked over to the
Steen, a medieval
fort now a museum, walked back toward the
cathedral and went in.
A very nice experience within. Very few people, the great
Rubens
Ascent and Descending of the cross, and to my complete
pleasure a recital on the great organ. I stood near the west
entrance and looked toward the apse and let the music surround me.
A truly moving experience.
From there, I went to Rubens's house. A very
interesting experience since I had just recently seen the Rembrandt
house. Even at his heyday, Rembrandt wasn't on the grand scale
of Rubens. Their works were in keeping.
So from there to the railway station, caught the
correct train back to Gare Nord, the one near the hotel. Left
my things at the hotel, went to an English bookstore (W.H. Smith
again) and bought another French phrase book (the first was not
satisfactory—nor is the second, but better) and a couple of books.
Can't stare at the walls, and I refuse to drink my way through
Europe. Have been reading the N.Y.
Herald Tribune
Europe edition.
Had a sandwich and a beer and am back at the hotel.
For some reason I have little appetite. The large meal
yesterday evening merely caused churnings. The two light meals
that I got in Holland seem[ed] to suit me better. I would rather
eat more, but see little point if I do not wish it. I feel
splendid, get in much walking, and sleep reasonably well. So
there is no concern.
With my success today in managing Antwerp, tomorrow I
shall try Ghent.
Oh yes, saw my first
pissoir in action by the Antwerp
cathedral.
Expenses
Train to Antwerp
and back 104
francs B.
Admissions
10
Food
51
Miscellaneous
102
Museum Guide for
Belgium 100
*
[total]
367
[illustration of room, page 25]
ART RECORD
Went to Antwerp with the principal purpose of seeing the museum
there. As with the Brussels [museum], there was no individual
guide, so I now have the
Musées
et Églises Belges,
which is a pocket-sized handbook to
them all.
The Antwerp Museum has a partial organization of
major works in twelve rooms. Covered them first. Random
observations follow.
Saw several old copies, including one of the
Ghent
Altarpiece, and one of the
Canon van de Paele Madonna.
The
St. Barbara panel by Van Eyck is smaller than I
anticipated. As far [as] I could tell, using a lens, the work
was all by brush.
The van der Weyden
Seven Sacraments triptych is
tremendous.
The
Fouquet Madonna is bigger and colder than I
expected.
Lucas van Leyden, seen again, leaves me cold, but
van Orley, seen again, is worth studying.
Roelant Savery continues to be of considerable
interest.
The Rubens sketches are marvelous.
C. de Vos (Y)
has a paint technique similar to that of the Jordaens in the WRNG.
Could it be? I can see the Jordaens coloring, but de Vos has
it too.
Saw only one painting with a similar use of perspective
to WRNG
Petrus Christus. This [is] a painting by the
Master of
the Legend of the Magdalen, a painting of the Holy Family.
Labeled XV-XVI cent., it has no museum number (see p. 310 Belgique
Art).
Among the large groups there are many Rubens, of
course, Van Dyck and Jordaens.
Then toured the other sections. As in Brussels,
mostly Flemish.
Down to the contemporary, i.e. 19th and 20th [Century],
and I saw a good David, a self-portrait of Ingres, numerous artists
I'd never heard of and a great many
Ensors. Remarkable change
seen within his work.
Rik Wouters 1882-1916 is an artist worth investigating.
He is honored here, and has much in the Fauve character.
Then went to the heart of town, saw much old
architecture. The guild halls and the town hall, the Steen, a
medieval bastion, and the cathedral. This last, the interior
very impressive. The opportunity to see the great Rubens
triptychs of the Raising of the Cross and the Deposition in the
transepts, and others in place (with very few people about) had
tremendous appeal. There was an organ recital which had
considerable impact.
From there, went to the Rubens house. Very
splendid—quite impressive in fact.
And from there back to the station for return.
A thoroughly enjoyable experience. Antwerp seems
to have more—somehow—than Brussels.
SATURDAY, JULY 9, 1966
(Bruges and Brussels)
Went early to Bruges—that is
[I] started
early, but found that I had to wait on the train, having just missed
one. Train was a little late and so crowded that I had to
stand the entire way. I had not given thought to the fact that
it was the weekend, and people were on the move.
Bruges was a most interesting community, but being near
the coast, rather humid. Went immediately to the
Memling
Museum. From there, wandered about ending up in the Grand
Place, where a country-type market with stalls was underway.
Continued my wanderings and sitting on benches along canals.
Museums in Bruges close between 12 and 2. Investigated most of
the medieval architecture. Was waiting at the
Groeninge
Museum for it to reopen. It was small, so despite the quality
of its early works [it] was quickly covered. Back to the station
for my return to Brussels.
Bought a Herald Tribune, read it and rested.
Then out for dinner—so-so—but it stayed put since I fortified myself
with Kaopectate ahead of time. It is curious that I have
little appetite. Perhaps this is a result of eating by myself.
I have decided that tomorrow shall be a slow day.
Reading and seeing local sights. Monday I shall try the
Institut [sic], and Tuesday go to Ghent. Wednesday is off to Amiens.
As I become familiar with the reading of Belgian timetables I am
happy to say that I have comprehended the schedule for my train to
Lille. There apparently switch to go to Amiens.
I have comparatively little need to use my fractured
French. Since I can comprehend the signs, I rarely have to ask
directions. Waiters and ticket clerks seem anxious to use their
English (which needless to say is superior by far to my wretched
French). Tomorrow at l'Institut will be the rugged test
however.
Received a letter from Jean in the early (before 8 am)
mail. She sounded a bit down, for which I cannot blame her.
[Postmark:]
KANSAS CITY, MO. / 5 JUL / 1966 / 11¢ /
U.S. Postage / Air Mail
[From:]
M J Ehrlich / 5505 Holmes / Kansas City, Mo. USA
[To:]
George Ehrlich / Hotel du Pelican / 23 Rue Des Croisades / Brussels
/ Belgium
[Typewritten, except where noted]
July 4, 1966
Dear George,
We are, indeed, "hanging on"; sometimes well, sometimes
just barely. The latter is usually due to my nerves.
Everyone else is faring better. I checked at the department
last week and there wasn't even any mail for you, and everyone
seemed very busy and preoccupied. Are you sure that you are as
indispensible (sp?) [sic] as you think?
We are waiting, amidst the children's bickering and the
humidity, for Marie to pick us up for a few hours at her house.
The [handwritten: My] children get up between 6:00
and 7:00, closer to the former, and proceed to tease each other in
varying degrees for the moments until 9:00 PM. It is too hot
to put them to bed before that. We have had three days
(counting today) of "togetherness" and I am about ready to sell both
of them to the highest or even lowest bidder. Naturally, my
folks are staying at home in the
basement. But Marie has come
to the rescue, bless her. However, they [the Geruleses] are
leaving next week for vacation. My list of friends in KC is
diminishing. Actually, except for the
extreme northwest area
of the nation, KC isn't doing as badly as the rest of the country.
NYC around Idlewild Airport was 106° yesterday and all the northeast
was over 100°. We are only the low and middle 90°s; ugh, but
have had high humidity ever since you left.
The yard, I'm sorry to report, is in sad shape. I
tried to do some weeding, but almost keeled over after 15 minutes.
I'll try to get the
Grisafe boys to mow it (or what's left of it)
sometime this week (no rain).
The wading pool hadn't been touched for days.
Paul says it's too "babyish" for him. I could kill him; he's
the one who nagged to have it put up. I suppose it was a
mistake not to send him to camp, but he still seems to like school.
Nancy and I attended a "salute to 4th of July" at Nelson School
Friday morning. All sorts of group recitations and songs.
Not too inspiring, but Paul seemed to like it.
Ernie and I saw Marat-Sade Friday night and it
was quite an experience: too long to go into here, except that it
should turn over a new leaf in the Playhouse log. By the end
of the show one doesn't know whether to scream along with the
actors, or laugh hysterically. (Now we want to see
Who's
Afraid of Virginia Woolf? for more nerves.) The audience,
already slightly mesmerized by the heat, was in a daze, except
Ed Westermann who seemed to actively loathe it
[Marat-Sade]. (Mort says he
thinks it'll be the greatest play in the next 50 years, but you know
Mort.) The audience became so "conditioned," it didn't even
react when Marat dropped his sheet. Not after so much
screaming, pouring of pots of gore, amputations, and mauling of the
leading lady.
Mr. Hawes is pruning now. Wish he'd come over
here. The only problem with me is "life is so daily"; there's
not much to look forward to. At least in the winter I'd have
papers to grade. I've read two novels, but usually fall asleep
by 11:00. I feel I must to keep up with the kids.
Haven't bought anything, so you can breathe easy.
Have paid all the bills, and will mail in your paycheck tomorrow,
but I couldn't locate our account number anywhere. Where is it
recorded? Groceries are expensive, and the meat especially is
not too promising. We've eaten so many hotdogs and chips I
have them coming out of my ears. Also bacon and eggs.
On this happy note I'll close. Have a good time.
We appreciate the letters. I've gotten three so far.
Love, [handwritten: Jean]
[Handwritten postscript:]
5:00 PM
Back from Marie's early. Matthew fussy and
insistent that we go home. [He] took short nap in "crib"—very
hot in his room. Paul whiny that 4th of July isn't what it
used to be. Luckily after we came home
Mickey Beatty invited
Paul over for "fireworks and rocket launchings" at his house.
I am going to see Virginia Woolf with Ernie
Painter tomorrow. She said that if she gets too involved in
the emotions, to pretend I don't know her. Please forgive if
this letter sounds complaining. You know me and summer.
Besides, it isn't easy being both Mom & Pop.
Matthew seems to have regressed a bit. Sucks his thumb
constantly, dirtyed [sic] his pants yesterday, & won't let me
out of his sight. Maybe it's your being gone, or maybe the
age, or the weather.
So long for now,
Don't you miss us at all?
Expenses
Round trip Bruges
223
francs B.
Admissions
20
Food
209
Miscellaneous
13
* [total] 465
ART RECORD
Spent the bulk of the day in Bruges. Began by going to the
Memling Museum. Small, but of considerable interest.
Here, of course, are the
Reliquary of St. Ursula (on a turntable
vitrine) [and] the
Mystic Marriage—both
of these are in remarkable condition. Then there is the
Nieuwenhove Dyptych. Very effective. The other works
were interesting but of less interest. The building itself is rather
fascinating when one thinks of it as a
hospital. An 18th
Century painting shows the interior in this use.
Went then to the Grand Place (since the museums close
from 12 to 2) and looked at architecture. There is a
considerable amount of early architecture and some areas, for
example around the
Gruuthuse Mansion, is rather like a careful
setting complete with courts, bridges, etc.
Went into
Notre-Dame which is hardly a textbook Gothic
church, but with few people, it had considerable charm. It is
interesting to see large brick structures, and Bruges has them.
Within, there is a
Michelangelo Madonna in stone, and a labeled
Caravaggio which didn't quite have it—possibly early, or repainted.
Then finished off at the Groeninge Museum. They
very nicely placed the major early works in a series of five
alcove-like rooms, with the most taste witnessed in a Belgian
museum. The building is modern and small.
Well, the Madonna of the Canon van de Paele is
everything one could want. In beautiful condition. The
portrait of Margaret is, it seems, rubbed and lacks the punch that a
van der Weyden portrait has. The Gerard David paintings are
tremendous, especially the
Judgement of Cambyses
and Punishment of [two names written and scratched out]
Sisamnes (there, I got it).
The other works were interesting but not compelling.
Bruges was my most impressive contact with the
character of a medieval town. It was market day in the
marketplace before the Hotel de Ville (or should I use the Flemish
Stadhuis?). For some affair or other (I could not ascertain)
there were banners all along and across the Steenstraat. The
congestion, the winding narrow cobbled walks, the canals all helped
bring the portions of Flemish pictures (with their city scenes)
alive.
Considerable time was spent (due to some errors in
planning the schedule) going and coming.
That was the day.
SUNDAY, JULY 10, 1966
(Brussels)
The day began early and with too much noise. A tour, housed
at the Hotel du Pelican, was getting ready to leave at 8:00 am.
Lord they were noisy. I was damned if I would "rise and shine"
with them, but from six on it was fitful sleeping.
I have seen numerous tour buses (including Brazil and
Portugal). The sight of their character[s] makes me very glad
that I am on my own, even if it means lack of company. I now
know I would never "lead one." Europe doesn't appeal that much
that I would get into such a straitjacket.
Began the day by adding Jus l'orange (18 f) to my
breakfast. Was worth it at least this once. Despite the
distance, about three kilometers, I walked to the
Parc du
Cinquantenaire. Went into the Museum of Art and History—a
sorry affair. The main purpose was to locate the #1 Parc etc.
which is the address of l'Institut Royal du Patrimoine Artistique.
It was quite an adventure. The [Parc's] structures are left over from
an 1880 exposition (fifty years [of] freedom) and they have been added to.
I found a #10 and a #13. Around and around I went, and finally
I found #1. A grand new structure with a certain air of
prosperity. With this find, I bent my way back to the hotel.
Today was a long walk.
Upon return, took a brief nap and went out to ascertain
the schedules to and from Ghent. With this in hand, returned
to write up the records.
Dinner tonight was all in French. Granted I said
little beyond oui, non, and fini, but it was done.
No English at all by the waiter. The meal was once again
so-so, though the service was elegant. I've been eating in
convenient places, and either the Belgians are lacking in demands,
or the tourists (of which there are great numbers) have corrupted
the kitchens.
On the corner, a lady was cooking snails and selling
them by the piece to passers-by.
I have written out a few statements in French to cover
my initial contact with the Institut tomorrow. Hope all will
go well. At least I shall make every effort.
I have decided that I need a small bound French
dictionary. The
one I brought along is going to pieces with
use. So it goes.
* Expenses
Food
221
francs [B.]
ART RECORD
Went to the
Museum of Art and History and saw what happened to be
open. And that is the way it is. Parts are open on
even-numbered days, parts on odd-numbered days. Many of the
works were not labeled. This was the least impressive
experience yet.
Saw the Egyptian collection. O.K. (with a fair
number of casts) and a mockup of the tomb of
Nakht (but could not go
in). Of unusual interest, however, was a terra cotta mummy
case. This I had never seen before. Saw some odds and
ends of things (and that is the only way to describe them).
There were some nice medieval chests, some good pieces of sculpture,
mostly 15th Century (including
Veit Stoss). There were some
nice 16th Century tapestries.
In the process I did locate, by circling the Parc du
Cinquantenaire, the Institut Royal du Patrimoine Artistique. I
trust I shall be able to communicate.
I saw some interesting Art Nouveau on my walk to and
back [from] the Parc du Cinquantenaire. Particularly
interesting was #11 Rue Ambiorix.
MONDAY, JULY 11, 1966
(Brussels)
Took off for the Institut Royal du Patrimoine Artistique at #1
Parc du Cinquantenaire. Entered about 9 am, only to find that
the two guards (why two?) did not speak English. Fortunately I
had rehearsed my opening gambit and I announced (after they told me
NON to my parlez vous etc.) that I wished to visit the
institute, that I was an American university professor, and was there
anyone who could speak English?
They called up and a young lady (of minor attainments
in English) took charge. She in turn conveyed me to another
lady who knew a reasonable amount of English. When this
occurred (I had waved my
photo of Petrus Christus for all to see) I
found that I was in the Research Center for which I had been heading
all along. Eager to resolve their linguistic (?) [sic]
problem, they gave me a stack of photos [of Christus works] to study and away I went to
my primary task. While studying, they contacted the lady who
does public relations and was fairly adept at English. She
took me on a tour of the Institut (which houses but does not include
the Research Center). The results are described in the Art
Record.
All in all it was one of those turning point days.
My wretched French permitted me to make initial contact (when I
could not over the phone, I could in person), and despite handicaps
on both sides of the lingual curtain, I was able to do that which I
had come to do. A very good feeling indeed.
I confess now that I would have been most upset had
this day not turned out so well. I do not have an inflated
concept of my French (still primitive beyond description) but on my
own, without help, I have been able to get around.
The day had been a misty to rainy one, and once again
the umbrella served its good purpose. Now, late in the
afternoon, the sun has broken through.
I note that there are
airline strikes in the U.S.
including TWA. I hope that all will be resolved before I
arrive in Chicago on the 24th. I gather Air France is flying,
or so that was the impression I received in the Amsterdam and
Brussels airports.
I am ready to call it a trip—perhaps
three weeks is a more reasonable length. On the other hand, it
is "all down hill" now.
This part of Brussels seems to have the hotels and the
tour buses. From anywhere they come and go. It seems to
me (a lone pedestrian who is
always stopped and directions asked of
him—in French yet) that this tour by bus has only one advantage: you
are the passenger. But what a mechanized sort of life—phooey!
Just returned from dinner. First time excellent:
soupe, [illegible]
aux poivre, demi-bouteille white
[wine].
Expenses
French dictionary
45 f[rancs B.]
Miscellaneous
81
Food 270
*
[total] 396
ART RECORD
Made my way to #1 Parc du Cinquantenaire (about 9 am) and made
contact. Initial language difficulties overcome and I was able
to proceed.
Discovered that this Research Center on
Flemish
Primitive Painting is a separate operation from the Institut Royal du Patrimoine Artistique.
It is in fact two (really one) rooms which happen to be housed within the larger structure, and which receive collateral help—mainly
photographic assistance.
The Research Center is really a set of filing cases of
photographs, indexes for comparison purposes, and a small but
apparently very complete library on the subject of Flemish
painting. I was given the Petrus Christus photos and
discovered:
1) There are comparatively few paintings by the
artist, and not very many in any one country (much less museum).
2) The WRNG work is unique among the total, though
the Berlin (Staatliche)
La Vierge au chartreux has a
similarly displaced vanishing point (or area), but this painting is
but 19 cm x 14 cm.
3) The curious diptych (including three pictures,
the upper left an Annunciation and the right half a Last Judgment)
contains in the Annunciation a similar char [sic: chair?
character?], but the
dimensions are all wrong. It is signed and dated 1452—so
bears comparison.
4) There are curious works, apparently similar in
about all details but not in size of a Madonna and Child in Spain.
One in Madrid Prado 49 x 34 cm, the other in Prado Ruiz collection
51 x 33.5 cm. Both have similar poses of the Madonna and of
the Child (the cross and orb are the same or close to WRNG) when
compared to the WRNG painting. The quality and relation of
these two are immaterial for my purposes.
5) The closest possibility is the
Dormition of
the Virgin (which I had remembered as [being in] San Diego)
which the [Research] Center listed as Washington D.C. National Gallery.
Its dimensions are 57⅝"
x 39", and since it is primarily a vertical panel could work.
WRNG vertical is 27⅜" which doubled would give 55"—giving
some room for frame (rabbets and all). The quality of the
painting, as seems in the photos, is close and it is an interior and
it deals with the Madonna. The same chair and deep perspective
exist. The mounted photos list it as from the
Putnam
Foundation. Whether Washington furnished the photos, or I am
mistaken in my memory of its location, can at least be easily
checked back in the U.S.
6) There is no other item worth comparing.
A curious feeling after all was said and done. The U.S. has
the largest representation of Petrus Christus. There
were some forgeries and questionable works included in the group.
It did not take long, but a conclusive visit in that I feel I am on
safe ground in my pursuit. I won't be missing some obvious
work—the not-so-obvious one can accept.
Afterwards, I was taken on a tour of the Institut proper. Here is a government operation devoted to recording,
analyzing and preserving the artistic heritage of Belgium. It
must be a unique operation (attributed [with devotion?] [sic]
to the energy of the late
Paul Coremans).
I saw the laboratories (staffed by chemists) for the
analysis of materials of all sorts, including architectural building
materials, metal, pigments, etc. Not only analysis but
problems of preservation of stone and metal restoration were
considered. The equipment was impressive, especially the
spectroscopy and chromatography. I saw the studio where the
restoration and conservation of polychromed sculpture was underway.
Then I was taken to the studios where conservation of panel
paintings took place (very rare transfer—the oak holds up).
There was negative attitude toward cradles here as well. They
have taken to gluing inner members to fill in a cradle to at least
make uniform the back and so the stress. The studios for the
conservation of canvas paintings was [sic] a separate area.
Then there were photo lab [sic] and a photograph collection with card file
to act as an archive of all historical works of art. I did not
see the archaeological section. The entire works is housed in a nice structure built in
1962.
All was
very impressive.
I saw a great many women (more than men) at work.
The inpainting is done with tempera and then oil over
the tempera. They discourage or rather are suspicious of the
acrylics. They feel that they have not received the test of
time. Also the inlays were done with brushes rather than
knives. They want to preserve texture and avoid "mirror
finishes." I saw, on a large panel, areas which had been
inpainted given a uniform tool texture ||||| in the gesso.
With the dominant vertical lighting in a European museum, this would
not show. A side or raking light would instantly show the
restored areas. The canvas studio had an enormous vacuum
table. Also curious focused-beamed double spotlights on
standards.
Everywhere the equipment was impressive, the courtesy
of the highest order (I must write a letter once I am back to K.C.
to thank them), and the scope of the operation most impressive.
In answer to my query, they said that most works were
sent to them by the owners (or museums) but the Institut made the
decision after in situ investigation. They did admit
that their total workload was a factor which governed their intake,
but on occasion special needs arose which prompted adjustments.
Apparently some museums do some of their own work, but I felt that a
pursuit of this would cause me to overstay my welcome.
A most rewarding experience.
TUESDAY, JULY 12, 1966
(Brussels and Ghent)
Began the day by buying some postcards and obtaining proper
postage for them. Tomorrow I shall complete my list of "cards
to go out." Perhaps I shall have a partial second go-around in
Paris.
Then off to a renewed visit to the Grand Place and then
over, via the
Galerie du Reine and the Galerie du Roi, to
St. Gudule.
The covered galleries with their shops were charming. Who is
to say that there is anything new?
Ward Parkway Shopping
Center be shown up as foolish! [sic]
St. Gudule was interesting. As things have been
going for me, there was (as I entered) the completion of a service
for a large number of visiting nuns. The service, complete
with the bishop, was accompanied by resounding organ music.
And so, complete with procession, panoply and sound, I stood in the
background of the transept and saw a Gothic church function.
The exterior (partial scaffolding) shows much reconstruction (as do
most of these structures). The interior had much to commend
it.
Then I made my way to the
Mannekin Pis.
Seemed silly not to see the original when I had seen so many
reproductions.
Returned to the hotel to prepare for the trip to Ghent.
The Ghent trip occupied the afternoon.
Ghent itself leaves me
cold—very commercial and somehow cold.
It is a large city (third [largest in Belgium] I think). But
the Ghent Altarpiece in
St. Bavon was worth it all. I was very
impressed. Then after a quick go-around of the church I
returned to the railway station via the Museum of Fine Arts.
From there back to the Gare Nord Brussels and the hotel.
It is now after my dinner. Tonight and last night
were two pleasant meals. I have heeded Jean's advice to try to
eat well. I have not sought out name places, but rather
convenient restaurants whose decor and menu show promise.
Tomorrow is moving day, so I obtained $30 worth of
French francs at a travel agency (Cobeltour on the Boulevard Max).
I received 142.50 French francs, which, considering 20¢ to a franc,
was a 50¢ discount. It will be necessary to have some money on
hand since the train carries me into France.
Also purchased a large map of Paris. I am happy
to say I have located the Rue du General Lanrezac as being
practically on the
Place de Etoile.
Expenses
Cards and postage
77
francs B.
Miscellaneous
55
Food
250
Admission fees
15
Ticket to Ghent and
back 140
*
[total]
537
| |
[George
did not mention receiving the letter below (which
lacks a postmark, and was not kept with the other two inside
his travel journal) but since it was addressed to
Brussels and George wrote Mila Jean the next day, this is a
convenient place to present it]
|
|
[From:]
M J Ehrlich / 5505 Holmes / Kansas City, Mo. USA
[To:]
George Ehrlich / Hotel du Pelican / 23 Rue Des Croisades / Brussels
/ Belgium
[Typewritten, except where noted]
July 7, 1966
Dear George,
This may be my last letter for awhile (maybe one more
in Paris) due to the situation and because I can't be very
informative. Your letters are fascinating, and I let my folks
read them. My father drinks them in with the energy of a man
dying of thirst. Says "George writes wonderful letters."
Needless to say, my envy is boundless. Especially the bit
about the weather being great. The weather here has been
beyond description, so I won't attempt it, except to say when I got
around to going to bed last night quite late it was 84° with 73
percent humidity. The kids go around 9:00 and it's around 90°.
I guess that's the worst factor in our lives. Everyone,
including people who seemingly "like hot weather" like
my sister, is
suffering. Consequently all sorts of ghastly things have
occurred, none of which I'll go into in detail. After all as you
said, you can't do anything about it anyway. (One episode
involved Matthew in a 48 hour situation reminiscent of last September
when, you may recall, he was constipated—screams of pain, tears,
cathartic, then too much, then diaherra (sp) [sic],
accidents, more tears.) Suffice it to say, be prepared for
anything by the time you get back. I may just collapse.
Oh, yes—there was another great episode involving
cutting the lawn
with the hand mower. Paul wanted to tell you he was "a man
now," or something. Then there was the downstairs toilet which
rejected flushing paper, etc. etc.
Oh yes, and Tom's mother fell again, breaking her
nose. It's been one of those weeks.
Last night we had a great Cecil B. DeMille storm.
Remember last summer, the one that hit the power lines? Like
that one. It [the temperature] actually got in the 70's!
However, now at 9:00 AM the sun is beating down on all the wet.
Hurrah, another day of humidity.
Ernie Painter and I saw Virginia Woolf Tuesday,
and I thought it was a real triumph. [Ernie] got too emotional
to really appreciate it, I fear. You'd never in the world
believe it was Elizabeth Taylor. Mike Nichols directed and
'twas a tour de force. Perhaps the subject matter and dialogue
were a bit hard to swallow, but technically it was one of the best
movies I've ever seen. Only one problem: Elizabeth Taylor reminded me
vocally of Lina Murrish, and Sandy Dennis sounded just like Helen
Branyan, and George Segal had a speech pattern like
Dan Jaffe's!
(By the way, one only smokes in movie theatres in
England, not the stage shows.)
By the way, I know your trip is not all "fun and
games," but it must be wonderful to be, as I was [handwritten
insert: in NYC], stimulated intellectually and seeing new things.
I am getting pretty tired of the old ones.
Heard again from Kris who was semi-hysterical, having
heard from KCK Jr. College, who demanded that she have (or take) 50
hrs of Education courses, sign a loyalty oath, etc. It must be
some dump. Now she's thinking of chucking the whole thing.
Must go now. The Seminar is meeting here
tomorrow, and Dee is picking me up to get supplies. By the
way, the Branyan bit sounds typical...
You probably had a better time alone with Helen.
Love and have a good time for me, [handwritten: Jean]
[Handwritten postscript:]
Sorry for incoherency. One does not
concentrate these days. One is interrupted. That's all.
Supposedly five airlines are going to be "struck" starting
tomorrow—including TWA. Don't know if Air France is still on
or not.
Did you include
Al Varnado in your postcard list?
The address in Baton Rouge is 1350 Florida St. I think he is
there now, although I haven't heard from him in ages. Also
haven't heard from Joann. Your mother's letters are frenetic.
They have much company these days.
Later
Back from an exciting trip to the store in Dee's
TR-3.
Matthew was in
seventh heaven. Has been chattering about it
constantly ever since.
Am off to the Plaza for a short shopping trip. I
find I must escape this house every chance I get.
ART RECORD
Renewed my acquaintance with the structures on the Grand Place in
Brussels. Then over for a look at St. Gudule. The church
is rather interesting. The exterior shows many signs of
reconstruction (indeed scaffolding up here as [at] so many other
locations). The interior is purer insofar as it shows the
accretions of the centuries. It is interesting to note the
Baroque additions (which often go rather well with the Gothic—e.g.
elevated pulpits).
Brussels has considerable architecture of interest from
the late Gothic to the present. But of particular interest
today was a stroll through the mid-19th Century Galerie du Reine and
Galerie due Roi. A very intelligent and pleasant way to do
things then and now.
In Ghent it was the Van Eyck altarpiece. It is
every bit as impressive and majestic as the books lead one to
expect. It was in very excellent appearance—literally glowed.
The entire experience was most satisfying. Here was one time
when reality was bigger than expectation. I was utterly
delighted.
In St. Bavon, near the west font, are two panels
(copies) of Adam and Eve with leather garments. Most amusing.
The over to the
Museum of Fine
Arts. Very little
there of special interest. There is the curious Bosch (Christ
Carrying the Cross) and a big, big Ensor drawing. Seeing these
museums, such as Bruges or Ghent (or for that matter Brussels and
Antwerp) makes me ever so more appreciative for the balance and
quality of the Nelson Gallery.
WEDNESDAY, JULY
13, 1966
(Brussels and Amiens)
Began the day by writing to Jean and a group of cards to those
not yet "carded." Then off to the Brussels Museum for a final
look at the key works.
Upon return to the hotel, where the bags were placed in
waiting, I sat and read until near train time. Boarded the
train for Lille at
3:00 and we were soon off. The trip was routine, though I did
feel a bit on edge since I was trusting my reading of the notices,
etc. But all went without a hitch. Customs on the train
between Blandin
and Lille was cursory—even less than at
the airports.
Since I had a train change at Lille, I was very much on
the alert. No problem. Arrived on time in Amiens.
It was funny, I was peering out of the window, relying on my watch
to tell me the time of arrival, but then I saw the cathedral from
the east end. It was a funny impact—I was very much impressed
and knew I was at Amiens.
Debarked, and then an incredible walk (rivals airports)
to merely get to the exit. I had debated walking to the hotel,
but by this time I was over-tired. Asked for a
bureau de change and was informed (in French) that this was
at a bank or a hotel. Every little station in Belgium seemed
to have its money changers—but not here.
Hailed a cab—he was horrified—and we went about two
blocks. His meter hadn't clicked once. I was pleased not
to have to lug the bags; he was bound and determined to "get me."
I was prepared to offer three francs, but had only a ten franc note.
He took four francs. He was pleased and he didn't know that I
knew he had cheated me. So, we were both content.
The
Hotel Grand
is a relic out of the remarkable past. I feel as though I am
on the set of an old, old European movie. There is a tub, so I
am bound and determined to take a
real soak.
Dinner here at the hotel was ordinary. Soup,
rib steak with fries, and a tart cost $2.80. The wine
cost 80¢. Service included.
The dining room is a glassed-in porch affair overlooking a minuscule
garden.
As I exited, a busload of Scotsmen debarked with
B-4-type
bags, and berets and the damnedest burrs I've ever heard off the
stage. I couldn't help but wonder if they were back to [see]
the sights of a long-ago war. They couldn't be Battle of Somme
(whose anniversary [50] this is) but maybe so.
But even if it is 1939-45, they could have been my age (now) then,
and so work out. Ah me.
I have resolved to finish the evening with a tub and
reading. Tomorrow a.m. will be spent on the art record and
drafting a part of the
Christus article. The afternoon will be at the cathedral
and environs. Then off to Rouen in the early evening.
My last
expenses in Belgium were:
Miscellaneous
96
francs B.
Admission
5
Food
12
Coins for Paul
18
* [total]
131 Belgian francs
Therefore a total of 2,885 Belgian francs spent which converts to
$57.70 (or $57.30 since I gained 40¢ on
* exchange) was the extra cost of Belgium.
Exchanged 460 Belgian francs for French francs * and
received 43 French francs. This represents a discount of 60¢
on the basis of 2¢ for B f and 20¢ for F f.
Expenses in France
Taxi
4 francs
Porter
2 francs
Dinner 18
francs (to be on hotel bill)
*
[total] 24
One must watch oneself twixt the
total factor between Belgian and French francs.
[illustration of room, page
35]
ART RECORD
Returned to the Museum of Fine Arts in Brussels for a second look
at the major works. On the way there saw a wonderful old
1875-ish cast iron front, the
Old England
store on the Rue Coudenberg.
This time at the museum I took a careful look at the
contemporary sculpture. They have a very nice—indeed
handsome group. One very good big Henry Moore, and a couple of
rather brute-like
Zadkines. Some interesting Belgian things—mostly
figurative and mostly cast metal (though there was evidence of
sophisticated carving in both stone and wood).
Among the paintings of the 15th Century, I noted
several with vanishing points (or areas) off to one side. The
most obvious and best case was the Trial by Fire panel of the
Bouts [Justice
of Emperor]
Otto pair. However, the
vertical line (on the far left) is dominated by a strong standing
figure whose head is close to the vanishing point (or area).
There are also other paintings with diagonal composition, but more
an isometric than vanishing point. [Diagram] as this.
These seem to be crude, often genuinely primitive.
[diagram in Art Record page
32]
The trip to Amiens (via Lille) by train looked out over
farmlands. There was little to see from the train that would
say much to me. This was the area
so
badly damaged fifty years ago (and then twenty-plus).
I did see a good church recede in the distance after we
had left Arras. Possibly it was the 13th Century church at
Avesnes le Comte. It was certainly typical
Isle de France type with massive
west towers.
As we approached Amiens (according to my watch) I
peered out the window to see if I could catch any signs. There
it was, seen from the east and with the radiating flying buttresses
around the apse.
The cathedral at Amiens. It was
silhouetted against the sun in the west (about 6:30 pm) and it was a
truly magnificent sight. I no longer had doubts about my
coming to Amiens.
A reflection upon seeing a great deal of 15th and 16th
Century Flemish art:
We really have ignored the 16th Century (post-Brueghel)
artists. Some are excellent—for
example Van Heemskerck and
Pieter Aertsen or De Vos. Mannerism
when it is bad is dreadful. But in the hands of a competent
artist [it] can produce powerful results. We act as though Brueghel
was the only good landscapist after
Patenier (if him) and before
Claude or the Dutch such as
Van Goyen. But there is good
landscape—e.g. Bril (far better than I had anticipated). The
price we've paid for our Francophilic and Italophilic art historians
has been too great. Pity.
THURSDAY, JULY
14, 1966
(Bastille Day)
(Amiens and Rouen)
At breakfast (in the lobby) I made the mistake of reading in a
French paper. Some of the Scots veterans began asking me
questions in French. I told them that I spoke English—"Oh
a Yank—good." It turns out that they were South Africans and
it was the 1914-18 war. They were here to commemorate the
Battle of Delville Wood.
Spent the morning reading—also getting ahead on the
Rouen phase.
Then about 11 am, went off to the cathedral. What
a magnificent pile it is. Then wandered about. Place
very quiet since it was a holiday.
Back to the hotel for lunch—too expensive but a
convenient place to rest. Read today's European edition of
the N.Y. Times and learned that the dreadful heat wave
continues in the U.S. (poor Jean), and that talks on the airlines
strike (in U.S.) have reopened.
Read a bit in
Le Figaro (very little news of any
kind). Made reasonable headway.
(As I write this, I see a man
[old] with
spats.)
Then over to the
Musée de Picardie. A mid-19th
Century pile which had many of its rooms closed. Looked around
as I went and noted how much was rebuilt recently. Amiens must
have really been raked over in the two wars.
Returned by the cathedral—to see the facade in the sun.
Except for the miserable pigeons, a fine view indeed.
In an hour-and-a-half I am off to Rouen (that is I
go—walk—to the station). The train is omnibus—i.e. a local.
Before departing, the South Africans returned from
their ceremonies at their battlefield. One, a man just
seventeen then (fifty years ago) recounted to me how the entire
experience—to details—flooded back when he saw once again those
landmarks. As I recall, something [on] the order of 60,000
British troops were killed on the first day. It was a strange
experience seeing these men, many past seventy, with their polished
medals on their jackets. A unique sort of view for me of a
piece of history. I had just read (about two weeks ago) a book
on the Battle of the Somme. Here was not history but the
immediacy of an event. The narrative will assist in explaining "history" to
students. So in 1913 must have been the [fiftieth] reunion at Gettysburg.
An omnibus train isn't so much slow as halting.
We finally arrived at Rouen about 9 pm (presumably about ten minutes
late).
Started walking to the
hotel. Reached #73 Rue
Jean[ne] d'Arc and no hotel across the street. That was hardly a
happy moment. Then realized that the numbers were different on
each side. Across was #90. Finally arrived at #72. Another Hollywood set. The room is very grand
(with curious furniture which defies easy use or description, sort of leftover Empire). The room must be part of a suite.
Doors which are connecting on each end wall, a sense of confusion
even to the bellboy. There was neither closet nor wardrobe.
The bath is quite elegant.
[illustration of room, page 38]
Expenses
Food (including
breakfast)
21.85 f
Miscellaneous
7
*
[total]
28.85 f
ART RECORD
The main event, and a powerful one at that, was the visit to the
cathedral. Moved slowly around it, starting from the apse end.
By the time I had reached the west font, I was ready to enter.
Spent considerable time inside. Noted the tremendous sense of
space which was provided. Interior very light and relatively
uncluttered. What glass there is, is largely contemporary and
ineffective. Some "crazy windows" made of pieces of old glass.
The placing of windows in the
triforium of the choir and east sides
of the transepts gives an interesting highlighting of the choir.
Reasonable from a structural point, but I cannot recall reading
about this. The 18th (?) [sic] Century rococo grillwork
separating choir from ambulatory was in keeping. "Flamboyant
style?" Also a bit of wall painting preserved in the sacristy.
On finally exiting, I walked around the structure and
then away. What a magnificent pile of stone. But the
visual and sanitary desecration of the pigeons[!]
Saw little other architecture of consequence: two or
three other churches (one closed), another St. Remy (?) [sic]
complete only through the transepts (damage or incomplete?). A
few houses, one across from the cathedral, seemed interesting.
Then over to the mid-19th Century (1854-1862)
Musée de Picardie. Most of it
closed (because of Bastille Day?). It is a wonderful,
antiquated structure.
Puvis de Chavannes very important here.
A Rodin bust and murals by Puvis (1861-82 at least). The early
paintings were open. Little of moment but a good sampling of
Ecole d'Amiens for looking at. A nice
Vouet and a very curious
triptych (non-closing) of a Flemish Adoration of the Magi—15th
Century. Condition of everything—??? [sic] The
archaeological section was open. Some very interesting
Neolithic and Roman (Gallo-Roman to quote the labels) remains.
Some very nice glass—intact. Also the medieval sculpture and
artifacts [was] open. Here some interesting but not overly
unusual items. A new thing for me was a polychrome high-relief
stone sculpture with a painted background—landscape. Gothic
(16th Century?) from St. Remy.
But the cathedral was worth it. I have now truly
experienced the ascetic but majestic grandeur of a major Gothic
church. Well worth the side excursion.
FRIDAY, JULY 15,
1966
(Rouen and Paris)
Today was one of those days which will long be remembered.
In some ways incredible. But to begin at the beginning:
Arose, got ready for breakfast. It arrived
promptly, but was placed on the chest of drawers. So I moved
the barrel "Empire" end table to the chair by the window and
transferred everything. In the midst of my café
complet, a knock and the boy with the local newspaper avec
complements l'hotel. As with other French papers I've
read, not much news but said breathlessly.
Then packed and took off for the city of Rouen.
Spent considerable time at it, then returned to the room to get
luggage in order to store by the desk. Went then to the
railway station to confirm my departure, and there (at the buffet)
had lunch. Off again on tour, but became weary and returned to
hotel to rest (in lobby). Off again to visit and to look.
Bought James Bond (in French)
Dr. No to read,
which I began at the hotel in the later afternoon. Then I made
my way to the station.
I had run into a man [in] several places. He
looked familiar and I was willing to wager that he was an art
historian I had seen at CAA
meetings. At the station, once again. I was about to
sound him out, but he had a sour expression to top anything I might
try, so I said "What the hell." I had enough on my mind to
take on an unlikely conversation about what?
The ride to Paris was fast, and
St. Lazare station was chaotic. Getting a cab called for a
policeman to keep the crowds in order and in proper sequence.
I popped into my cab, but the driver didn't know where Rue
General Lanrezac was. I couldn't blame him considering my
anguish over this, so I explained to him in my French where
it was. This done, I had a harrowing ride to the
Hotel Phenix
(two stars).
I noticed a sign on the exterior explaining that
English and German [were] spoken. Hooray. As it turned
out, my French and his [the hotel clerk's] English were equivalent.
But the first item of information was that ma tante had
called. O.K. Ily was on the ball. But then things
got complicated. Without going into details, here it what
happened.
I was to stay this night only at a hotel down the
street,
Empir's Hotel. Then I would return to the Phenix where I
would have [a] room with bath. Bon. I was to meet
my aunt at 9:00 pm at the Phenix. So I went over to Empir's,
checked it over, returned to the Phenix. Ily turn[ed] up with
a small child [named] Sylvie (some relative whose
relationship is completely
lost on me).
The conversation between Ily and me was an act of
considerable heroism on my part. Ily spoke both French and
Hungarian (the latter she knows less well—thirty-plus years in
France) and I "spoke" French. By golly, we communicated.
Ily is bound and determined to stick with me the entire
week. After the initial shock wore off, I sort of welcomed the
idea. I told her (and she understood) that I was a walker, and
intended to look at art and architecture. I intended to visit
Chartres and Versailles. She was game (and a native guide has
merits) and so if she can manage, so can I. I told her to wear
shoes for walking.
I return to the Phenix on the morrow c.10 am and Ily
comes to me at 11. First stop, the Aerogare for confirmation
of return. She said she might talk a friend into taking me by
car to Chartres—splendid. She also has chilled a bottle of
champagne for my visit.
Bobby Sessler is supposed to make his appearance on
Monday. He checks in on "weekends."
So, a wild day and I certainly am going to learn more
French than I had intended. Considering my survival to date, I
should be proud.
* In Rouen I exchanged the last of the $20 travelers
checks. Received 485 francs. That comes out to not quite
21¢ per franc. If I accept five francs to the dollar, that is
[a]
$3 lug on the $100 exchanged.
Expenses
Stamps
9.50 [f]
Stationery
1.40
Food
5.80
Admissions
2.00
Bag storage
1.00
Miscellaneous
8.10
Cab
6.00
* [total] 33.80 f
[illustration of room, page 41]
ART RECORD
I was fairly systematic, using the Michelin guide, and saw, but
not in this order, the following:
Place du Vieux Marché,
Mansion of
Bourgtheroulde, the exterior of the Belfry, the
Great
Clock, the
Cathedral at considerable length,
St. Maclou, exterior of
the
Archbishop's Palace, the Cloisters of St. Maclou and
St. Ouen at
some length. Also the Musée de Beaux-Arts and the Musée Le
Secq des Tournelles. The exterior of the
Tour Jeanne d'Arc.
Also a considerable part of old Rouen.
Observations and comments in no special order:
Noted the cathedral had a double arcade (sort of a
false gallery) between nave and side aisles, and a relatively small
clerestory. Also noted how shallow, nearly round, were the
vault ribs. The interior of the crossing [was] most
interesting since there is a functioning lantern. Some of the
stained glass is quite nice. The staircase (stone) to the Biblioteca
[sic] is quite wonderful.
The wooden architecture (and I wonder how much is as
late as the 17th Century) varies in condition. Some lean or
buckle so much it is a fright. Others seem on the immediate
verge of collapsing. Condition is probably no clue to age.
Much reconstruction and restoration going on. A number of
major structures—e.g.
Palais du Justice—show much damage. St. Maclou [was] open to the transept (saw a wonderful 12th Century
model of the church at Musée Le Secq des Tournelles).
Rouen still has many of its narrow twisting
streets—gives one a curious feeling after living with U.S.
gridirons.
St. Ouen is quite impressive. Noted the
pier entasis quite clearly here.
The museum [Musée de Beaux-Arts] is quite respectable
in its collection and presentation. There was a special
Jouvenet exhibition on, and it did not particularly enhance this
artist in my eyes, but gave me a good look at him. Some of the
drawings were quite good. In general, one got the feeling of
false piety and sweet zeal in the religious works. There is
logic in the organization of the painting galleries, and one can see
(largely French) a nice evolution of painting through the
Impressionists. A strong collection of
Gericault (who does not
overwhelm me). There are excellent groups of area ceramics and
Chinese jades. A
Chausserian painting was pure expressionism
(except for the color). It was rewarding to see
Poussin
surrounded by many Poussinists—I can now see their cause was a
hopeless one. They have a variant of the WRNG
LaTour. It
was "dirty" and I felt somehow it was inferior. (Pride?)
The
Musée Le Secq des Tournelles (a family name) was
filled primarily with ironwork. An old church building had
been converted for this purpose. A noteworthy solution and an
interesting collection.
Rouen is still picturesque. In this sense it
reminded me of Haarlem.
SATURDAY, JULY 16,
1966
(Paris)
Empir's Hotel less friendly and less elegant than the Phenix.
Both are designated second class. Moved back to Phenix about
10 am but room of course not ready. Aunt Ily arrived promptly
at 11 so off we went.
We began with a promenade down the Champs-Élysées.
Then on to an autobus for a ride over to the
Invalides to Air
France. Confirmed my reservation. Then on foot to the
Eiffel Tower. Overcrowded so did not go up. Then on foot
over the Seine to the Trocadero and a snack nearby. Then back
to the hotel.
The room (#1) has a bath, and on my checkout I shall
pay $3/day for the use thereof. For me it is worth it.
[illustration of room, page 42]
Unpacked and then, part on foot, part on autobus, over to
Aunt Ily's apartment. It is a monstrous redevelopment sort of
complex (in N.Y. such as lower East Side) with many floors and I
suppose many small apartments. She has a bedroom, a
living-dining room, a kitchenette and bath. Her entire
apartment could not be more than 500 square feet. She has
three locks (three different keys) on her door. Life must be
charming in Montmartre.
I was wined and dined with excellent service and good
food. I gather that the Szabos, when he [Ily's first husband
Alex]
was alive, were great for parties, travel, entertainment, etc.
Now she is alone and very lonely.
She speaks to me in Hungarian and a little French.
I speak to her in my fractured French and with my hands. We do
manage to communicate (but it isn't easy on me). At least she
knows that I can follow her, if not the other way around.
She wishes me to eat at her house every night.
Considering the cost of restaurants, $4-5 for each good meal—swell.
I've tried the gourmet bit, and [eaten] alone it is just food.
I'll save up my enthusiasms for when Jean and I can eat out
together.
After the dinner we went out to see the
Sacre Coeur.
Saw the true old Montmartre and the tourist-bait Montmartre.
It is a shabby Paris version of shabby Greenwich Village. Lots
of art on view and all that I saw [was] lousy.
Plaza Art Fair
caliber or worse.
But it was dusk and we looked south over Paris.
Very striking view. Sacre Coeur is a good interior if a strange
exterior.
It had begun to rain in a light but constant drizzle,
and so (at 9 pm) we parted, I on my metro, she on hers. We are
to meet on Sunday at Gare St. Lazare for a trip to Versailles—rain
or shine. She will pack sandwiches and we will stay the
afternoon.
Expenses are, under these
circumstances, quite curious:
Transportation
3.70 (une carnet of autobus tickets)
Food
6.80
Miscellaneous
.60
*
[total] 11.10 [f]
ART RECORD
Mostly architecture via foot and autobus. With most
buildings along the boulevards cleaned, there is a bright elegance
to the warm ochre of the stone structures.
The Eiffel Tower is both ugly and magnificent. I
can now easily see why the Parisians of the 1889-90 period were
horrified. But there it stands as a lasting achievement.
The vistas, views, the squares, et. al. are très
élégant, but then I saw the side streets in the Montmartre area
as well.
Mission Hills and the Plaza vs. 31st and Troost.
We did go to the Sacre Coeur. A fine interior but
the exterior is more curious than architecture of consequence.
The view of Paris is most dramatic.
My general impression of Paris is that gained only in
cities like London, New York or Chicago (not Los Angeles).
Here is a large, large city, with a very large and densely packed
populace. The streets and parks are metabolic requirements to
permit breathing and circulation. In this type of environment,
5505 Holmes is almost rural rather than suburban.
SUNDAY, JULY 17,
1966
(Paris and Versailles)
Early morning spent in writing and getting organized. Then
about 10 I began to walk toward the Gare St. Lazare. A very
slight drizzle, not enough to put up the umbrella. Arrived
about ten minutes before 11. Could not locate Terminus Café,
the meeting place designated by my Aunt Ily. After a careful
search, logic took over. Across the street was a
Grand Hotel
Terminus. So I began scouting the hotel exterior, and by its
cafe was Ily. Voila!
We went to Versailles. So did at least 10,000
other people by every conveyance possible. There were more
Americans than in
Jefferson City or Lawrence. The natives were
recognizable—they had string bags with pieces of French bread and
fruit. Ily brought some French ham sandwiches for us.
We did the interior thoroughly, and only a small
portion of the gardens. Skipped the Trianons all together.
Returned to Paris and her flat. Had dinner and I
watched Broadway Serenade (Jeannette MacDonald and Lew Ayres)
and Bewitched (French dubbing—excellent aping of the voice
characters). Then a return to hotel.
The Paris Metro, of an evening, has a bouquet of
garlic.
On my excursion to Gare St. Lazare I noticed a travel
agency advertising trips to Chartres. I shall visit there
tomorrow and see if a trip for Tuesday can be arranged.
Tomorrow is the Louvre for the first session.
I weighed myself at Ily's. With clothes (but not
suit coat) it was 69 kilos. I read this as 151.8 lbs or
perhaps about 150 lbs stripped. If so—good!
Expenses continue to be modest:
Transportation
5.79
Admissions
3.00
Food
3.00
Miscellaneous
2.00
*
[total] 13.79 [f]
I have for two days talked in a kind
of weird language. It consists of fractured French, an
occasional Hungarian noun, a German verb or conjunctive and a
muttered English. I may need remedial work by the end of the
week.
By St. Cloud (on the train to Versailles) there is a
tremendous view. The cost of the housing here must be
fantastic.
ART RECORD
Walked from the Etoile to Gare St. Lazare. Paris
architecture is heavily
École des
Beaux Arts in flavor, hence the buildings do harmonize with each
other. The main event of the day, however, was Versailles.
We went via the train and so had an unparalleled view
of Paris from St. Cloud, a suburb to the southwest. One
could easily see how Montmartre is a high point. The
panorama was very fine and the beautiful ugliness of the Tour
Eiffel was even more apparent. It really is all wrong and
out of scale for the city, though some tall buildings are up,
with others on the way.
Versailles is so big that one cannot truly encompass it
with either a single view or a single day. Much
refurbishing has gone on, so there is much to see, and much of
it fine work.
We began with the great state rooms. Here I
finally saw the large David [of] Napoleon crowning himself, as well
as miles of other paintings (or should I say acres?).
After the tour of the great rooms, out to the gardens.
Made no attempt to cover the park, but did spend time with the
formal gardens and some of the forested paths. Then back
in for the 18th Century apartments with extensive displays of
paintings, particularly portraits. Absolutely no sense in
trying to review everything seen, but three particular images
are the David Marat, the unfinished
Serment de Jeu de Paume,
and the excellent Nattier portraits.
I was intrigued by the richness of the furnishings, the
decor, etc. The opulence was successful but there was so
much of it that it no longer had impact. The vastness of
Versailles and the extent of its richness went past my threshold
of perception. Too much is too much..
Poor
Louis, Louis, and Louis.
MONDAY, JULY 18,
1966
(Paris)
The weather in Paris must be much like that I was expected to
have in London. Frequent showers, often a fine mist.
Alternately chilly and warm depending on the cloud cover. I am
adequately prepared for the weather, so I have little concern except
that the rain complicates things—wet
umbrella, etc.
Arranged the tour to Chartres. I had a choice of
Wednesday or Friday, and took the former. We leave at 9 and
return about 6 that evening.
After—went to the Louvre. Portions were closed,
but it nevertheless took three hours to walk the layout which was
open. I made little attempt to study at length. Key
works I took a bit of time to look at. Since all museums are
closed on Tuesday, I shall return Thursday, Friday and Saturday for
a section each time in conjunction with a visit to one or two other
smaller museums.
In contrast to London and Amsterdam, Belgian and French
museums make little attempt to ease the life of the visitors.
The buffet at the Louvre makes the Nelson Gallery's coffee lounge
look like Putsch's 210. I never did see a toilet (by sign)
anywhere within. (I did note a large public facility outside
of the building.) Ah well, this sort of info is for the Art
Record.
Then over to the
museum of the Jeu de Paume. Here
[are] the Impressionists and Post-Impressionists. Small, old,
good collections, enormous crowds, badly lighted. Then a walk
which took me through the
Place Vendome, to the Opera and then over
to the Madeleine. From there by Metro to Ily. A long
day.
The French improves, but it is still a mighty chore.
Expenses
Excursion fee for
Chartres 32.00
Carnet of
Metro tickets
1.85
Admissions to
museums 2.00
Plan of the Louvre
2.00
Food
6.30
Miscellaneous
2.10
*
[total] 46.25
f
ART RECORD
Spent about three to four hours in the Louvre. Just
walking the galleries took about three hours, and large sections
were closed. The Louvre is, without a question, a rich but
curiously organized museum. Granted there are severe problems
in housing enormous collections, and handling the gigantic crowds.
Nevertheless, I got the impression that there is a policy to reduce
comfort and convenience to a level which will keep the people moving
as rapidly as possible.
A small, nearly primitive buffet. No evidence of
a public restroom. No convenient guidebooks or plans.
The Michelin Paris guide is sold as a guide to the museum.
Sections closed, no explanation (except that about the portion of
the Grand Galerie [being] closed) given or any clear indication of how to
resolve the traffic problems engendered. On two or three
occasions I almost exited the museum in an attempt to go from one
section to another. At one time I had to fish out my ticket
stub to reenter; I had gone over to the postcard-slide area and was
beyond the entrance post.
But setting aside these matters—perhaps
there is merit in this type of treatment, considering the size and
character of the crowds—some comments on the museum collections.
They are so rich that one has to be careful not to forget to look at
the building itself. As a palace, I prefer it to Versailles.
Using
American terminology, and keyed to the Michelin floorplans, I went as follows:
On the
first floor I started with Egyptian Antiquities,
then on to Greek and Roman. I favor the Egyptian over the
Greek and Roman. Then the Oriental (or Ancient Near East).
Here is a glorious group—fantastic richness.
Then up to the
second floor and confusion since sections were closed. Continued with Egyptian Antiquities and into Salle des Sept Cheminées, Salle[s] Henri II and Clarac (and Pavillon L'Horloge
closed). The Greek and Roman Antiquities were closed as were
the north and east wings of the Cour Carrée. Then into the
Salle de L'Argenterie Greco-Roman. Galerie d'Apollon closed. Salle Daru. Salle Denon. Salle Mollien (paintings). (The buffet is behind the Escalier Mollien.) Then into Salle Sept Metres, Salon Carré, Salle des
Etats, over to the Collection Beistegui (half open) and then into
the open portion of the Grande Galerie. Then into Salle Van
Dyck, the Galerie Medicis, Cabinets Côté Tuileries (Cabinets Côté
Seine closed—and here French and Flemish primitives) and so into Salle
Hollandaise. There was no way to get to the Sculpture
Galleries on the first (or ground) floor. Retraced steps and
viewed the little rooms labeled Fresques de Luini, Botticelli, Fra
Angelico.
The closing of more than half of the Grand Galerie has
caused considerable displacement of works, hence Salle des Etats and
Salon Carré in part house works from the Grand Galerie.
Up the
Escalier du Chien to the third floor. The
reserves along the colonnade closed. Up here [are] the 19th Century
works not on display below. The big ones below, the smaller
ones above.
So what can one say?
I was entranced by the Marie de Medici series.
Such wonderful bombast and rich effect. No wonder the
Rubenists were able to overcome the static (and I am afraid dull)
work of the Poussinists.
The Italian Renaissance calls for isolated, austere
viewing. The Baroque is an art for crowds, noise and urban
conditions.
The big machines (Raft of the Medusa, David's
Coronation of Napoleon
[again], etc. etc.) are impressive.
Delacroix is better in small than big as far as I am concerned. Durer and Holbien wonderful.
There is no way to evaluate my procedure for looking at
these things. I suppose I am absorbing impressions more than
making notes. As for example my feeling of the cold,
emotionless, and static quality of the rooms filled with Greek and
Roman works. In contrast, the severity of the Ancient Near
East or Egypt has a punch despite the fragmented condition.
The big paintings read so different[ly] when one is
dwarfed by them. In the books or slides they are busy.
Face to face and you sense a grandeur which has impact. My
aunt (at Versailles) asked if men were bigger in the 18th Century.
No, only their portraits, but that is the point. Bigger than
life and twice as impressive—but the impression is made.
Then, after a brief rest, over to the museum of the Jeu
du Paume. Here [are] the Impressionists and Post-Impressionists.
A small, badly lighted and of course crowded museum.
Monet comes across well. Also Van Gogh,
Bazille,
and Degas. The early figure work of Monet was interesting, as
[was] the tremendous contrast between early and late Degas.
Manet seemed to have less impact than I expected. The
Luncheon on the Grass was a big painting of no particular
distinction as far as I was concerned. Olympia was
interesting but only that. The Little Fifer was the
best as far as I was concerned. Renoir was much more sensual
than Manet, though not in the 1860s. One must see them in
context. Someday, someone is going to make a proper display of
the Impressionists along with the painters who were au courant with
the Salons. Perhaps side by side the image will work out.
Even at the Louvre, where there is a little of this, there is not
enough. Couture,
Gerome (not a single
Bouguereau did I see) to
set the stage. These men were not that bad. I
think I saw one
Carolus-Duran—a good one with punch.
We've romanticized [the Impressionists] to the point of distortion, and it
will be difficult to set things straight. One can see things
better outside of France and the U.S.
After this I went to the Place Vendome (scrubbed and
gilded railings), over to the Opera (a grand impression) and down to
the Madeleine. All in all a long, tiring day.
Tuesdays museums are closed, hence tomorrow
architecture, Wednesday an excursion (via an agency) to Chartres,
and back to the museums on Thursday.
TUESDAY, JULY 19,
1966
(Paris)
Spent a portion of the morning writing things up, and then off to
the
Ile de Citie, Ile St. Louis area. After that (in
particular Notre Dame), crossed over to the Left Bank and moved
hither and yon in the area of the Pantheon. Then over to the
Luxembourg. From there over to St. Germain des Pres.
With that, metro over to Aunt Ily. We in turn
went over to an area near the Grand Boulevards. There, at
J.W.
Chunn on Rue Richer (to which I was led) we bought perfume for Jean.
The entire transaction was for me a bit complex, but very routine
for everyone else. I was told by Ily that I had an excellent
bargain. Let us trust that Jean agrees. I was told that
I bought three years's worth. It will take that much to square
my absence for four weeks.
We promenaded a bit in a most dense shopping area and I
got trinkets for Paul and Matthew, and a large, large pencil for
little Sylvie.
At the Place Opera we boarded a bus and returned to
Ily's. I was, today, allowed to purchase a few things.
Tomorrow, a conducted tour of Chartres.
Expenses
Transportation
3.70 f
Food
13.20
Admissions
(treasures Notre Dame) 2.00
Miscellaneous
6.50
*
[total]
24.90
f
Perfume (U.S.
checks and currency) $34.90
ART RECORD
Today was a rather gray day, with occasional rain. Under
these circumstances, I had an additional insight into the
architecture of Paris.
It is predominantly (or was) built of a warm
ochre stone, which when clean is rather full of color. The
mode of design practiced by the graduates of the Ecole des Beaux
Arts permitted considerable flexibility in surface treatment.
The complex roof lines with their mouldings, projections, etc. (but
with most buildings related in height) provided a visually
interesting sky silhouette (the only one available). In short,
I can't help but wonder if the problems of Paris suggested the
architectural style and design formulas, rather than the theories
hatched in the atelier.
Even today Paris has a harmony which does not require
rigid adhesance to a particular design. The style
permitted much individuality. At any rate, the value of mouldings, sculpture, oriels, whatever, on a gray day was clear to
appreciate.
Began the day at Notre Dame. Here, not cleaned on
the exterior, and so an imposing gray pile. There is a great
deal of stained glass in Notre Dame so here was an interior quite,
quite different from that of Amiens. Very dark, so that one
had to watch one's way. Here then a different solemnity.
Saw the (treasures!) [sic]. As far as I
was concerned it wasn't much. Primarily 19th Century items.
The exterior of Notre Dame can be seen fairly well,
especially the north side and the apse. So I went about taking
notes.
From there, over to the Left Bank and an excursion
about the Parthenon. Here is a grand exterior, and the dome
works extremely well. Among the buildings in the immediate
vicinity, the
Bibliotheque Ste. Genevieve appealed to me the most,
also St. Etienne.
From there went to the Gardens of the Luxembourg and
the Palace. I am impressed by the formal parks and gardens I
have seen everywhere in Europe. Particularly the flowers are
very impressive. The Palace is properly staid, and I sat in
one of the many individual chairs found in Parisian parks and looked
things over. Then over to
St. Sulpice—an
exterior still dark and of no great interest to me. Finally
over to
St. Germain des Pres, in effect my Romanesque church for this
trip. A small, lovely interior—gaily painted, but with taste.
Later in the afternoon we went along a good length of
the Grand Boulevards, a section not traveled by me before, ending up
at the Opera again.
Wednesday is Chartres. A canned tour, but I am
now ready for one.
WEDNESDAY, JULY
20,
1966
(Paris and Chartres)
I was to appear at the Travel Agent, 115 Champs Élysées, at 9:00
am. I did, equipped with reading material. About 9:10 the
bus picked us up and took us to the area of the Opera. At this
junction people were sorted out by objective and further divided by
languages. I, of course, was on a Chartres bus, with English
and Spanish spoken.
About ten minutes to 10, we were off (two-thirds
English). In matter of fact the guide and driver did well.
We went to Chartres via Versailles (and I saw a few things exterior
missed on Sunday), then by country roads to the
chauteaus of
Dampierre, Rambouillet and Maintenon, then into Chartres.
Arrived about 12:15 and had lunch. I played the game, ate at
the recommended restaurant. Too much food, but quite good.
(Also expensive.) Then 1:30 to 4:00 at the
Cathedral.
The guide made a few trivial errors, but really did quite well since
he had to do everything twice (first English, then Spanish).
While the Spanish explanation went on, I did my own looking.
We left Chartres at 4:15 and took the national road
(#10) back to Paris and through the
Bois de Boulogne. Arrived
back at the Opera at 5:30. I went straight from there to Ily's
apartment where I had my usual dinner. She complained bitterly
that I eat too little, and that I am skinny. So be it.
Each day I add a few new words in French for
conversation purposes, but there is a vast difference in fending for
myself and trying to discuss complex ideas concerning the usefulness
and justification of Ily
making a visit to the U.S. to see it in
order to decide whether to try to move there. This is hard
enough in English.
It is now arranged that Friday night, Baby (?) [sic]
will come to Ily's to meet me. I must give Ily credit, she had
interpreted my situation quite well, and is doing much to help me.
Yesterday early was my last letter to Jean. As of
the writing of this entry, no break in the strike in U.S. of TWA
etc. If there is no change by Friday a.m., I shall discuss the
issue with TWA office here in Paris.
Expenses
Food
13.50 f
Tip to Guide
1.00
Miscellaneous
1.60
* [total]
16.10
My voyages have been accompanied by sleep which is somewhat
fitful, and with strange dreams At times I am searching for
the words in German (which frequently I can recall when I want to
say it in French—curious) during a
dream. I must hasten back to my life of happy routine.
ART RECORD
The canned tour was run with some finesse. We went to
Chartres via a "rural" path which took us by the Palace of
Versailles, the Chateau at Dampierre, the one at Rambouillet, the
site of the Port Royal Convent, Maintenon and then across the flat
valley toward Chartres.
The Palace of Versailles was seen (exterior of course)
from points quite different from that of Sunday last. The
other chauteaus, also exterior, were interesting in that each was
different from the other, especially the contrast between Dampierre
and Rambouillet, the former very good late 17th Century and
Rambouillet a wonder hodgepodge of styles.
The impact of seeing Chartres at a long, long distance
(as we came in from the north or the east) is telling. It is
strange that I recall nothing about the setting from my reading.
The Cathedral is on something of an escarpment, and the ground falls
away to the east quite rapidly and some distance. Hence one
can see the towers and steeples from ten or twelve kilometers
without difficulty and the church just grows as one gets nearer.
Chartres (the cathedral) is every bit as exciting as
pictured. The sculpture had less impact than the entire fabric—easily
seen from all points. We did the exterior first, and here it
was so obvious the caution exercised in the buttresses. On the
other hand, Chartres is wide (52' nave) and this may be a partial
accounting.
The interior is, without question, an experience not
likely to be duplicated.
The day was one where there were many cumulus clouds,
and so there was a constant shifting of light. The west
windows are of course tremendous—but then they are big and the sun
was directly on them during our visit. I was surprised at the
darkness of many of the windows. The buttresses, etc. do cut
down the light. The clerestory windows (except in the apse)
were hard to read simply because they are hard to read.
But the entirety was a genuine treat. The glass does reduce
the clarity of detail. Elaborate sculptures, as on the
exterior of the chancel screen, were not easily read.
This matter of visibility has affected my understanding
of the character of Gothic windows. I had always thought of
Romanesque churches as dark, but the 12th and 13th Century Gothic
interiors, if they had glass, must not have been very light.
It might well be that a desire for light (as can be seen with the
Vendôme chapel window, 15th Century) was a factor in the change in
the windows, rather than the more complex balance of
interior-exterior light ratios advanced.
The guide did quite well, and since he had to repeat in
Spanish for the other portion of the tour, I had ample time for my
own looking.
All in all, a most pleasant visual experience.
THURSDAY, JULY 21,
1966
(Paris)
Began by working on the records. Stopped in the Tuilleries
Gardens to read, and then over to the Louvre. Began by
reviewing the medieval and Renaissance sculptures, and then other
sections closed on Monday. Had lunch there, and continued with
paintings.
From the Louvre over to
Ste. Chapelle and the
Musée
Cluny. Returned to the room for a brief rest, and then over to
Ily's. After dinner and a bit of TV, returned to the room.
If my calculations are correct, I can now stop doing
laundry, and use the clothes still clean for the remainder of the
trip.
I am now just generally tired. The pace has been
steady and yet not hard. I think it is the inability to really
rest at night. The beds or some such are not to my comfort.
Nevertheless I do feel fine—just
sleepy. Could it be that I am now saturated with Art? If
so, the last two days may cause an overflow of some strange sort.
The weather continues (apparently unseasonably) cool.
Also damp. I find myself wearing my weather coat frequently.
English weather.
Expenses
Transportation
1.85 (carnet/metro)
Food
6.30
Admissions museums
3.00
Louvre Guide
5.00
Miscellaneous
2.60
*
[total] 18.75
[f]
ART RECORD
Began with the Louvre. Saw three sections closed on
last Monday. According to my aunt, there was an item on TV
that so many people are on vacation that there are not enough
guards to cover the entire Louvre—so
some sections are opened irregularly. The Flemish and
French Primitives will be open Friday.
I saw the Sculpture Galleries, and was truly taken with
their contents. To see so much and so much of it big and
in good condition (large amounts of polychromy, etc) was a real
treat. The tomb of
Philippe Pot with its mourners was one
which had considerable impact. The polychromy in good
condition helped me to realize what many of the others must have
looked like. The Pilon and
Goujon works were also
impressive. This section had much appeal. The
Michelangelo slaves do not carry as much impact (for me) and the
late Gothic.
I also found my first restrooms—almost hidden.
From this section I went up and renewed acquaintance
with the Medici series and the paintings on display. Also
had an opportunity to see the
Beistegui Collection (part[ly] closed
last Monday) of portraits, and the Gallerie d'Apollon (which
closed after my visit and which was not open Monday).
From the Louvre, went to Ste. Chapelle. Here the
glass was of major interest. I've decided that the "Bible
for the illiterate" explanation for all of the sculpture and
windows, etc. is over-rationalized. The difficulty in
reading the small works suggests to me that here might be a
factor in the growing monumentality of some of the designs.
Later windows are easier to read (and for that matter so are
later paintings, by and large). The multiplicity of small
images is not conducive to reading (any more than small
typefaces are).
The charm of the glass—jewel-like—is akin to the charm
of enamels. Rich jewels so expressive [of] a sense of
treasure, of quality.
The architecture, though restored muchly, is of
considerable interest, especially of the Gallo-Roman ruins.
The contents are likewise impressive. In
particular I found the enamels to be of major interest.
Some of the sculpture is charming, but I suppose it is
the tapestries which bear special attention. The museum
has a bit of the hodgepodge about it due to the emphasis on
small things.
The organization of French museums seems in need of
improvement. It is difficult for me to put my finger on
it, but I suspect that "showmanship" is not overly important,
and there is a certain contentment to just put things out in
quantity. Labels are brief to the point of merely
identification. Handbooks or guides are of some assistance
in locating things, but a sense of chronology, of focus on key
items, of helping a visitor look and learn is not evident.
Perhaps I am a "bit bitter," but if Amsterdam can do it, so can
other large museums. The Louvre and the Victoria & Albert
share certain characteristics. There is perhaps a point of
being too big to be useful. It is curious, but large
university libraries end up with a special undergraduate
library.
The Louvre is a research collection used for
recreation. That might explain the Louvre, but not a
smaller museum.
FRIDAY, JULY 22,
1966
(Paris)
After doing chores, working on the records, I went (on foot) to
TWA on the Champs Élysées.
TWA said that I should check with Air France, since it was the
primary carrier. So back up the Champs to Air France's office.
There discussed my problem (and how many others have the same
problem) and she said she would request a place on a Braniff flight
which leaves Chicago at 6:15 (hour and a half later than the
original TWA). There will be no way to ascertain the success
of the request until I arrive in Chicago. I can only hope that
all will work out. If not, I shall have to try a train—what
complications after all is said and done. The strike is so
unlikely to resolve itself now without some sort of
intervention—two
weeks at loggerheads and not only the public but thousands of other
employees be damned.
After this frustrating business (it doesn't do my
digestion any good) I went over to the
Museum of Modern Art.
There had lunch and then over to the
Musée Guimet (Oriental).
Returned (all of this on foot) to the hotel for a rest, then to the
Louvre. At the Louvre I was able finally to see that which I
had been unable to see on previous visits. This took a bit of
time, and then went to Ily's apartment, since I was to meet people.
Bought the best cognac available in a small store there as a gift
for Ily.
So, at Ily's I met
Baby (Violet ?
[sic]) who is a first cousin. Indeed, the
first first cousin I have ever met. She is the daughter of
Margaret, an older sister of my mother. Baby is
perhaps 58 and
a wide, voluble, loud Parisian who spoke in three languages more or
less at once. Ily at 52 is her aunt, and much nonsense about
that. Baby had a niece with her, a girl of eighteen named
Judy. Judy is related to Baby via the husband's side.
Judy, born in Budapest, left there with her parents after the
[1956] Revolution, and is very much a New York teenager. She speaks
Hungarian and English fluently, and can handle French.
It was a party, and too much so. After the guests
left, I was overfed (and foolishly I ate and drank more than I
should have or knew to). Then at the end of the meal Sylvie's
mother Anna came, and we visited, and she had brought French
pastries, and like a true fool I had one. Common sense came to
the fore and I rejected the melon.
As might be expected, I awoke at six and had
indigestion. Temperance is the order of the day, and I shall
tread my way carefully tonight when Ily and I shall go out to a
restaurant to eat. I have been told that the French polish off
two large meals a day. One can fell me, so the Parisian life
is clearly not for me.
Expenses
Admissions to
museums
3.00
Lunch
5.00
Cognac for Ily 20.00
Miscellaneous
.60
*
[total]
28.60
[f]
ART RECORD
Began the art excursion by going to the Museum of Modern Art.
An attractive, well organized display running from the
Post-Impressionists to contemporary. This had much of the
character of an American museum and there was a wall guide which
gave one a complete tour in sequence (just follow the arrows and
numbers).
Of major interest to me was seeing many second echelon
artists who flesh out the years 1890 to 1920. The group in
Brittany around Gauguin for example, or many Fauve works,
particularly by Dufy (better than the later ones I think). A
goodly number of Bonnard and
Vuillard. A big, late cut and
paste by Matisse was quite good, the first I had seen of this size
and period. There was a fine group of sculptures including a
room of Pevsner—very nice—and
Brancusi's studio reconstructed (enchanting). Others varied,
but the Zadkine brutality very evident. Big, powerful works.
There is a small, badly run buffet, and there I had
lunch.
Then I went over to the Musée Guimet, the Oriental
collections. As so often happens, a section (mostly Chinese
sculpture) was closed at the hours of my visit. I did see
about three-quarters of the displays. Good and extensive
collections but hardly in a happy display environment. Bad
lighting in a number of the galleries. I appreciate U.S.
displays more and more.
Returned then to the Louvre, and happily was able to
see those sections closed on earlier visits. Made my way at
once to the Flemish and French Primitives. Of major attention
was the Rolin Madonna (exquisite) and the
Pieta d'Avignon. The
latter has some very bad horizontal cracks in the panel.
I marched back and forth with pleasure. I really
have a fondness for 15th Century Flemish painting. The
Parement [de] Narbonne is also impressive as are
the big Fouquet portraits.
I have noticed the paucity of German work in French and
Belgian museums. Holbein and Durer are acceptable, but very
few Cranachs (and there should be many available).
So then over to see the 18th Century paintings which
are in the temporary exhibition area. Then got into the
Etruscan and Greek-Roman area on the first Étage previously closed,
and into the Decorative Arts of the 17th-18th Centuries culminating
in Napoleon's throne. Saw some of the State rooms.
I begin to revise my attitude about the Louvre and its
displays, etc. The size of the place it its greatest problem.
At first I resented the fragmentation in London, but now I'd argue
for breaking up the Victoria [&] Albert. One cannot exercise
logic and intimacy within the
maze of the Louvre. They suggest
breaking up the visits into sections. Even here, this is not
convenient. The curse of being too big is the Louvre's
problem. In turn, everyone has to go to the Louvre. In
contrast the Modern was very congenial and the Guimet almost
deserted.
I cannot really say that there is an answer. The
crowds, whatever [the] hour, are overwhelming. I never saw even the
Metropolitan at this level of density. Granted, certain areas
are neglected [by visitors] (e.g. Ancient Near East) but the painting galleries
are hazardous.
I have gained additional respect for the achievements
of American museums such as Cleveland or Philadelphia in reaching
distinction. I am also very proud of the Nelson Gallery.
It need not be ashamed (except in American art). I will say
that the European museums [I have] visited to date pay attention to their
native art more than has the Nelson Gallery. But even this can
be rationalized in the latter's case.
So, two more museums, and I am through for this visit.
SATURDAY, JULY 23,
1966
(Paris)
So, the last day before departure. It is for me a welcome
moment. Regardless of the possibility of confusion and delay
in Chicago, I can at least be close enough to call, to take
appropriate measures to
return to K.C.
Worked on the records, and then packed. I put
nearly everything into the bag. The briefcase will be just for
immediate items. I shall carry the weather coat, for the Paris
forecast for Sunday suggests a chilly morning. Today was sunny
and quite warm.
Progressed slowly today, partly from weariness, and
from a disinterest in getting overinvolved at the end. Went
first, in the early afternoon, to the
Jacquemart-Andre Museum.
Here is a curious place which added to my collection of museum
experiences. Then over to the
Museum of Decorative Arts.
After a thorough review of the permanent collections [I] returned to the
room to rest. At 5:00 pm, Ily is to come and we shall go out
to have dinner.
A review of expenditures (through Friday) in France is
in order. I compute 246.14 francs or * $49.23 (20¢
to a franc) + $34.90 (U.S. for perfume) or a total of $84.13.
There is still the addition to the hotel bill. Still on hand
as of Saturday a.m.: 416.70 f (or $83.34).
As [I was] waiting for Ily, a young man entered and
turned back and said, "George." So at last Mr. Robert Sessler.
We had a pleasant chat and then Ily turned up. We all went
out, had aperitif and then dinner. I was happy to be the host.
Then a promenade down the Champs and farewell to Ily (who took off
on the motor bus). Bob and I returned to l'Etoile and there
parted, I back to the hotel for the last evening. My bill to
be rendered before I leave. So!
Expenses
Food (for three) 48.20
Miscellaneous
3.00
*
[total]
51.20 f
ART RECORD
Visited two museums today. First the Museum Jacquement-Andre.
It is difficult to describe this. Not so grand, or with the
quality of the Wallace, or the
Gardner in Boston, but an unusual
private collection given to the state and still housed in a house
whose date defies me. It must be the 19th Century, but it is
hard to tell. So much is labeled only by number with or
without a checklist on the wall keyed to the numbers.
There are some fascinating items, and the quality
varies. Perhaps this, more than any other similar personal
collection, gives me the idea of what the private, independent
collector was like. Gardner, Frick (and even the Wallace
collection in part) show a thoughtful or a guided air. But
here was a miscellany which suggested the couple's ability and
character to buy what they liked.
The other museum was that of the Decorative Arts housed
in the north extremity of the
. The collections are
quite interesting but there is not much excitement in the displays,
except within period rooms. I have a strong feeling that one
has to acquire a taste for Empire furnishings and decor. I
certainly do not have it (nor am I anxious to get it). The
ground floor was devoted to an exhibit of Japanese art, and I just
didn't have the stamina to do it. There are three floors of
permanent displays above and that [sic] I did review.
It is primarily French, but not exclusively.
There is much of anything and everything (other than costume) which
might come within the scope of the term decorative arts. There
were swords, firearms and walking sticks (for their design rather
than ability). There are many designs for rooms and details
which ranged the walls. It is, in total, a manageable museum
with late 16th through early 19th Century. It has such
[things] as Persian rugs and tiles, and some other curiosities, but
all in all a partial repeat of similar sections of the Victoria and
Albert. Considering the contents and the character of display,
very few people were attracted.
So, on this quiet note I terminate the art
record of my first European visit.
4:30 pm Saturday
SUNDAY, JULY 24,
1966
(Paris, Chicago and Kansas City)
Started off the day by getting my breakfast early. Then
paid the extra hotel bill which was 40 francs more than I had been
told earlier in the week it would be. I had a cab called (lug
for this by the cab driver—which I
didn't believe but wanted to get away, so—) and went to the
Invalides Aerogare. Boarded the bus and labored out to
Orly.
There boarded Air France flight 31 in due time and prepared for the
voyage home.
Air France very crowded, and the stream of people to
the rear for use of facilities was incredible. To make matters
worse, carts were used constantly for everything by the crew,
creating fantastic bottlenecks. I managed to doze on and off.
The lunch was merely O.K. In Montreal we had an hour layover,
and by the time I returned to my seat I felt peculiar. I took
a second Dramamine (more than eight hours had passed), skipped the
cold snack and just sat. Finally felt better. My
suspicions were that tension re: a flight on whatever out of Chicago
was the problem.
Arrived in Chicago. Health, passport and customs
were very fast, so that I was through all this in fifteen minutes.
I then hightailed it for the Braniff desk to learn if I had
confirmation for the 6:45 flight. There I was told no, but I
could try standby. It so happened that a plane for K.C. was
leaving at 3:45 (Chicago [time]) and it was now 3:15. Standbys
were taken in order of time checked in, and so I took the challenge
and
charged over to the loading dock. There at 3:20 and the
call for standbys would be at 3:40. Called Jean to tell her I
was in Chicago and that I might be on a plane. If I failed to
get on, I would call again. At 3:40 they began calling
standbys. Passenger Ehrlich was #5 or 6, and I tore into the
plane. I think there were one or two others after me, but no
more.
So I arrived in K.C. at 4 pm (K.C. time), actually an
hour earlier than originally planned, and two-and-a-half hours
earlier than my best expectations.
Entire family there, I too weary to be a proper
returnee victorious. As things turned out, I did not have time
to change my money, wash or do much else than visit the men's room
in Chicago (and for free even).
The final
accounting follows:
Hotel, extra bill for bath
160.00 f
Taxi to Aerogare
7.00
Bus to Orly
3.50
Airport tax
25.00
Wine on plane
1.40
Miscellaneous
3.40
*
[total]
200.30
Chicago
Extra Braniff fare
$3.15
Drink
1.00
*
$4.15
Still on hand (discounting some coins for Paul) on arrival in
Kansas City:
$90.00
in traveler's checks (all $10)
37.85 cash
* $127.85
plus 160.00 francs (or $32.00)
or roughly $160.00 remains out of the $500 I started
with.
(N.B. The 160.00 francs were sold to
Nancy DeLaurier for
$32.00—for her trip to France.)
Total expenditures
Preparatory to trip
$868.75
On the trip
340.15
*
Total
$1,208.90
so ends the journal
[illustration:
Packing Lists
on inside back cover of personal journal]
In 1966 George
Ehrlich rose to the rank of full professor at the University of
Missouri-Kansas City, where he'd taught for twelve years and
chaired the Art & Art History Department during the past two.
That spring UMKC awarded him a travel assistance grant of $500,
which (along with $700+ in personal savings) was devoted to a
four-week tour of artistic and architectural sites in London,
Holland, Belgium, Paris, and northern France. It was
George's first trip to Europe and he undertook it on the
tightest of budgets, wrestling with frequent conversions to/from
pre-decimal coinage in England and pre-euro currency on the
Continent. Every penny (or equivalent) was closely
accounted for—including one spent to access a public lavatory in
London.
