Saturday, 28 February 2015

Katharine: must-see Art exhibitions in Europe in 2015

2015 in exhibitions - painting still rules

As the forthcoming Goya, Rubens and Dumas shows at the National Gallery and Tate prove, painting is in rude health
3 January 2015
‘Woman at Her Toilette’, 1875/80, by Berthe Morisot‘Woman at Her Toilette’, 1875/80, by Berthe Morisot

The New Year is a time for reflections as well as resolutions. So here is one of mine. In the art world, media and fashions come and go, but often what truly lasts — even in the 21st century — is painting. Over the past 12 months, there has been a series of triumphs for pigment on canvas, including the glorious Veronese exhibition at the National Gallery, and a demonstration by Anselm Kiefer at the Royal Academy that we still have painters of towering stature among us. What will 2015 hold?
Well, as far as painting is concerned — both old master and contemporary — there are some extremely promising items. As the year ends, Rembrandt: The Late Works — as eloquent a case for the power of the medium as could possibly be made — is still running at the National Gallery (until 18 January). Those who miss it here or would like a second look might consider popping over to Amsterdam to see its second incarnation at the Rijksmuseum: essentially the same exhibition but with several additional masterpieces slipped in (12 February to 17 May).

Meanwhile, London may be forgetting about Rembrandt and succumbing to Rubens-mania. That at least was the hope being expressed in the great man’s home town of Antwerp when I was there a few weeks ago, and one that is doubtless also shared at the Royal Academy where Rubens and his Legacy: Van Dyck to Cézanne is on show from 24 January to 10 April.

During his lifetime and for centuries after his death, Peter Paul Rubens (1577–1640) was both hugely successful and vastly influential (far more so, for example, than Rembrandt or Vermeer). In the past few decades, however, his star has sunk in the old-master popularity ratings. Can it rise again? We shall soon see.

Completing a trio of exhibitions devoted to 17th-century giants will be Velázquez at the Grand Palais, Paris (25 March to 13 July). This exhibition, which is coming from the Kunsthistorisches Museum, Vienna (where it will be on view until 15 February), is not quite the equal of the one seen in London a decade ago — or the array of Velázquez pictures on view every day at the Prado — but it is still well worth seeing.

The National Gallery is offering something distinctly unusual in the spring: an exhibition about an art dealer. Inventing Impressionism (4 March to 31 May) centres on the achievements of Paul Durand-Ruel (1831–1922), the man who established a market for Monet, Pissarro and Degas among others. Unsung heroes (or, in some eyes, villains), dealers are certainly important figures in the art world. Whether their careers are really exhibitable, however, is another matter. One suspects this will amount to a mixed bag of Monet et al.

With Goya: The Portraits (7 October–10 January 2016), on the other hand, the National Gallery will be offering what should be a splendid array of work by one of the most compelling depicters of the human face in the annals of art.
As I hinted above, the current era of art may seem to be dominated by installation, performance art, video art, sound art and so forth. Nonetheless, we still live in an age of mighty painters. In the past decade Lucian Freud, Gerhard Richter and David Hockney have all produced magnificent works in a more or less traditional manner.
Another such master is Frank Auerbach, whose extraordinary power and originality will, I predict, be demonstrated by his retrospective exhibition at Tate Britain (9 October to 13 March 2016). He is an artist who, after centuries of people messing about with oil paint, has managed to do things with it — sometimes involving astonishingly thick whorls, encrustations and marbled slabs of the stuff — never before seen.
‘Helena’s Dream’, 2008, by Marlene Dumas
‘Helena’s Dream’, 2008, by Marlene Dumas

More of a dark horse, as far as London audiences are concerned, is Marlene Dumas, whose work is the subject of a big Tate Modern show (5 February–10 May). South African-born and based in the Netherlands, Dumas paints figurative pictures derived from photographs. This is a show that will probably not pull the crowds, but is nonetheless well worth doing. I look forward to it as an opportunity to make up my mind about her work.

There is, of course, a wide overlap between painting and photography. Many paintings — including Dumas’s and Richter’s figurative works — are based on photos. Less obviously, many photographs are influenced by painting. This was certainly the case in the early days of the medium, as doubtless will be borne out by two exhibitions about Victorian camera artists: Salt and Silver: Early Photography 1840–1860 at Tate Britain (25 February to 7 June) and Julia Margaret Cameron at the V&A (28 November to 14 February 2016).

In common with all arts, photography does not advance — it just changes. Many of the finest photographs were taken soon after the process was first unveiled in 1839. On the other hand, few photographic exhibitions have ever overcome a fundamental problem: most photographs look much better in a book — or even on your phone — than they do on a museum wall, a context that seems to minimise their impact.

Close readers of my first paragraph may have asked the question, ‘What about sculpture? Doesn’t that last too?’ I hasten to put the record straight: though great sculptors are perhaps rarer than outstanding painters, their output too is for the ages. Next year we will be offered overviews of two major 20th-century artists who worked in three dimensions. Barbara Hepworth at Tate Britain (24 June to 25 October) and Alexander Calder at Tate Modern (11 November – 3 April 2016).

Hepworth was, in her abstract way, very traditional. Her art is all about stone and bronze and rounded form; the main question about a retrospective of her work is whether it is various enough to sustain interest after a room or two. Alexander Calder, however, made sculpture that did something that Donatello’s and even Bernini’s did not: it moved. As its subtitle — Performing Sculpture — suggests, the Tate exhibition will examine how his work was connected with film, theatre and other mobile arts.
For its big autumn offering, the RA is presenting Ai Weiwei (19 September to 13 December). Ai is, of course, a hugely celebrated figure whose work is not traditional at all. One of his better-known works is an image of him smashing an ancient ceramic pot. But he has attained global fame more for his outspoken political views (and even more for the Chinese government’s reaction to them, which was to imprison him briefly and curtail his movements). Is he truly an important exponent of various media, or a valiant activist? That is one of the intriguing questions that will be answered in the coming year. Another is whether Ai Weiwei will be able to attend his own opening.

This article first appeared in the print edition of The Spectator magazine, dated

NY times: Opening one's eyes to Montpellier and the Languedoc, from 1 March 2015 Travel Section

In France, a Visit With the In-Laws (Finally) Becomes a Vacation

FEB. 26, 2015


La Place de la Comédie in Montpellier, home of the author's in-laws.  
Credit Nanda Gonzague for The New York Times

Personal Journeys
By EMILY BRENNAN
 
In Montpellier, cypresses grow as high as the bell tower of Eglise Ste.-Thérèse. Whelks, caught that morning from the nearby Mediterranean Sea, are sold by the dozen with a side of aioli at the covered market Halles Castellane. The Musée Fabre, a national museum that houses works by the likes of Delacroix and Courbet in a grand 18th-century chateau, manages to feel inviting, not intimidating. Even its visitors, sipping their espresso at the cafe Insensé on the front lawn, look more like leisured houseguests than the sort of wearied tourists you see at the Louvre.
None of this had I noticed, tasted or experienced before my trip to Montpellier last August, though it was my fifth in a decade, for Montpellier is also the home of my in-laws.
While my in-laws are lovely, and I always look forward to their visits to New York, where we live, visiting them is not a terribly relaxing affair. Like a foreign dignitary, I am escorted to lunches and dinners arranged on my behalf, with sights pointed out to me en route. Never had I explored the city and learned my way around because my husband, Fabrice, always knew it. Montpellier, France’s eighth-largest city, is blessed with a Mediterranean sun and a beautiful, walkable historic center, a tourist destination in its own right, but because it is my husband’s home city, a trip there never felt like a vacation to me.

Wherever your in-laws may live, be it in France or in Florida, their home is a place you are likely to return to, year after year. And if you’re like me, married to an expat, you’ll spend all of your time off from work there. I didn't consider it much of a sacrifice — if anything I saw it as our penance for living so far away. And I maintained this gracious outlook, exactly until I had a baby.
While our 8-month-old daughter was depriving us of sleep last summer, I hatched a plan to reclaim our vacation: We’d stay four days in Montpellier, sightsee as much as we could between familial obligations, and spend one night away at a bed-and-breakfast, leaving the baby with my mother-in-law for some uninterrupted sleep. To execute this, I did something I hadn’t done since I left Paris, where Fabrice and I met 10 years ago: I bought a Lonely Planet France.
Everything I had known about Montpellier before then was from Fabrice, who, having left at 18, perceived the city with a mix of boyhood nostalgia and cocky teenage angst. On every trip we spent hours at the large independent bookstore Librairie Sauramps, next to where Fabrice went to high school. One time I watched him, after goofily flipping through comic books, as he sidled up to the manager, a smug former classmate of his, and mentioned, casually yet defiantly, that he now lived in New York City and waited for a reaction.

This trip would be a chance to form my own relationship with Montpellier and its countryside. Thumbing through the guidebook, I felt a tingle of excitement I recognized from my bygone days of vacation planning. I was — I could hardly believe it — looking forward to visiting my in-laws.
Along the Mediterranean, less than an hour’s drive from Montpellier, are beautiful port cities like Sète and Stes.-Maries-de-la-Mer. Surely they would have offered a welcome change from my usual encounter with the sea: Carnon, a seaside resort where Fabrice’s grandmother lives, as exotic looking as the Jersey Shore. But for our night away from the city, I wanted to head inland and see the arid landscape I had only glimpsed from the highway to my father-in-law’s in Carcassonne.
Photo

At the Musée Fabre.  
Credit Nanda Gonzague for The New York Times

After some research, I announced to Fabrice that we would be going to a village whose name I now forget because he vetoed it. I protested that I was supposed to be discovering his ancestral home on my own terms, but then he brought up on his computer Google images of the Hérault Valley, with its limestone crags, ravines and wildflowers rivaling those of its more famous neighbor, Provence. Sometimes a local’s advice, I conceded, trumps Lonely Planet’s.
After three days in Montpellier, the region’s capital, we set out for the countryside, and within 20 minutes of driving along Route D986, I felt as if we were already in the deepest reaches of Languedoc-Roussillon. Stone pines, their fragrance rushing in the car’s window, suddenly gave way to gnarled shrubs, succulents and thickets of scraggly rosemary climbing over limestone outcroppings. It was a strange mix of verdure and inhospitality, this scrubland, and I asked what it was called.
“La garrigue,” my mother-in-law, Brigitte, answered from the back of the car, next to the baby.
Let me explain how she and our daughter came to join us on our romantic getaway: Talking to his mother over the phone, Fabrice had floated the idea of going to a bed-and-breakfast, but before he got to the part in which she would be keeping the baby at home, Brigitte exclaimed how wonderful it would be for us all to get away. And who could begrudge her?
As much as the baby was now the main attraction, the woman still wanted to see her son. We invited her along. “But the baby will be sleeping in my mother’s room,” Fabrice assured me.
Photo

The Cascade of St.-Laurent-le-Minier, an hour's drive from Montpellier.
Credit Nanda Gonzague for The New York Times

We climbed out of her car at the foot of Pic St. Loup, a 2,159-foot limestone mountain that from the highway looked like an arrow piercing the sky. Its base near the village of Cazevieille, off Route D113, though, had a gentle slope.

As hikers began their ascent along a dirt path, we wandered among cork oaks, picking at their porous barks and plucking sprigs of thyme for Brigitte to take back to her kitchen. The sky was bright. Cicadas buzzed. Less than 20 miles from Montpellier, and already I felt far away.
I’m not sure how we found Domaine de Mortiès, an organic winery at the foothills of Pic St. Loup, but it was the kind of unplanned, delightful discovery our previous trips to Montpellier never allowed. The beautiful old limestone farmhouse looked shut, so we waited in the car while Fabrice knocked at the door. It was a Monday, a day that they don’t normally do tastings, he told us when he returned. But the proprietor, a woman named Pascale Moustiés, was willing to make an exception.
How nice, I thought, as I followed Mme. Moustiés into the estate’s cave to sample a flight of her wines for the usual price, free. Her demeanor, though, was a reminder of typical French hospitality: While they may accommodate you more readily than you’d guess, don’t expect the kind of cheerfulness that Americans put on to hide the fact you are inconveniencing them. Mme. Moustiés looked about as enthused as a teenager working the checkout at Rite Aid. Still, the wine was good. Our favorite was a minerally red of carignan grapes called La Mauvais Herbe — weed, as in the unwanted plant, not cannabis. We bought a bottle and thanked her.
Back on D986, we headed north. The sky darkened and a light rain came. The landscape was quickly becoming lusher again — I spotted oaks — and we pulled to the side of the road in the village of St.-Laurent-le-Minier, where the river Vis flows into a short but rapid waterfall. In better weather, people swim in the pool below the waterfall, Fabrice said, which I thought unlikely until two people with bathing suits strode past us.
Photo

A 12th-century abbey in St.-Guilhem-le-Désert.
Credit Nanda Gonzague for The New York Times

With the sun coming out, we took Route D110 to D113 to the Cirque de Navacelles, which Fabrice described as France’s Grand Canyon. It wasn't quite; still, the Cirque is an eerie, awe-inspiring sight. The meandering Vis River had cut a wide berth into the gorge's nearly 1,000-foot limestone plateau, making a startling contrast between the bright green valley, with the village of Navacelles at its center, and its jagged stone walls. Even better, the view could be had from a cafe, the Maison du Grand Site du Cirque de Navacelles.
Following the winding Route D130 south to D25 onto D9, we headed to our bed-and-breakfast, or gîte, Domaine de Salente in Gignac. The approach from Route A750 is not the most beautiful (the highway was conspicuous among the low-lying vineyards), but once we arrived at the 18th-century stone farmhouse and toured its cobalt blue pool and beautifully appointed, contemporary-furnished guest rooms, I knew we’d made the right choice.

After a quick swim and poolside aperitif, thanks to a free bottle of rosé the elegant proprietor, Bénédicte Tournay, brought us from her vineyard on the grounds, we left for dinner in St.-Guilhem-le-Désert. The village, a stop on the pilgrim route to Santiago de Compostela, is home to a 12th-century abbey, part of which I had already seen at the Cloisters in New York City (“A theft,” my husband said). The sun was setting as we drove past the Pont du Diable over the Hérault River, so by the time we arrived, the monastery was a crepuscular presence. I could barely make out the river below and the hillside into which the limestone buildings were supposedly dramatically built.

While Fabrice and Brigitte settled into La Table d’Aurore, the restaurant attached to the charming country hotel Guilhaume d’Orange, I pushed the baby in a stroller in the cobblestone streets until she fell asleep. Under carnival lights in the hotel’s garden, we had a leisurely and delicious dinner of lamb, roasted chicken and local trout, while the baby dozed peacefully.
It was on our return to the gîte that trouble started. The baby wailed all the way from the car to our room, so we dismissed the idea of bringing her crib up to Brigitte’s room. By the time I lulled her back to sleep, it was nearly 1 a.m. Tomorrow was my turn to wake with her. If she could sleep until 7 a.m., I calculated, that would be six hours — not so bad.


In the city’s historical center, the Rebuffy Pub.
Credit Nanda Gonzague for The New York Times

She was up at 5:30 a.m. Our room opened onto the garden, so I sat in a canvas lounge chair and nursed her, my head buzzing from exhaustion. But then sun rays flashed over the vine-covered hills, and in the foreground the copses of stone pines figured like dark clouds in the sky. What an ancient, magnificent sight it was.
The baby was getting restless, so with her in my arms I walked around the garden. This is an olive tree, that’s rosemary, this is lavender. I plucked a bud and rolled it between my fingers for her to smell. Looking to the horizon, now bright, I thought, “This place is beautiful.”
Not exactly a revolutionary thought about the south of France, but somehow I was just realizing it. Perhaps it was because of this baby, her budding awareness of her surroundings forcing me to appreciate them. Or maybe it was simply the first time I made an effort to explore my in-laws’ home as a place of beauty and culture, and not view it as an obligation. Family dinners were not the reason I had seen so little of Montpellier on past trips — I had never bothered to pay attention to its charms.

On our way back to Montpellier, I began to see its originality. It lay not in the center’s 19th-century architecture, stunning though it may be, particularly the Place de la Comédie and the ornate Italianate opera house there. Nor was it in its vibrant cafe culture, though seemingly every back alley is lined with dimly lighted cafes teeming with young people (among my favorites now are the pub Le Rebuffy, Au P’tit Quart d’Heure, and the Comptoir de L’Arc). What makes Montpellier remarkable is the way nature unexpectedly asserts itself amid all of the stone and concrete.
Perhaps my memory is recalling this too neatly, but it seemed as if our short country visit was making me see, more vividly, the highway divider with a hedge of pink bay bushes. Or the parking lot with two statuesque cypresses at its entrance. Or the single olive tree at the center of a roundabout. Much more interesting than the city’s plane-tree-lined plazas were people’s gardens, overgrown with lemon trees, palm trees and grapevines. Better still was the Jardin des Plantes, one of the oldest botanical gardens in France and a magnificent trove of Mediterranean flora.
The night before we returned to New York, while the baby slept and Fabrice did the wash, I sat on my grandmother-in-law’s balcony admiring the Eglise St.-Roch and, in the distance, the illuminated towers of Cathédrale St.-Pierre, proud that I now knew their names.
Then came a thought that had marked the end of my most memorable trips, but I had never had before in Montpellier. Looking out over the Spanish-tiled houses, as I finished the last of the pastis, I thought, “I wish we had more time here.”
If You Go
Montpellier
At the covered market Halles Castellane (Rue de la Loge; 33-4-67-66-29-92) you can buy everything from fresh fruit to cheese to prepared food. Load your plate, grab a table on the terrace and order coffee, wine or pastis from the roving waiter. The market is open every day from 7:30 a.m. to 7:30 p.m., except Sundays, when it closes at 1:30 p.m.
The Musée Fabre (39 Boulevard Bonne Nouvelle; museefabre-end­.montpellier­-agglo.com; open Tuesday through Sunday, 10 a.m. to 6 p.m.; admission, 6 euros, about $6.70 at $1.13 to the euro) has an impressive collection of 17th- to 19th-century European paintings, particularly of Montpellier-born artists like Frédéric Bazille and Auguste-Barthélemy Glaize.
Along the bustling, tree-lined Esplanade Charles-de-Gaulle are many lovely cafes and restaurants, including an outpost of the bistro Chez Boris (17 Boulevard Sarrail; chezboris­.com), which offers a dizzying number of beef cuts.
The Jardin des Plantes de Montpellier (Boulevard Henri IV; umontpellier.fr­/universite­/patrimoine­/jardin-des­-plantes), which boasts 2,000 plant species, is open Tuesday through Sunday; free.
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Aside from a number of locally owned hotels in the city’s historic center there is the Jean Nouvel-designed Courtyard by Marriott Montpellier (105 Place Georges Freche; courtyardmontpellier­.com), about a mile and a half from La Place de la Comédie. The sun-drenched pool makes the hotel feel less geared toward business travelers.

Outside Montpellier
The vertiginous Pic St. Loup is a destination for hikers as well as oenophiles. Among some 60 wineries at its foothills is the beautifully situated Domaine de Mortiès (F 34270 St.-Jean-de-Cuculles; morties.com), which offers free tastings Wednesdays through Saturdays or by appointment.
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The Cirque du Navacelles is in the heart of mountainous Causses and the Cévennes territory, recognized as a Unesco World Heritage site. For information on its hiking trails and neighboring villages, visit cirquenavacelles­.com.
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The B&B Domaine de Salente in Gignac (33-4-67-57-54-79; salente­.com), which is also a vineyard, has four design-conscious rooms, starting at 90 euros, as well as a comfortable communal space with a kitchen. A breakfast of fresh croissants, orange juice, yogurt and coffee is included.
The charming country hotel Guilhaume d’Orange in St.-Guilhem-le-Désert (2, avenue Guilhaume d’Orange; 33-4-67-60-38-56; guilhaumedorange­.com) has 11 rooms, starting at 72 euros. Its restaurant, La Table d’Aurore, is open every day and offers, for a very reasonable 33.50 euros, a four-course meal with an aperitif.
A version of this article appears in print on March 1, 2015, on page TR10 of the New York edition with the headline: Seeing Beyond Family Ties in Montpellier.

Maggie: Truffles & Snow, February 2015

Eat your hearts out. 



We had an absolutely glorious truffle hunt on Saturday afternoon, with an incredible truffle hound called Brandille, and a truffler who has won trophies.  Unfortunately it was not at OUR truffière, but that of a friend near Lalbenque.  We collected about 2 kg.  Today we had brouillade for brunch, along with truffled brie that I prepared a few weeks ago, and salad with truffled olive oil and truffled balsamic vinegar.
The colors were magnificent between Lalbenque and Limogne-en-Quercy, and then we hit a snowstorm between Villefranche-de-Rouergue and Rieupeyroux.   




Couldn't have asked for a more splendid end to the school break.
     -m

Saturday, 21 February 2015

Anne S: update on Fou d'Anglais


Photo
Photo


Address : 10 Rue Anatole France , 34000 Montpellier



Have just phoned the Fou d'Anglais cafe and shop which a few brave souls (who seemed to be North American) are now running in the TEMPORARY absence of owner Victoria after her 'stroke' ? (I'm not really sure about exact medical definition).   Anyway, Vick (as she likes to be called) is now back down from Paris and in hosp in Montpellier from whence she's being sent on a rest/rehab. cure in Lamalou les Bains for the next few weeks.  However, she's fine - no after-effects - and will be back in a couple of months at the shop.  I  had mentioned the other day that 4 months is the usual time off after such episodes.

Meanwhile, I promised a jolly girl  called Christine who answered the phone (said they'd now mastered how to make tea, Robyn - there is hope!!) that AWG folks would pop in whenever poss.  They'll be open from Wednesday to Saturday from noon 'til approx 6 p.m during the week of February 25 - 28.      AND as from March, they'll open every day except Sun evenings and Mondays (they will open for Sun lunch)  from noon 'til early evening, and plan to keep going with quiz nights, dish of the day, etc. etc.  ALSO - they have just taken delivery of masses of bacon, sausages and other English goodies!

Please pass on this news to anyone you think would be interested....and please do your best to support this enterprise which not only will benefit all of us, it will be a boost for Vick who has been a good friend to so many of us.  Thank you. 

Friday, 20 February 2015

Jane: Cook & Eat



'Cook & Eat' this week had us commis chefs coreing apples, cleaning scallops and the usual amount of chopping.  Our chef, Caroline, had once again presented us with a menu fit for a wonderful lunch or dinner, ie Scallops à la Bretonne, Duck Leg 'Pot-au-feu' and Baked Apples with Pecans, Pistachios and Raisins.  "It is a light meal!", she said.  What she meant by that is the duck fat is scooped off the top of the dish whilst cooking.
The scallops ready for the oven

.... and this is the cooked result

Duck legs confit

The prepared apples, with a little butter on top

Much chatting later, lunch was served with some delicious wine and we ate a really good meal, the quality of which surpassed most that I have had in restaurants of the area.

Editor:  Bravo Caroline, for yet another sensational lunch, preceded by the training.  You'll make chefs of us yet.  

Jessica: Bowling night at Pompignan




Here is the group of AWG women who went bowling tonight. All in all, we were 25 including kids and friends.   


We had a great turn out this year and there were some who stayed to play on afterwards.

Cerese writes:  What a Bevy of bowling BEAUTIES!!! What a great photo and I'm so glad to know there was a nice turn out.


Maggie writes: 
I hope everyone enjoyed the school break as much as I did.  Here is the webalbum of the photos I took at the bowling night, which was great fun.  Thanks so much to Jill for organizing it, and for re-organizing when the first date turned out not to work.  Thanks also for the great variety of pizzas, although I didn't take any photos of them. 

I think we need to emphasize the fact that you don't have to have kids to be able to come and enjoy the fun at this event.  You don't have to know how to bowl either, as I so elegantly proved.  I was lucky to have bowled a strike in the very first frame, but, unfortunately, it could only go downhill after that.  I still can't believe that I totally zapped the second frame, which meant that the strike was almost useless.
 
If it's not too much trouble to organize, maybe we could bowl more than once a year.  It certainly was one of the best-attended AWG activities recently.   -maggie

Jessica: February Coffee date

Photo credits:  our server was kind enough to use a couple of our cameras for the photos.

Here is the photo from this morning's coffee chat. It was so delightful to get away from the normal day-to-day demands of everyday life to share a cup of coffee with you all. 

Patricia, Sheila, Jessica, Mariannick, Katharine, and front row:  Cerese and Denise


Maggie: February walk near the Cabanes du Salaison

Photo credits:  Maggie

It was a very pleasant walk near the Cabanes du Salaison, easy enough for a push-chair, and there were plenty of opportunities to take photographs.  There were charming "cabanes" and creative decorations, cormorants and flamingoes, and some local fishermen, one of whom told me that the nets are used mostly to catch eels.  I'm still trying to figure out a good English translation for the word étang.  Thanks to Mariannick for another interesting walk.






the littlest walker

Sue, Mariannick, Jan, Kris

Spring breaking forth

Maggie: visit to the Siskind exhibit in Montpellier

Photo credits:  Maggie

Here are my photos of the visit to the Siskind exhibit and lunch at Brasserie de l'Opera afterwards.   All of the shots were taken with the authorization of the Museum.  Thanks to Jan for organizing the visit.  I enjoyed trying to identify some of the enigmatic photos. 
     



 



Maggie, Peggy R, Sue Rich, Susan Rey, Jan, Katharine

Thursday, 19 February 2015

Maggie: all heart

Photo credits:  Jessica and Maggie

HEARTFELT thanks to all the ladies who gave up part of their beautiful Saturday afternoon, on Valentine's Day, to participate in One Billion Rising, and to make more Heart Pillows.  We were joined by my friend Nella, from Montferrier, who was the recipient of one of the first Heart Pillows we made two years ago.  She brought her pillow with her, and said she still appreciates it.  We completed 18 pillows before we ran out of stuffing.  Another 13 pillows are ready to be stuffed, so perhaps we can arrange another afternoon one day soon.  There will be more photos, of the complete and colorful collection, when all the pillows have been stuffed and stitched.
     -m


Jessica, Chris M, Peggy R, Denise, Jan C, Sue Rich, Maggie



Jessica channelling her inner '50's housewife - (I don't remember ladies of the '50s wearing such elegant boots....)



Nella, Maggie, Jessica, Chris, Denise, Sue Rich

Denise and Sue at the Pfaff sewing machine