Eight Books Set in Paris (Because Paris is Always a Good Idea!)

Most would agree: Paris Is Always A Good Idea. Who can resist the lure of French wine, food, art, and history? The City of Light is loaded with charms and wonders you can't find anywhere else on the planet.

Books about Paris are a surefire hit – from romance to mystery to history, you can't go wrong when you decide to lose yourself in a story set in that fabulous city.

I've hand-picked a selection of French-themed books below and to help you decide which ones fit your style, I've asked each author the following questions:

1. Why is your book a "good idea" for someone who loves Paris/France?
2. If your book was a drink, what would it be?
3. Which scene might raise a few eyebrows?
4. Who would absolutely hate your book?

Read their responses and check out their books!

Becoming Josephine

by Heather Webb

Why is your book a "good idea" for someone who loves Paris?
Becoming Josephine is about a famous and beloved French historical figure and much of the novel takes place in Paris.

Which scene might raise a few eyebrows?
One of the scenes set during the September Massacres, also, perhaps one of the hotter scenes between Napoleon and Josephine.

Genre: Historical Fiction, Women's Fiction

Buy now or read the book's description:
Print: $15.00 http://www.amazon.com/dp/0142180653/
Kindle: $7.99 http://www.amazon.com/dp/B00DMCV2SC

Connect with Heather:
Website:  http://www.HeatherWebbauthor.com  
Facebook: https://www.facebook.com/pages/Heather-Webb-Author/124095350992513
Twitter: http://www.twitter.com/msheatherwebb

Je T'Aime, Me Neither

by April Lily Heise

Why is your book a "good idea" for someone who loves Paris?
Paris is almost a character in my book rather than the setting, perhaps a coy antagonist? I'd like to think that the passion of Paris was a root of most of my romantic misadventures, but I can't blame it all on Paris!

Who would absolutely hate your book?
Readers looking for an idealized story of Paris. Truth is more interesting than fiction, but reality can clash with some people's dreams of perfect Paris.

Genre: Memoir

Buy now or read the book's description:
Print: $13.49 http://www.amazon.com/dp/0992005302
Kindle: $6.99 http://www.amazon.com/dp/B00DAI30I8

Connect with Lily:
Website: http://jetaimemeneither.com
Facebook: https://www.facebook.com/JeTAimeMeNeither
Twitter: http://www.twitter.com/JTaimeMNeither
Goodreads: http://www.goodreads.com/book/show/18129584-je-t-aime-me-neither

Gastien: The Cost of a Dream

by Caddy Rowland

If your book was a drink, what would it be?
If The Gastien Series was a drink, it would be absinthe, of course! That was the preferred drink of the bohemian artists of nineteenth century Paris. Strong, beautiful and mind-altering, the "green fairy" is a drink that forges its own path, daring to be different.

Who would absolutely hate your book?
People who don't like dark, raw, gritty, emotional, and - at times - brutal stories would hate my book. I don't write "pretty" stories, I write about the sublime joy and bitter tragedy of being human. That doesn't guarantee "happy" but it does guarantee "real".

Genre: Historical Fiction, Family Saga, Drama

Buy now or read the book's description:
Print: $14.99 http://www.amazon.com/dp/1492890391
Kindle: $4.99 http://www.amazon.com/dp/B005FI62BS

Connect with Caddy:
Blog: http://caddyrowlandblog.blogspot.com
Facebook: https://www.facebook.com/authorcaddyrowland
Twitter: http://www.twitter.com/caddyorpims
Goodreads: https://www.goodreads.com/author/show/5106723.Caddy_Rowland

Paris, Rue des Martyrs

by Adria J. Cimino

Why is your book a "good idea" for someone who loves Paris?
It will transport you to the Paris of Parisians... You won't feel as if you have vacationed in Paris, but as if you have lived there.

If your book was a drink, what would it be?
Café au lait: Bitter and sweet, dark and light... Opposites come together, creating unforgettable flavor!

Genre: Contemporary Fiction

Buy now or read the book's description:
Kindle: $3.99 http://www.amazon.com/dp/B00IAY344W

Connect with Adria:
Website: http://ajcimino.com
Blog: http://adriainparis.blogspot.com
Facebook: https://www.facebook.com/AdriaJ.inParis
Twitter: https://twitter.com/Adria_in_Paris
Goodreads: https://www.goodreads.com/author/show/7751480.Adria_J_Cimino

Confessions of a Paris Party Girl

by Vicki Lesage

If your book was a drink, what would it be?
A glass of red wine – classy but accessible. You want to share it with friends and you have fun drinking it.

Which scene might raise a few eyebrows?
The airplane vomit story, for sure. Or maybe the passing-out-on-the-bathroom-floor story. If you enjoy drinking, this might make you stop. If you don't drink, you can smugly watch me learn my lesson. I do eventually grow up, it just takes a while.

Genre: Memoir

Buy now or read the book's description:
Print: $14.99 http://www.amazon.com/dp/1494701529
Kindle: $4.99 http://www.amazon.com/dp/0992005302

Connect with Vicki:
Website: http://vickilesage.blogspot.com
Facebook: http://www.facebook.com/vickilesagewriter
Twitter: http://www.twitter.com/vickilesage
Goodreads: https://www.goodreads.com/book/show/20521413-confessions-of-a-paris-party-girl

I see London, I see France

by Paulita Kincer

If your book was a drink, what would it be?
An Absinthe Chocolate Cocktail (http://dyingforchocolate.blogspot.com/2013/03/chocolate-absinthe-truffles-chocolate.html). Traveling with three kids while figuring out if a marriage is worth saving brings some definite worries, thus the absinthe to help forget those worries. And the chocolate, well that makes everything better, right?

Which scene might raise a few eyebrows?
Some of the scenes in my novel are hot, but they don't get into graphic details of slot a fitted into slot b. What might raise some eyebrows would be Caroline, the main character's, realization that she may have some prejudices. She rolls around the beach in Nice and is certain she is ready to break her marriage vows to have sex with a sensual gypsy man (think Johnny Depp). She leads him up to her hotel room and realizes she's never been inside a building with the man. She only pictures him outdoors. And the prejudice of the hotel clerk plants doubt in her mind. Most middle class Americans have trouble admitting they may have prejudices.

Genres: Fiction, Women's Fiction

Buy now or read the book's description:
Print: $14.00 http://www.amazon.com/dp/1304698882
Kindle: $4.99 http://www.amazon.com/dp/B00HBY90M2

Connect with Paulita:
Website: http://paulita-ponderings.blogspot.com

Paris Was The Place

by Susan Conley

Why is your book a "good idea" for someone who loves Paris?
At times Paris Was the Place is like a guided walking tour of Paris. You get to eat delicious crepes, hear some good jazz music, drink red wine and fall in love.

Which scene might raise a few eyebrows?
When narrator Willie Pears falls for a Frenchman she meets in Paris, she jumps in his truck and heads to the South of France. It's a drive that turns out to be one long roadtrip of foreplay.

Genres: Fiction, Women's Fiction

Buy now or read the book's description:
Print: $26.95 http://www.amazon.com/dp/0307594076
Kindle: $10.99 http://www.amazon.com/dp/B00BVJG4CM

Connect with Susan:
Website: http://www.susanconley.com
Facebook: https://www.facebook.com/SusanConley.Author
Twitter: https://twitter.com/Susan_Conley

The Paris Game

by Alyssa Linn Palmer

Why is your book a "good idea" for someone who loves Paris?
It's an especially good idea if you're fond of late night jazz, or wandering the streets of the Left Bank. That's where I focused most of the story.

If your book was a drink, what would it be?
Something quite strong, whiskey on the rocks.

Which scene might raise a few eyebrows?
The entirety of chapter one.

Genres: Mystery, Romance, Suspense

Buy now or read the book's description:
Print: $15.95 http://www.amazon.com/dp/1484834828
Kindle: $4.99 http://www.amazon.com/dp/1484834828

Connect with Alyssa:
Website: http://www.alyssalinnpalmer.com
Facebook: https://www.facebook.com/AlyssaLinnPalmer
Twitter: https://twitter.com/alyslinn
Goodreads: https://www.goodreads.com/author/show/5625881.Alyssa_Linn_Palmer

Those Crazy Bohemians (The Moulin Rouge)

As we've discussed on previous Crazy Bohemian posts, Montmartre during the late 1800's and early 1900's was a hotbed of not only cutting edge artists, but of both common and nefarious entertainment. The circus people headquartered there, there were many places where one could buy drugs, a woman, a young boy, or indulge in drinking and dancing. The two places most often frequented by artists (Chat Noir and Au Lapin Agile) have already had posts of their own.

Another cabaret opened during this time that most people are still familiar with today. The Moulin Rouge is now very touristy, much different than the Moulin Rouge of the 1800's. Opening in 1889, the Moulin Rouge was technically in Pigalle, another district of Paris, but it shares the 18th arrondissement with Montmartre. The boundaries blurred and most people think of the Moulin Rouge as part of Montmartre, since the place sits at the foot of Montmartre hill.

It sported a huge red windmill on its roof, along with electric lights! Joseph Oller was its creator, and he designed it as a place for the very rich to come and "slum" for an evening in Montmartre, which was by now very trendy and happening. Workers, artists, foreigners, elegant women, middle class, the extremely wealthy all mingled here. There was a huge, fake elephant in the courtyard, which was reserved for men only. Inside, they could partake in opium, booze, and women.

Back in the beginning, the place was ribald and, although its decor was upscale and extremely glamorous, the activities that went on there were anything but mainstream. Legend has it that the can-can dance started there, although in reality that dance was first done earlier by young boys on the streets in lines, who were sometimes arrested for kicking up their legs in public! Then it moved to the dance floors and was done by couples, who were also encouraged to refrain from doing it.

The Moulin Rouge soon got the nickname "The First Palace of Women" for good reason. The dancers were mostly courtesans who danced their dances to advertise their "wares". Usually they had on lacy, revealng underthings that showed when they kicked up their legs. However, sometimes they tended to forego the underthings, allowing the patrons full view of their most prized items for sale. I often wonder, as a friend of mine pointed out, was that children's rhyme, "There's a place in France, where the ladies wear no pants..." based originally on this cabaret?

It was considered a tawdry, decadent place; a place where people with morals didn't frequent. At least, in theory. In reality, many people visited once the evening came.  As time progressed, it became a legitimate place of entertainment, with much less emphasis on prostitution and the focus on world class performers gracing its stage. Many famous singers and musicians played there over the years.

The Moulin Rouge looked fun and exciting on the surface, but many men were financially ruined because of the drugs and women. Some even took their lives. In 1903 the place was renovated and reopened and that was when the more famous, legitimate acts started performing. In fact, the Moulin Rouge regularly featured the operetta. The bawdy, raw Moulin Rouge of old was no more. It was now not only socially acceptable, it was a must to be seen at.

In 1915 the Moulin Rouge was completely destroyed in a fire. It reopened in 1921 and still stands today. The dancers still do the can-can, but they have on underwear, drugs aren't for sale, and the women aren't hawking their bodies. At least, not that I know of. All in all, its now a very showy, tourist driven place that has lots of appeal to visitors but none of the energy that was part of the original. It may be a much better place morally, but Moulin Rouge is only a shadow of what it once was.

Time does change everything. Even though many of the changes were for the good regarding the Moulin Rouge, a part of me wishes we could go back in time; see what it was really like when it first opened and anything one wished for could be had. What an interesting evening that would be!

Of course, we would only be spectators.

Of course.

Look for more "Those Crazy Bohemian posts here in the future!

Caddy Rowland is a novelist and painter. Her social media links follow.

To find out about her novels (including The Gastien Series, a story that begins with a bohemian artist in France) visit http://www.amazon.com/-/e/B005FW8BZE

Sign up for New Release Newsletter by Email: http://eepurl.com/rfjaX

Gastien Fanpage: www.facebook.com/Gastien.Beauchamp

Author Blog: www.caddyrowlandblog.blogspot.com

Author Email: caddyauthor@yahoo.com

Twitter: @caddyorpims

Those Crazy Bohemians (Le Chat Noir)

It's been awhile, but I am back to my "Crazy Bohemians" theme. Although I love to blog, writing novels and painting take up most of my time. It's amazing how quickly time passes before I realize that I've let my blog go!

Here are a couple of questions for you: Do you know where stand-up comedy got its start? How about the very first flickering in the brain about making movies? No? Well, I can tell you where. So could any of those crazy bohemians of nineteenth century Paris!

The answer would be Le Chat Noir. What does a "black cat" have to do with comedy and movies? Nothing - and yet everything. You see, Le Chat Noir is French for The Black Cat. Le Chat Noir was a cabaret in Montmartre that fanned the flames of creativity that had been lit earlier, taking plays, music, painting, and acting to new heights that, until then, people hadn't even dreamt about.

Emile Goudeau, a journalist in Paris, had a group of writers and artists that met at his home on the Left Bank. They were called Les Hydropathes ("those who are afraid of water"). Young men, they did indeed prefer cheap wine and beer-in great quantities-to plain old H2O. They were, however, outgrowing Goudeau's home. Rodolphe Salis, an artist who came from money, had acquired a two room building which he had turned into a cabaret. He knew Goudeau and persuaded him to move Les Hydropathes to his cabaret in Montmartre. Salis himself had been entertaining artists in his home prior to opening the cabaret.

On November 18, 1881. a torch lit procession crossed the River Seine from the Left Bank and made it's way to Le Chat Noir. A man dressed in full Swiss Guard regalia headed up the parade, carrying a halberd (battle ax and pike). Behind him marched a large group of very drunk, very loud young men; carrying wine and singing. This signaled the grand opening of Le Chat Noir.

When patrons avoided the darker room in the back, Salis casually made sure he mentioned within earshot of several artists that the back room was reserved for the truly cutting edge creative types. All of a sudden he had no problem trying to get people to gather in there! Le Chat Noir was an open stage most nights. Musicians, singers, poets, and writers would just get on their feet and present their current work. They were never paid. They were, however, critiqued by their peers, always loudly and sometimes harshly. However, they were also encouraged and nurtured, with many becoming great talents. Artists also brought their paintings for critique. Loud arguments about painting often followed.

The place was decorated with a hodge-podge of things, mostly giving it a Louis XIII feel. Salis himself was gifted in promotion. He started a newspaper Le Chat Noir and sold advertising in it. Writers also wrote stories for it. Some were very avant garde.

 Le Chat Noir Journal

He did everything he could to publicize his cabaret. Many accused him of making money off the artists who only received wine and absinthe as payment. One time he met patrons at the door only to announce his death! He then led a funeral procession through the streets, ending up back at Le Chat Noir.

Salis hired Steinlen to design posters and a sign for the cabaret. Salis had seen a black alley cat hanging around during the renovation and felt the raggedy feline made a good symbol for the wild nightlife that would be found at the place. One of the resulting posters by Steinlen remains one of the most well know images to come out of that era in Paris (of which Montmartre was, and is, part of). Some even said that when the cat's tail was shown in an upright position  on the Journal or in ads it symbolized a male in the "aroused position".

Théophile Steinlen's 1896 advertisement for a tour to other cities ("coming soon") of the Le Chat Noir's troupe of cabaret entertainers

Because of the open stage, and the dialog between a performer and the audience, stand-up comedy was born. Much of the comedy, and almost all of the songs, was politically radical and/or raunchy. Everyone who was anyone in the arts community was seen at this lively cabaret.

Soon the bourgeoisie and many gentry started coming to Le Chat Noir on a lark. Salis and cabaret singer Aristide Bruand became known for being loudly rude to their upper-class guests, banishing them into a dark corner if they came late. If they left during a performance? They were called out and loudly insulted! The songs didn't change, and many found themselves the subject of amusement or derision. Still, they came - because Le Chat Noir was the place to be seen. Salis moved the cabaret twice more while it was operating, to accommodate the growing throngs.

Shadow plays were created by using zinc to cut out characters and then shining light on them to reflect shadows on a white screen.  These shadow plays were insanely popular with all classes and soon scripts were written and music accompanied the plays. This, then, was the rough beginning of cinema.

In 1897, shortly after Salis' death, Le Chat Noir closed. When Picasso and others looked for it when they arrived for the Exposition in 1900, they were greatly disappointed to find out that it had ceased to exist. They had missed out on perhaps the most popular artist's cabaret to ever exist.

Ad for Le Chat Noir

Thank you for joining me today to learn more about those crazy bohemains. I promise I'll be back with more soon!

Those Crazy Bohemians (Party at Au Lapin Agile!)

One of the two most popular places for artists to hang out during the whole bohemian era was a notorious, raucous  cabaret named Au Lapin Agile. Au Lapin Agile was located close to Place de Tertre in Montmartre and had been in existence since around 1850. It had always been a place where people gathered for sing-alongs. Sounds innocent enough, right?

The Au Lapin Agile attracted all kinds, however. Wagoneers with their knives stuck in the table tops as they drank, local villagers, artists, writers, pimps, down and outers, and anarchists all gathered there.In fact, the original name was Cabaret Das Assassins because a band of assassins broke in and killed the owners son.The songs sang were often either political and inflammatory or sexual in nature.

In 1875 an artist named Andre Gill painted a sign that hung outside the building showing a rabbit in a chef hat jumping out of a saucepan; a tribute to one of the dishes served there. People soon started calling the place Le Lapin a Gill, which meant "Gill's Rabbit". It evolved into Cabaret Au Lapin Agile (The Nimble Rabbit Cabaret). Most simply called it Au Lapin Agile or Lapin Agile. Once the name changed it became even more popular with artists, still drawing the same questionable crowd in addition to well off bourgeois slumming it for an evening of ribald fun.

There is conflicting information on who owned this cabaret for a time. Some information shows that a woman owned it for awhile (in fact during the time the sign was painted). I can't recall her name, but I believe she was a singer in another venue for awhile. Other references indicate that the artist who painted the sign (Andre Gill) actually owned it for a time. Whoever owned it did little to discourage riffraff from frequenting the place, but they were also very kind to artists.

Paintings were sometimes accepted in exchange for a meal. There was also an unspoken rule that at the end of the night any artist who had no money to eat would be given soup. Artists also had total freedom to become as drunk as they wished, fight, and pass out in a chair at one of the tables. They were not to be disturbed when they did so. Police were not to be called, either. In the morning they would simply wake up and stumble away.

Toward the end of the nineteenth century it was constantly packed with painters, writers, comedians, sculptors, poets, musicians and singers who all thrived on the energy and sharing of ideas there. Also, ownership had changed and a man named Frédé ran it. He had owned a previous cabaret and also pushed a wagon of goods around town. Because of that he owned a donkey, who would often ramble around the various tables in front of the cabaret, along with a flea bitten dog. Many nights Frédé played his guitar or cello as patrons sang.

In the early 1900's Picasso made Au Lapin Agile a favorite haunt of his.  He did a painting titled Au Lapin Agile in which he was represented as a harlequin and Frédé is shown playing the guitar. It belonged to the cabaret and Frédé sold the painting in 1912 for $20! In 1989 it was auctioned for $40.7 MILLION dollars.

Just think about how many drinks and dinners that would have bought all of those crazy bohemians! (More to come later on this era of artists)

Those Crazy Bohemians! (What is Impressionism Anyway?)

Impressionism. We have been talking about it for awhile now on this blog. Most people have heard of it even if they aren't particularly into art or painting. But for many it remains just a word.  What defined Impressionism? Why was it so different from previous painting style?

We already established that artists knew they had to do something different in order to still be valuable.  The camera had seen to that. Impressionism was essentially freedom. It had started a few years earlier, but it's first "launching" was in 1874.  The Cooperative and Anonymous Society of Painters, Sculptures and Engravers decided to have a showing at the studio of Felix Nadar, a journalist who was also a photographer. Thirty artists (among them Monet, Degas, Pissarro,Cezanne, Renoir, Sisley, and Morisot) exhibited together eight times between 19874 and 1886.

It was a rebellion against Academie des Beaux-Arts. The Academie was considered the authority in the realist styles of French painting. If you didn't paint like they insisted, you were nothing in their eyes. The Salon de Paris was their annual art exhibit.  For new artists and struggling artists it was extremely important to get into this show. They could win prizes, earn commissions, get reviews, and become a known artist with a good reputation.

The Impressionists were painting with different brush strokes, using brighter colors, and paying much less attention to detail.  Instead, they were interested in how light affected a subject during different times of the day or season. They also were painting landscapes and community life instead of religious, mythology, or family portrait types of paintings. Some of them also decided to stop trying to give depth to a painting.  A canvas was two dimensional and so they painted their buildings flat. The artists mentioned above were routinely getting rejected over and over again. Can you imagine Monet or Cezanne being seen as "not good enough"?!

In 1863 the Academie rejected Manet's painting Luncheon of the Grass because of the nude woman in it. This rejection was considered ridiculous by Manet's fans, even those who were traditional arts patrons. That year so many artists were rejected that Napoleon II decreed the start of the Salon of the Refused. The reviewers, however, were rabid. Cezanne and Monet got verbally beaten up the worst. Their work was called "unfinished sketches" and "impressions". Here is what one said:

I"mpression—I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it ... and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape."

Regardless, these painters kept painting, accepting the name Impressionist for themselves and Impressionism for their work.  This style of painting would go on to affect not only painting, but literature, photography, and film making. This avant garde painting style, and the artists who worked in it, were eventually embraced  widely by the public. Unfortunately, for many of them it would not be until after their death.

Don't let the word Impressionism fool you.  There are a wide variety of art forms that were born from this style of painting, making it more diverse and stylistic than at first glance. I dare say that all of modern art owes its existence to those crazy bohemians who embraced the term "Impressionism" and painted as they pleased, regardless of the consequences.

Thank you for reading this. We will learn more about these artist's lives in future blogs.

Those Crazy Bohemians! (Place du Tertre)

As an indie author, I can appreciate the new found freedom the Impressionists found when they started painting outside.  How nice to be able to get out of the confines of a studio and be out in the fresh air! I know that I enjoy writing outside during the months that weather permits.  There is just something about being outside that inspires me. Regardless of if the Impressionists were in a busy city setting or out in the countryside, I am certain that they found it to be inspiring, too.

The most popular place to paint outside in Montmartre became Place du Tertre. Sitting in the heart of Montmartre's elevated area, this tiny cobblestone square became a hub of artistic activity. Men painted frantically, new ideas coming faster than paint could dry. Those ideas were shared and tested, sometimes to great success.

Place du Terte had some trees, but was surrounded on all four sides by village life going on about its business. Many people would stop and watch those bohemians, shaking their heads either in wonder or in confusion as to why anyone would try to paint a street scene in "those" colors! What the villagers couldn't know was that history was happening right before their eyes.  This era is now seen as one of the most influential, if not the most, periods in art history. Oh, you crazy bohemians. You were just trying to find a way to keep eating.  In the process, you set the world of art on fire.

It didn't hurt that Place du Tertre was only a few blocks away from the infamous Au Lapin Agile, a favorite watering hole for the artists. Au Lapin is so steeped in history that a future post will be devoted to it.

Artists still gather to paint at Place du Tertre every day.  In fact, it grew so packed with artists that one now has to apply for a permit to paint there.  The permit, of course, costs you money. The day is divided into two parts, with some artists jealously guarding their extremely small space until lunch, and others coming in after lunch to claim those small areas. Dining tables have also been crammed in, taking space away from artists.

Now it is commercial.  Now, many of the artists overcharge and - quite frankly - don't paint nearly as well as they should in order to ask the prices they seem to think they are entitled to.

But back then?  Ah, back then they painted for the love of it.  They painted because they had to, and only hoped they would sell a piece before they went hungry too many nights. Overcharge? Hell, some would  give a painting away in exchange for a small piece of cheese, a baguette, and a small bottle of the cheap red wine the nunnery in Montmartre produced.

And if they got those things, they usually didn't hesitate to share with their friends. After all, what is a good glass of vin worth, if not shared in the company of others?

Those Crazy Bohemains! (At last, painting en plein aire)

As both an indie author and a painter, I completely relate to the excitement and fear the nineteenth and twentieth century bohemian artists of Paris felt in regard to their new found freedom.  Now they could paint what they wanted, yet they were not guaranteed any income! The same is true for indie authoring/self publishing. It is a roll of the dice. But, oh, what freedom!

This freedom to paint whatever they wanted was joined with the need to paint in new ways. This was not the only freedom that these artists had for the first time, however. Something very simple and basic to us had just started to exist for these artists.  Paint in tubes.

For the first time, artists did not have to spend hours painstakingly mixing their colors from raw pigments mixed with medium of their choice. This took hours and confined them to studio painting. It was simply too difficult to be portable. When painting in tubes became widely available the game changed. Now artists could pack up and paint wherever their hearts desired! Imagine the excitement of painting for the first time en plein aire (outside)!

Now artists could paint landscapes and street scenes in new ways, capturing the glow of sunrise or sunset, the glare of full sun, the shadows as they moved across the buildings during different parts of the day. The colors of things changed depending on the weather and time of day. Artists had always known that, but now it was even easier to capture on canvas. Gone was the desire to paint picture perfect. Instead of worrying about making a two dimensional canvas appear three dimensional, many Impressionists allowed their painting to look flat. They concentrated on showing us something different: The brightness, the glow, the shadows, the color. Show me something different indeed!

These Impressionists found they had a new problem when painting outside. Now they needed to work quickly, and oils take time to dry between layers. They began to work alla prima, or wet-on-wet. This technique not only allowed them to work faster, it demanded they do so. It was imperative to get the layers on before the first layer dried.

These artists shared techniques and ideas constantly, both at popular painting sites and at cabarets, such as Au Lapin Agile and Chat Noir. One of the most popular places to paint en plein aire became Place du Tertre in Montmartre. Although technically part of Paris, the village maintained that it was independent of the city, and it was the place where Impressionism truly began. We will talk more about these famous places, and about the bohemian artists and their lifestyle in later posts.

Those Crazy Bohemians (Why Impressionism?)

The period of Impressionism saw artists begin to paint in new and exciting ways.  For centuries artists had been painting realism, making paintings exact reproductions of the subject matter.  Strict rules had been followed and subject matter often was religious or portraits of family members of the upper class.  There was also still life and landscape.  Every painting had been done to "perfection" rendering an eternal picture of how a person or place actually looked.

What changed artists and their visions in the nineteenth century?

The answer was simple.  It would be romantic to think it was all about artistic vision and the desire to always create something new.  While those things were definitely part of the equation, the main driving force behind artists painting in a new way was one of the most basic: survival.

You see, the camera had been invented and was becoming more and more effective at taking photos. What use would there be for artists who took weeks and months to finish a portrait when a photographer could be hired? True, the photographs were not in color.  But artists realized that it was only a matter of time before that would no longer be true and, if they did not change their style, they would become obsolete.

Another problem compounded the dilemma. Class structure had changed.  Now there was a middle class.  The lower middle class was called proletariat. The lowest of these proletarians were the artisans. All of a sudden, more and more artists who painted found themselves on their own and struggling to put food in their mouth.

You see, for centuries artists had been employed by the very wealthy to paint family portraits and history, many times staying on permanently as a staff member to continue to paint that history over the years.  They had a place to sleep, food, and sometimes were even treated like a family member.  It really depended upon the family how the artist was seen.  Some families considered the artist another servant, and provided minimal lodging, food, and a small wage.  Others loved their artist and had them sit with them at family meals, gave them a room in the main house that was luxurious and paid them quite well.

The trade off? The artist had no freedom to paint what their soul cried for them to paint.  All of their time was taken up painting for the family. Many artists mourned the fact that they spent their life painting things they would rather not be painting, just to make a living.  Still, the fact that they had food, shelter and a wage was nothing to turn one's back on.

Then the camera came. All of a sudden, it became more and more rare for an artist to have permanent employment with a family.  Sure, they could be hired once in awhile for a painting, but even that was not guaranteed. Now they had the freedom that all people blessed with artistic ability long for...but no money! No place to live and, very often, nothing to eat. Artists began living in squalor, sometimes going door to door with paintings begging for buyers at any price, just so they could eat. Even Renoir and Degas had to peddle their paintings just to make rent at times.

It seemed there was no happy medium. Artists today still struggle to make it.

These artists began gathering and talking with each other. Ideas fed off of each other and soon the images that were talked about began to appear on canvas. They knew everything that they painted going forward had to have something different about it or it would never sell.

I, for one, am happy that all of this change occurred.  Realism generally bores me. Look, anyone who can paint can do a vase of flowers exactly how it looks. All artists can create a still life in exact replica of the items places in front of them.  So can a camera.  If you want a reproduction, for God's sake just take a picture.

The new mantra for these bohemians was "Show me something different".  And did they ever! We will talk more about those crazy bohemians in future posts.  For now, I will just end by saying this: If you want real art hanging on your walls, go for the piece that shows the ordinary in an extraordinary way. As those bohemians realized, THAT is what art would and should be, moving forward. Once art becomes stagnant it ceases to be the driving force it is meant to be.

Art should always be fresh and alive. Art should always strive to reinvent itself; to be something different. Anything less tarnishes the very definition of art.

Painting a Place I Have Never Been, But Used to Live At

As an artist,  I have started a journey.  I am painting the largest painting I have ever done, in a style I have never painted, of a place I have never been. Confusing?  No.  Scary?  Yes. Impossible? No. Challenging? Definitely.

I have started to paint a street scene in Paris.  Specifically the Montmartre area, where Impressionism started.  As an indie writer my first two novels take place there, in the nineteenth century.  In fact, the main character, Gastien, is an artist.

I love Impressionism, but have seldom been a painter of that style.  I usually paint from one extreme to another: realism or abstract. So, why the change? Welllll.....because I happen to believe that change is good for the soul.  It keeps the mind fresh and forces one to think in new ways.  It will also force my painting hand to work in new ways!

I also do not paint street scenes.  At least, not in the past.  Yet, here I am with the underpainting done of a street across from place du tertre (the park where Impressionists often painted in the late 1800's and many artists still paint today). 

I have not been there once.  Not in this life.  That place, though, it is so familiar.  I have lived there before.  It is the place that my soul cries for.  I know I will live there again.  My beautiful, now over commercialized Montmartre.  I hear you calling me back.  I have not forgotten you.  I never could.  Somewhere deep inside I remember every street, every building, every tree, every dirt road.

I don't know if I will get there in this lifetime, but I promise you I will try.  And, if I don't, I will do my best to return the next time.  I know nothing will be the same.  Yet everything will be familiar.  Your true home when visiting this planet always feels right to you, and you will know where it is if you take the time to listen.

For now, I will pick up my brushes, mix some color and make a poor attempt to capture some of that love that I feel for that place, that home I had long ago.  I don't know if I will have a masterpiece or what others will consider a piece of junk.  But this I do know: the final painting will carry part of my energy back to my earth home and help me connect to the place I am always meant to be.  At least while I am here on earth.  For me, it is the closest I can get to my real home; that place of eternity whenever I am not visiting here.

Oui, now you know.  If you read this carefully and know me at all, you will know.  If you don't know me, chalk it up to being slightly crazy, and extremely open minded.  A soul who embraces the "what ifs" and knows when some of them are true.  I have lived many times.  Once it was in Montmartre.  Been there, done that...will do it again.  Je t'aime beaucoup, mon Monmartre.  Je t'aime.