MANY PERIODS OF French history interest and fascinate me but perhaps none more so than the period between 1871 and 1914, years characterised by optimism, relative peace, economic prosperity, technological and scientific innovation and a flourishing of the arts – a period that became known as La Belle Époque.
The term La Belle Époque, which means little more than ‘the good old days’, wasn’t coined until much later when the period could be viewed through the prism of history. Although debate surrounds the precise dates used to define the period, 1871 to 1914 seem the most logical since La Belle Époque was sandwiched between two catastrophes, the Franco-Prussian War of 1870-71 and the subsequent bloody events of the Paris Commune and the outbreak of the First World War in 1914. Set against these events, it’s easy to see how the intervening years came to be seen as a golden age.
Hanging on the wall of a gallery in the Musée Carnavalet, a museum dedicated to the history of Paris, is a painting that for me at least epitomises La Belle Époque.
Une Soirée au Pré Catelan (1909): Henri Gervex (1852 – 1929): Musée Carnavalet
Painted by Henri Gervex using oils on canvas, Une Soirée au Pré Catalan is 217 cm high and 318 cm wide and it depicts an evening scene at the prestigious Pré Catelan restaurant in the Bois de Boulogne.
In 1905, the architect Guillaume Tronchet was asked by the City of Paris to build Le Pré Catelan, a luxury casino and restaurant. The casino didn’t materialise but the restaurant did. In 1908, the celebrated Parisian restaurateur, Léopold Mourier, owner of the restaurant Foyot, the Café de Paris, the Pavillon d’Armenonville and later Le Fouquet’s, bought Le Pré Catelan and made it one of the most fashionable places in town.
It was Léopold Mourier who commissioned Une Soirée au Pré Catelan, presumably to advertise just how fashionable a place Le Pré Catelan was.
So let’s take a closer look at the picture:
In the foreground we see a group of three people. The lady on the left in orange is Madame Gervex, wife of the painter.
The lady with her back to us is the celebrated American heiress and socialite, Anna Gould, daughter of the financier, Jay Gould. She was married to Paul Ernest Boniface de Castellane, elder son and heir apparent to the Marquis de Castellane. They divorced in 1906 after he had spent about $10 million of her family’s money. The gentleman in the group is Anna Gould’s second husband, Hélie de Talleyrand-Périgord, Duc de Sagan, cousin of her first husband.
Inside the restaurant we see three more celebrated figures.
Seated at a table on the right is a rather portly gentleman looking directly at us. This is the Marquis Jules Félix Philippe Albert de Dion de Wandonne, pioneer of the French automobile industry. The Marquis and the engineers, Georges Bouton and Charles Trépardoux, formed a partnership in 1883, which became the De Dion-Bouton automobile company, once the world’s largest automobile manufacturer.
Seated at a table on the far left is the moustachioed figure of the Brazilian aeronaut, Alberto Santos-Dumont. He designed, built, and flew the first practical airship, demonstrating that routine controlled flight was possible. Following this pioneering work, Santos-Dumont constructed a heavier-than-air aircraft, the 14-bis. On 23 October 1906 he flew this to make the first verified powered heavier-than-air flight, certified by the Aéro Club de France and the Fédération Aéronautique Internationale.
And seated at a table in the centre wearing a black hat and a coquettish countenance is Anne Marie Chassaigne, a former dancer at the Folies Bergère, now known as Liane de Pougy, a noted demimondaine and one of the most famous women in France at the time, constantly sought after by wealthy and titled men. Although we can’t see a companion we can assume that she’s not dining alone.
We can see three people leaving Le Pré Catelan.
One is Arthur Meyer, a French press baron. He was director of Le Gaulois, a notable conservative French daily newspaper eventually taken over by Le Figaro. With him are the Count and Countess Greffulhe who are about to get into their car.
Such was the fashionable clientele in Le Pré Catelan one evening in 1909.
Although now owned by Sodexo, the giant French food services and facilities management corporation (that’s a fancy way of saying they provide food and hire out meeting rooms), Le Pré Catelan under it’s head chef, Frédéric Anton, is still a very fashionable place. With three Michelin stars it’s among the best restaurants in Paris.
Today, from the outside, the restaurant is hidden from view behind a large hedge, presumably to deter the paparazzi but inside it remains pure Belle Époque.
Image: Le Pré Catelan
I’ve spent many hours looking at Une Soirée au Pré Catelan, absorbing the atmosphere of La Belle Époque. I can see the optimism in the faces of the Marquis de Dion and Alberto Santos-Dumont foretelling the day when the motor car and air travel will become common currency.
I can see the pride in the face of the Countess Greffulhe under her feathered hat knowing that she helped the artist James Whistler and actively promoted the artists Auguste Rodin, Gustave Moreau and Gabriel Fauré, who dedicated his Pavane to her. She is no doubt proud too that she was a patron of Sergei Diaghilev’s Ballets Russes and helped Marie Curie to finance the creation of the Institut du Radium and Edouard Branly to pursue his researches into radio transmission.
With my Belle Époque eye I can see that it would be perfectly normal for a rich socialite like Anna Gould, or a high-class courtesan like Liane de Pougy, or a press magnate like Arthur Meyer to be found at Le Pré Catalan. They were after all what we would now call ‘celebrities’ and after the ignominy of France’s defeat in the Franco-Prussian War and the hiatus of the Paris Commune they were surely entitled to a little joie de vivre.
Maybe so, but La Belle Époque was never the reality of life in Paris or in France. There was a large economic underclass who never experienced much of the Belle Époque’s wonders and entertainments. Poverty remained endemic in Parisian urban slums for decades after the Belle Époque ended and the Dreyfus Affair exposed the dark realities of French anti-Semitism and government corruption. No wonder that some of the artistic elite saw the fin de siècle in a pessimistic light.
Today, a hundred years on from the end of the period we call La Belle Époque, Le Pré Catelan remains a preserve of the rich and famous. If you have to look at the prices on the menu then you shouldn’t be there.
But the gardens of Le Pré Catelan are free to all and it was while walking through the gardens that I had time to think and to contemplate how I could express Une Soirée au Pré Catelan not only in words but also in sound.
A simple water sprinkler gave me the answer … use the natural sounds recorded in the Musée Carnavalet sitting in front of the painting, morph to the natural sounds in and around the Jardin du Pré Catelan and then back again to the painting.
And this is the result.
Une Soirée au Pré Catelan:
Even though I bristle at the excesses of the rich and the plight of the economic underclass, both then and now, and although I’m very aware of the danger of slipping into an overly romanticised view of history, I remain fascinated by La Belle Époque. I’m quite sure I shall return to the Musée Carnavalet to contemplate Une Soirée au Pré Catelan and visit the Jardin du Pré Catelan many more times. I shall though leave my rose-tinted spectacles at home!
AS THE VERY SUCCESSFUL Bernice Abbott exhibition comes to a close in the Jeu de Paume, an exhibition of the work of the man who inspired her, Eugène Atget, opens in the Musée Carnavalet. I went along to see it and was enthralled by it.
Listening to the pictures:
Atget is somewhat of an enigma. Today he is the most celebrated of all the photographers of Vieux Paris, Old Paris, but when he died in 1927 scarcely anyone had heard of him.
Eugène Atget photographed by Bernice Abbott in 1927
He was born in 1857 in modest circumstances in Libourne in the Gironde. As a young man he seemed to fail at everything he turned his hand to. He tried acting, soldiering and painting but failed at all three. His only success was to meet and to marry Valentine Delafosse-Compagnon, an actress who was devoted to him.
Atget and Valentine moved to Paris and around 1890, in order to make a living, he took up photography. Initially he produced study material for artists, images of trees, flowers and various objects for artists to incorporate into their compositions. It was towards the end of the 1890’s that he changed direction and set out to make a systematic photographic record of Paris. He photographed everything – the streets, the shops fronts, the tradesmen, the interiors and architectural details – he captured every aspect of Vieux Paris.
Atget worked hard. Every day was spent on the streets of Paris laden with cumbersome equipment, a bellows camera, glass plates in plate holders, a focusing cloth, a lens case and a wooden tripod. He eschewed the new flexible negatives that had become available which made life easier; he preferred to remain faithful to his old equipment and old habits. He travelled everywhere by bus or Metro carrying all his equipment.
In Atget’s world, photography was not only hard work it was really quite technical too. He used an 18 x 24 cm plate camera with a rectilinear lens. This is a lens, still in use today, that ensures that the vertical lines of buildings always remain vertical. He liked to work in the early morning because he preferred the light at that time and this resulted in lots of photographs with quite eerie empty streets and ghostly people.
Virtually all the Atget photographs we see today are albumen prints. The paper was sold impregnated with whipped and salted egg white which the photographer soaked in a bath of silver nitrate. Sensitised and dried, the paper was laid in the printing frame with the glass negative and exposed to sunlight until an image appeared, then fixed and toned with a salt of gold.
But it is not for his technical mastery that Atget will be remembered. It is rather for his day in day out unrelenting work recording the face of Paris that was constantly changing. He was not interested in Haussmann’s Paris – rich, grand, pretentious – but in a picturesque section of a wall that was on the point of collapsing, or in any touching or unexpected detail. Although his technique belongs to the nineteenth-century, his vision belongs firmly with us today.
On show at the exhibition are of some of Atget’s most well know photographs along with some pictures that have never been exhibited before.
I recommend this exhibition as a ‘must see’ for anyone with an interest in this wonderful city.
The exhibition EUGÈNE ATGET, PARIS runs from 25th April to 29th July 2012 at:
23, rue de Sévigné
Tél. : 01 44 59 58 58
Open every day from 10 h to 18 h except Mondays and public holidays.
Tarif: 7 euros
Nearest Metro: Saint-Paul; Line 1
SOME TIME AGO I was commissioned by a broadcasting organisation to record some very specific street sounds of Paris. They sent me a recording brief and when I read it I discovered that amongst the many other sounds they wanted, I was being asked to make a recording inside the Musée Carnavalet in the rue de Sévigné.
I had mixed feelings about this. The Musée Carnavalet is a museum I know well and visit often … but what on earth is there to record in a museum that could possibly be of interest to an international broadcasting company – and to me for that matter?
The Musée Carnavalet is an absolute gem. It is a museum dedicated to the city of Paris and entry is free. It occupies both the former Hôtel Carnavalet and the former Hôtel Le Peletier de Saint Fargeau. The notorious socialite, Madame de Sévigné lived there from 1677 until her death in 1696 and so it was in her shadow that I entered the museum to embark upon my task.
This proved to be an interesting experience. On my previous visits to this museum I had been engrossed with the exhibits, looking at them and reading the texts associated with them, trying to understand them and putting them into context. The history of the Paris fascinates me and so my visits have always been enjoyable and I have come away feeling that I know much more about this wonderful city.
But this visit was different. I was working, hunting for sounds – the sounds that characterise this museum, the sounds that distinguish this museum from any other museum.
Sounds Inside the Musée Carnavalet:
Seek and ye shall find! In my experience, the distinguishing sounds are always there – it’s just a matter of perseverance, the thrill of the chase and finding the quarry.
And here it was – a creaky wooden floor.
This floor was laid by craftsmen who would have ensured that it was inch perfect and totally silent. Madame de Sévigné would have tiptoed across this floor oblivious to the fact that that it was even there. But today, it lives and breathes. Age has taken its toll, the cracks have appeared and we are left with a wonderful sound legacy.
For me, this wooden floor and its sound is just as much a part of the history of Paris as the exhibits that surround it in the Musée Carnavalet.