The Tuileries and the Museé de l’Orangerie

The garden of the Tuileries – named for the tile manufacturing district it replaced – is a beautiful sanctuary in the heart of Paris, away from the hustle and bustle of the traffic and the visual stimulation of the various museums and galleries.

This is a seriously well tended garden – a discreet army of gardeners work quietly away in the background sweeping up leaves, collecting rubbish and tending the plants. Even the trees are tamed into cubes, and everywhere there are settings of statues and urns on plinths throughout.

The Gardeners - The Tuileries

The Gardeners – The Tuileries

We quickly encountered the eco lawn-mowing system for those hard to reach areas in the storm ditches – a team of goats munched their way making great use of their sure footedness to maintain a tranquil stance on the steep slope.

Goat - The Tuileries

Goat – The Tuileries

They have obviously long been a feature of this area as one of the urns used a goat motif for the handles – and there was Sharon’s inspiration for her day’s sketching.

Urn, The Tuileries

Urn, The Tuileries


A courageous move, I thought, as the sky darkened by the minute and threatened a severe downpour, but a challenge is a challenge, so we found a couple of chairs and settled down. While Sharon sketched, I took photos and fended off curious onlookers. A Judas Tree framed the urn and beyond lay the Louvre in turn framed by the garden. It is not the view everyone sees, but made a delightful composition among the autumnal flowers.

The Louvre, from the Tuileries

The Louvre, from the Tuileries

A carousel was set off to one side, near a large children’s playground and it played a series of french songs – a real delight!

Carousel, the Tuileries

Carousel, the Tuileries

Sharon managed to complete her sketch as the sky lowered and darkened and the wind picked up.

So we headed towards the Museé de l’Orangerie – as its name suggests the Orangerie was originally built in 1852 by the architect Firmin Bourgeois and completed by his successor, Ludovico Visconti, to shelter the orange trees of the garden of the Tuileries. It was then used as a store room/warehouse during the Republic and was later used as a temporary exhibition space for artists. Criticised for being too small, it took Monet’s donation to the people of France of a series of water lilies paintings to set up a permanent exhibition space – for those paintings to offer a haven of peace in the aftermath of the First World War.

Photos are not permitted of Monet’s works there but we passed by Rodin’s ‘The Kiss’ statue and the famous ‘Cleopatra’s Needle – one of three obelisks brought back from Egypt during the Napoleonic campaigns (the other is in London). The obelisk is some 3000 years old – so calling it ‘Cleopatra’s’ is a misnomer – it was already over 1000 years old when she was alive. This needle, unlike the London and New York versions, is from the temple entrance at Luxor where its twin resides. The London and New York pair originated in Heliopolis and were moved to Alexandria during Julius Caeser’s reign.

View from the Tuileries

View from the Tuileries

The big surprise is that Monet’s paintings are only part of the museum. Downstairs is another gallery of works from the John Walter and Paul Guillaume collection – this comprises a number of works by Renoir, Picasso, Chagall, Matisse, Durain, and Chaim Soutine. What a gem!

Renoir - Piano Student, at the Tuileries

Renoir – Piano Student, at the Tuileries

If you are ever passing this way it is well worth a visit – the entrance fee of €7.50 is well worth it for Monet’s breathtaking pieces alone – and the rest is the icing on the cake.

The Garden of the Tuileries

The Garden of the Tuileries

Sketching at the Tuileries

Yesterday we went for  a stroll around the Tuileries gardens before visiting the Musée de L’Orangerie. After admiring the wonderful carousel we spotted a goat! Yes a goat. I think this is an organic way to keep the grass down.

So, people are not allowed on the grass but goats are.

sketch of Tuileries garden urnAnyway as I walked on I saw this urn with goats on the side and decided I just had to draw it. It was a race against time as the sky was darkening. I did want to get the tree behind the urn so I could set it in context but rain prevented it.

This took me about an hour to draw. I find when choosing a subject I am still selecting details to draw because of time. I would have loved to draw more of the gardens but told myself that  my drawings are not the only way we will remember our trip as Jerry would have taken at least 2,500 photos already and he culls and edits out the duds as he travels.

For instance this is his record of the day

Sketching in the Tuileries Gardens

The Louvre – a challenging photographic subject

The challenge
Sharon has dealt elsewhere with the challenge of drawing in a visually cluttered space – and a similar challenge awaits the unwary photographer.

Musee de Louvre

Louvre Museum

It’s all about the looking
For me, it’s all about the looking. As with drawing, if you take photos then you start to notice the little things, how light is playing on the object, how a shadow falls or reflection provides an odd juxtaposition. How does the object sit in its context? And what about the workmanship!

Difficult conditions
In the Museé de Louvre there are a number of things working against the photographer.

  • Firstly, and rightly, it is important to conserve the objects and ensure they are not damaged by light – so many are housed in a dark environment. That’s great for your eyes because you adapt and can see an extraordinarily dynamic light range – unlike your camera. And flash is definitely forbidden. Besides, you don’t want to be a vandal and degrade the colours for future generations do you?
  • Secondly, so as not to impede the traffic flow you are not allowed to use a tripod. So those long exposure shots to counter the dark are not happening.
  • Thirdly there is a mix of artificial and natural light that changes from room to room, object to object and plays merry hell with your white balance.
  • The objects are in groups and form a visual feast from which it can be hard to determine in a photo where one object finishes and the next begins.
  • Then there are objects behind glass – all those reflections and you can barely see the object behind, let alone photograph it. A challenge? ‘Don’t get me started….’ I hear you say.

The solution
Well, I love a challenge – and all of these issues can be at least partially overcome with a little planning and forethought. When heading to a museum I consider what I’m going to be looking at – so a bit of research first. Napoleon’s rooms seem a good place to start – as we hadn’t really tackled these on previous visits. So there will be tight room shots requiring a wide angle lens – into the bag goes the 10-24mm wide angle lens. Next there will be some low light shots – so you want a fast lens – better put in the 17-50 f/2.8 – it has a useful zoom range for close views, is pretty good in low light and with the addition of a 1.4x teleconverter I can extend the range into a 24-70mm focal length – good to get across a room and still have reasonable light. The 17-50 also has an image stabiliser – good for longer hand-held exposures. You can leave the heavy super zoom at the hotel, because you are shooting interiors after all.

And for the reflections? the one filter I use on such occasions – never leave home without it – is a circular polarising filter.

How polarising works: When light travels to an object the light waves are random in all directions. But when they bounce off an object (reflection) the ones coming back at you are all lined up in in one direction – this is called polarising. The circular polarising filter allows you to rotate the filter until it cancels out the reflected light, leaving all the others from the object intact and clear to photograph.

So forget the UV filters (they can protect your lens, but so will a lens hood) – just make sure you have a circular polariser in your kit bag. I’m actually amazed at how many people take big DSLR cameras into a museum and don’t have a circular polariser.

Now Sharon reckons that with everything working against the photographer I’m just going to get a bunch of blurred dark  orange photos. Either that or she knows I’m up for a challenge and she should get at least an hour’s drawing in before I give up in disgust… 🙂

And the photos
So here goes. First challenge is Napoleon’s dining room. It is dark, has strong natural light coming from the side, is visually cluttered and has yellow artificial light in the centre.

Napoleon's dining room, Musee de Louvre, Paris

Napoleon’s dining room, Museé du Louvre, Paris

First thing I notice is that there is a rope across so you can’t enter the room. But the rope is attached to a stand that is not a museum collection object, it is stable and about waist height – more on that in a moment. The light is mostly natural, so I bias the white balance to ‘shade’. It is quite dark and I know I have to risk movement. To minimise movement I want a fast shutter speed, so I push the ISO (sensitivity) to about 1600 – the canon 60D copes with it quite well, and means I can get the shot at around 1/20th of a second. Remember that rope stand? I stabilise the camera on it and take the shot – actually I take 2-3 on the basis that I probably moved on at least one. There will be some noise at ISO1600, but you can filter that out later – whereas a motion blurred image will still be blurred. I also shoot in RAW format as that retains more data than you see, meaning I can retrieve information from the shadows later. I shoot with the meter at least one stop dark to get the fastest shot (shortest exposure) I can. And the above photo is the result.

Napoleon’s bedroom was fairly straightforward

Napoleon's bedroom, Musee de Louvre, Paris

Napoleon’s bedroom, Museé du Louvre, Paris

Here the main challenge was that I was facing a window, so I metered for the bed, over exposing the window, which I later cropped out.

mask, Musee de Louvr

mask, Museé du Louvre

This mask was behind glass – so on went the circular polariser and away went the annoying reflections.

The vase was stunningly beautiful and I really liked the concept of the two children exploring – while functioning as handles. Brilliant design, great colours and yes it was hidden in a dark corner, with a window reflection.

Vase, Musee de Louvre, Paris

Vase, Museé du Louvre, Paris

The polariser limited some reflections, but the curved surface meant that there were multiple reflections with different polarity – so all I could do was cut down the worst.

There were no rests so it was a case of push up the ISO, meter the light on the low side, take a couple of breaths and hold the camera still while I breathed out and took the shot. It worked. Three others didn’t. That happens. But with digital you are not wasting film so shoot away 🙂

Same goes for this cabinet – great craftsmanship and wonderful design, but in a dark room with a dark background. The blue-green of the wall provided a great complimentary colour to bring out the warmth of the wood.

Cabinet, Musee de Louvre, Paris

Cabinet, Musee de Louvre, Paris

There were of course many more photos, but this is probably enough to say for one post! Have I missed any tips? Please let me know in the comments 🙂

Dealing with visual overload

The Louvre is one of the the worlds greatest museums holding collections from Egyptian, Greek , Roman, Near-East antiquities, European Renaissance Art, Medieval Art, prints, paintings and so much more. As a visitor you are trying to make sense of an aesthetic experience while huge crowds wash all around you. At the same time you need to take precautions and be aware of pick pockets.

For this visit we decided that we wanted to see the decorative arts section as our last visit 2 years ago, only introduced us to this part of the museum. I had my sketchbook and Jerry his camera and we headed  for the Napoleon Apartments.

When I entered the rooms I was assaulted by heavy decoration of ornate gilded gold patterns. I had seen photographs of this type of interior decoration and I had always felt it was too much, too over the top to be attractive but when I saw these rooms I realised that in context, the lot does hold together and work. I think they are one of those things that dont photograph well!

Anyway there I was dealing with visual overload in a crowded museum. What to do as I wanted something for my journal. I looked, and looked at all sorts of objects and details of objects. Part of keeping a visual journal is what you include and what you exclude. Coming to the decision meant I looked a lot more at those rooms than if I was just visiting. As I agonised over what to draw I saw people come in take a snap shot with their phones and move on. I wondered how much they saw.

Sketch at the Louvre

In the end I decided to focus on a detail I saw on a door frame. It is a design that many people will recognise but as I drew it I realised I had not drawn it before. I sketched it and added colour that evening back at the apartment.

sketchbook louvreThis what the finished page spread in my travel journal looks like. As you can see I added ephemera to the page such as the ticket stubs, part of a flyer advertising the museum and I chopped up the floor plan to include a map of the area we explored on the day.

Anyone who has visited the Louvre will tell you there is no way to see everything. We plan on making 3-4 visits this trip and I am sure we will barely see the collection.