02/20/13 2:57pm

The turn-of-the-century French photographer, Eugène Atget, is famous for his photographs of Old Paris. Atget was a historian as well as an artist; working for institutions such as the Musée Carnavalet and the Bibliotèque historique de la ville de Paris, he documented the facades and architectural details of old buildings before they were demolished to make way for modern ones. Atget often took his pictures early in the morning in order to avoid the crowd. As a result, many of his deserted street scenes have a dreamlike quality, despite his straightforward, no-frills style.

Today, we associate Eugène Atget’s name with black-and-white images of buildings, alleyways, storefronts and street corners. Less well-known—but equally fascinating—are his photographs of the people who worked and lived in Paris at the turn of the century. For the most part, Atget was interested in the less well-to-do members of society, and took pictures of gypsies, prostitutes and street merchants. These portraits, even more than his urban landscapes, send us flying back through time, back to the days when mustachioed bakers really did walk around in striped shirts and berets, with long baguettes tucked under their arms.

Take a look at our slideshow of Eugène Atget’s “untapped” photographs and get to know some of the merchants—bakers, flower girls, musicians, umbrella vendors, window cleaners, hurdy gurdy men and more—who hawked and traded on the streets of Paris more than 100 years ago.

02/19/13 11:00am
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Sylvia Beach, center, hangin’ with James Joyce and Adrienne Monnier, via Wikimedia

Sylvia Beach was a helluva woman. An American expatriated to Paris at the turn of the century, Beach was a lesbian, a lover of books and authors, and most importantly, the proprietor of the original Shakespeare & Company. Though the bookstore changed locations and almost went out of business a few times, the local authors whom Beach supported (including James Joyce, whose Ulysses Beach originally published) rallied around the store to not only promote and save the business, but also make it a hot spot for author readings and signings. Though the original shop closed during WWII, George Whitman later named his bookstore Shakespeare & Company (not to mention naming his daughter Sylvia), after Beach’s incomparable contribution to the Paris literary scene.

Now Sylvia Beach is getting her due. With both a new novel (Chasing Sylvia Beach) and a film (“Left Bank Bookseller”) about the lady, Sylvia Beach’s name is being exposed to a whole new generation of book lovers and Paris dreamers alike. And as well it should: Sylvia Beach’s bookstore was also a lending library and she kept Ernest Hemingway and other writers of the Lost Generation well-stocked in literature, imagination and inspiration. Find the store’s original location on our Hemingway Map and learn more about her life in the recent novel and the 2012 film.

This post originally appeared on Paris Cheapskate.

02/15/13 10:31am
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The J1 Exhibit in Marseille takes place inside a retrofitted ferry terminal still in use

One month after the fanfare of Marseille’s inauguration as Capital of Culture, an old ferry terminal humbly refitted to hold temporary exhibitions has proven to be an unexpected success.

40,000 people have clambered up the rickety steps to the entrance of J1 in Marseille. They’ve come not only to see the exhibits but also to enjoy the wonderful views it affords of the ferry boats docked directly alongside. Indeed, as you approach the J1, you have to be careful not to take a wrong turn, for the ground floor is still used for passengers disembarking the boats from Corsica or North Africa. Entering on the upper level,  cafes, bookshops and photography exhibitions suddenly fill a vast space that until just three months ago was a forgotten, derelict site.

The cavernous entrance hall to the J1.

The cavernous entrance hall to the J1.

As you wander through a photo exhibition of Marseille in J1, it is hard to forget that you are in the middle of a working harbour. Beyond the windows that flank the building, huge passenger ships sound their horns preparing to leave. I spot a cleaner on a ferry bound for Algeria, fluffing pillows in preparation for the guests. Turning back to the exhibition, I suddenly understand the enthusiasm amongst locals for this unique space. Not only does the J1 demonstrate a desire to reclaim the city in imaginative new ways, but the very position of this hangar reminds you of Marseille’s raison d’etre as a port.

Ferries from Corsica and North Africa still disembark passenger on the lower levels of J1

Ferries from Corsica and North Africa still disembark passengers on J1′s lower levels

Walking around, boats and the sea are constantly reflected, complimenting the exhibits that focus on Marseille's role as a port.

Walking around, boats and the sea are constantly reflected – complimenting the exhibits that focus on Marseille’s role as a port.

The exhibitions reflect this, displaying locals’ photography of the city from many different points of view, but often with the sea serving as a main character. The centrepiece exhibition, ‘Méditerranées, is a journey into 11 ports that border this sea, representing their myriad cultures through film, animation and writing. Wondering into the bookshop, this reflection on local cultures continues in books charting Marseille and her relationship with the sea, from ancient history to the present day.

Bookshop, Cafe and Exhibtions fill this once derelict terminal hall

Bookshop, Cafe and Exhibtions now fill this once derelict terminal hall

With such a successfully reinvented space, it seems an enormous shame that the J1 will close for the summer season. Only ever meant to serve as a temporary space until the end of 2013, the organisers deemed it too expensive to install air conditioning for a building that without, will roast under the Mediterranean sun. Nevertheless a new exhibition will open this Autumn and with it will no doubt raise new questions about J1′s uncertain future. Just a month after opening, people are already calling for the space to be kept indefinitely, displaying their desire for Marseille to reclaim its unused space for good and consolidate her new-found reputation as a cultural hub.

Read more about another temporary work by Tadashi Kawamata in Bordeaux kept permanent with community support. Get in touch with the author @ManInMarseille and check out his blog, The Man from Mars(eille).

02/14/13 11:21am

If you think a jewelry store should be bare and minimal for the gems to stand out on their own, then I strongly urge you to head over to the Musée Carnavalet, a former hôtel particulier in the Marais, which charts Paris’s history in more than 100 rooms, and march straight to the replica of jeweler Georges Fouquet’s shop. It will leave you convinced that a store like this, just like the jewelry it sells, can be the star of the show.

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fouquet-store-Kala-Court
It was designed in 1901 by the Czech artist Alphonse Mucha, one of the leading names in Art Nouveau. Having already collaborated on jewelry pieces together, Fouquet asked Mucha to design all the interior and exterior decorations of his chic 6 rue Royale shop. And design he did!

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Every inch of the shop is bound to bowl you over. The relief of a woman greets customers at the entrance, her arms and neck thrown back gracefully. The lightings, the showcase tables and the ceilings are all decorated in flowing lines, swirls and themes of flora. A majestic peacock sculpture is spread out against stained glass windows, and another one is perched close to the ceiling, surveying the shop.

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The entire room is from the original store designed by Alphonse Mucha; Fouquet donated his rue Royale shop in its entirety to the museum, and it was reassembled as it was. It’s a small room brimming with colour and grandiose, a completely preserved Belle Epoque work of art housed in one of the most interesting yet rather underrated museums in Paris.

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And while you’re already there, take in all the Paris richness Musée Carnavalet has to offer: paintings and objects from the French Revolution, prehistoric canoes, scale model of Guillotines, a room filled with the original furniture of Café de Paris, and the famous cork-lined bedroom of Marcel Proust.

Musée Carnavalet
23 rue de Sévigné, 75003
Metro: line 1 (Saint Paul), line 8 (Chemin Vert)
T-Su, 10am-6pm
Entrance: Free

02/13/13 2:38pm
The exterior of the Maison de Verre. Photo by Mark Lyon.

The exterior of the Maison de Verre. Photo by Mark Lyon.

The Maison de Verre (Glass House) is one of the most precious architectural wonders in all of Paris, but it is also one of the most exclusive. Bathed in sunlight during the day, the Maison de Verre, designed by Pierre Chareau in 1931, gives off the same subtle shine as a piece of frosty sea glass. At night, illuminated by floodlights, it glows in the dark like a bioluminescent creature of the deep. When it was built, Le Corbusier used to walk by to see what was going on with this avant-garde architectural experiment. Those who are fortunate enough to take a tour of the interior will discover that the Maison is much more than an architectural relic; it is, as Nicolai Ouroussoff of the New York Times put it, “an exquisite machine.” Both functional and artistic, the house is brought to life by rotating metal screens, sliding doors, rolling ladders and retractable staircases. It is meant to be lived in, as well as admired.

The grand salon and front façade. Photo by Mark Lyon.

The grand salon and front façade. Photo by Mark Lyon.

Until 2006, the Maison de Verre belonged to the Dalsace family. The family occupied the upper floors of the Maison, while the ground floor housed the offices where Dr. Dalsace, a gynecologist, treated his patients. These days, the house belongs to Robert M. Rubin, a retired American financier. Rubin opens the house to a limited number of tours, but it can be very difficult to get a spot. Leave it to Michelle Young, the founder of Untapped Cities, to uncover the secret to visiting the Maison de Verre (she’s been twice):

-You must be a student or professional working in architecture or a related field.

-If you’re eligible, send a letter describing your interest and your qualifications to mdv31@orange.fr to reserve a tour.

-If you plan on visiting the Maison by yourself, reserve your tour 3 to 4 months in advance. If you’re visiting as part of a group, you’ll need reserve your tour 5-6 months in advance. Groups cannot exceed 10 people.

Tours last for an hour and a half and are scheduled for Thursdays at 2 and 3:30 p.m. only, and there are no tours during the month of August. Tickets cost 40 euros per person and 20 euros for students and professors of architecture (that’s roughly 54 and 27 U.S. dollars, respectively). But a trip to the Maison de Verre is well worth the six-month wait and the empty wallet; an hour and a half spent inside Chareau’s Glass House is an hour and a half spent inside his light, bright and delicate dream of the 20th century.

02/12/13 12:03pm


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Architecture is thought of in terms of strength, stability and fortitude. But an exhibit of paper architecture on view now at Cité de l’Architecture et du Patrimoine shows us how delicate, beautiful and intricate a building can be.

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The incredible exhibit, which incorporates wall-wide hand-cut paper designs as well as laser-cut sculpture cities and collage dreamworlds, is stunning in its combination of simplicity and complexity, and, well, flammability.

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Each artist’s work is accompanied by a biography that includes the artist’s origin, favorite type of paper, and preferred method of slicing and dicing.

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These constructions by the likes of Ingrid Siliakus, Peter Callesen, Béatrice Coron, Stéphanie Beck and Mathilde Nivet show us that strength lies not only in stability, but also in ingenuity, flexibility and patience.

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5€-8€ (Free on 1st Sunday of the month)
Through 17 March 2013

This article originally appeared on Paris Cheapskate.