Skip to main content

Some Thoughts About The Burning of Notre Dame de Paris


January 2nd, 2019. Patty and I had just landed in Paris the day before, on New Year's day. This was taken on our first walk, at about midday. We strolled drowsily from our rented apartment in Montparnasse up the Blvd. St Michel, cutting slightly northeast at Cluny so we could approach the Shakespeare and Co. bookshop via the network of narrow, stone-paved streets that follow the medieval street plan even if many of the buildings now date from the 1800s. This was my first sight of Notre Dame -- on this trip. I'm posting it now for the same reason as everyone else around the globe: millions of Parisians walk past it or see it every day, 30,000 tourists visit(ed) it every day, yet it's one of those buildings that everyone who has seen it comes away with a deeply personal attachment to.

In this photo, at the moment I took it, I just wanted to capture the fact that you can walk around central Paris, on the way to somewhere quite different from Notre Dame, just noticing it for a second maybe, and yet there it is, anchoring your sightline in the same way that all roads in France legendarily converge on the square in front of the cathedral.

After seeing the images of the roof on fire, and seeing the spire collapse through the roof of the nave, I got a little choked up, thinking of all the times I've been around or near this building. I'm not a Christian. I've only entered this church once, when I was on a teenage trip. I'm not French, so I can't possibly have that deep cultural attachment to it. But I've lived in Paris, and visited enough times since then to perhaps feel that I'm more than just a casual tourist. And this photo I took reminded me that you don't have to have stood in the nave and gazed up at the rose window in awe to feel a sense of loss. It's the at times very ordinary (but permanent) presence of Notre Dame that made it special. As if it had always been there. As if it always would be there.

Yes, buildings are always burned down. Yes, buildings can be knocked down, sometimes by planes. They can be rebuilt. But you have to be stone-hearted not to feel a sense of something being lost at the sight of those orange flames dissolving the thousand year old beams in a sea of merciless fire.

Popular posts from this blog

Restoring my Printing Press

I've just finished restoring and assembling my large etching press -- a six week process involving lots of rust removal, scrubbing with steel wool, and repainting. Here is a photo of the same kind of press from the Chicago Printmakers Collaborative: And here is a short YouTube video of me testing the press, making sure the motor still works after nearly seven years of lying in storage:

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times: Image copyright Inhabitat.com and Mary Ellen Croteau Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage . I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct. Incised lino block, from me.redith.com Etched lino block, from Steve Edwards A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these d...