Museuming in Paris, Part I: The Paris Museum Pass

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Museuming in Paris, Part I: The Paris Museum Pass
“Let’s go to Paris,” my husband announced, while we watched the final credits for Season 6 of L’Art du Crime cascade quickly down our television screen. “I want to see the Loover.” (Imagine an Eastern European pronunciation with a sly, playful smile, just to annoy me).  Separation anxiety had already set in as we contemplated withdrawal from our evening rendezvous with art detectives Madame Chassagne, Captain Verlay, Commander Pardo, and the rest of the hilarious, heartbreaking characters who populate a fictional Parisian Central Office for Combatting the Trafficking of Cultural Property (OCBC). How could we prolong our connection to our favorite sleuths? Why not visit the scenes of the crimes and the artworks featured in each episode? We hatched our plan. Louvre, in front of the Mona Lisa, July 1, 2005. Photo: Sergey Meniailenko/ Wikimedia commons First, the dates: mid-January is the least expensive and quietest time of the year for visiting museums. Flight and accommodations were booked during Black Friday sales. We agreed on Icelandair with a stopover in Reykjavik to visit our niece, and then we found an apartment with AirBnYou, booked through a hotel website. Location: Le Marais, my favorite quartier. Next task: museuming. Which style worked best for both of us?  Edgar Degas, Mary Cassatt [and her sister Lydia] at the Louvre, 1878 I like stuffing a whole bunch of exhibitions into one day. Dusan (pronounced Doo-shin), the meticulous text-panel reader, can handle one large exhibition or two small ones per day, at most! Should we buy a pass for numerous museums, or should we go à la carte? Musée d’Orsay, May 2022. Photo: Beth Gersh-Nesic I did the research (this guy is a scientist, so facts and figures are essential for productive conversations). First, I listed the pros and cons of each option, and then Dusan presented his alternative. Here’s what we considered and selected, much to our mutual delight.
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Lead photo credit : New York Arts Exchange group in the Louvre, January 2011. Photo: Beth Gersh-Nesic

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Beth S. Gersh-Nešić, Ph.D. is an art historian and the director of the New York Arts Exchange, an arts education service that offers tours and lectures in the New York tristate area. She specializes in the study of Cubism and has published on the art criticism of Apollinaire’s close friend, poet/art critic/journalist André Salmon. She teaches art history at Mercy College in Westchester, New York. She published a book with French poet/literary critic Jean-Luc Pouliquen called "Transatlantic Conversation: About Poetry and Art." Her most recent book is a translation and annotation of "Pablo Picasso, André Salmon and 'Young French Painting,'" with an introduction by Jacqueline Gojard.