Word: orsay
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Dates: during 2000-2009
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...give. Rather, summer exhibitions feel like summer movies, complete with high-budget special effects (for example, Salvador Dalí, at London’s Tate Modern), easily digested storylines (Hopper, at the MFA), and big-name stars (Cezanne and Picasso, at the Musée d’Orsay). Granted, you snack on a 12-dollar turkey-and-avocado sandwich instead of 4-dollar popcorn, but you enjoy the A/C for two hours and walk out into the bright sunlight all the same at the end. Perhaps you’ll discuss the experience with your date...
Back home in Paris a week later, Kouchner paces restlessly around his Quai d'Orsay office - "this golden cage," as he calls it - on the Left Bank, with its crystal chandeliers and priceless tapestries. He circles his desk, bemoaning economic injustices, political paralysis and U.S. missteps in Iraq, and outlining his goals to Time. These include a peaceful transition to independence in Kosovo, multiparty talks in Lebanon, an "honest broker" role for France between the U.S. and Iran, and some relief for Africa's refugees. At the time, he was also preparing for his first big initiative as Foreign Minister...
...scattering of shiny new sports venues. Most striking is the glass Oval Lingotto, which will house speed skating now and conventions in the future: its transparent top is suspended without pillars to create a sweeping open space. Gae Aulenti, the Italian architect who turned Paris' Gare d'Orsay into a stunning modern museum, has applied her magic to the 1960s-era Palavela skating rink. Preserving its sail-shaped outer structure, she introduced a new "building within a building" independent of the overlapping roof above. Yet the makeover has left intact Torino's graceful arcaded shopping streets, lively 19th century...
...Boston Museum of Fine Arts after a hugely successful run at the Grand Palais in Paris, is one of the largest exhibitions ever mounted of those wild, influential canvases and carvings. Beautifully organized by George T.M. Shackelford of the Boston MFA and Claire Freches-Thory of the Musee d'Orsay in Paris, it reaches a wide-screen crescendo with the Boston MFA's great canvas Where Do We Come From? What Are We? Where Are We Going?, Gauguin's wall-length summation of his personal universe...
...central role" - Chirac had previously said "the central role" - for the United Nations in Iraq; that appears more compatible with Washington's desire to limit U.N. involvement. Bush's call last week for a lifting of U.N. sanctions against Iraq was greeted with some consternation at the Quai d'Orsay: officials there had long predicted that the Americans would recognize the need for U.N. action on that front, but hadn't expected Bush to acknowledge it so soon or so imprecisely. It will take some artful diplomacy to finesse an end to the sanctions: the U.N. will have to declare...