Edgar degas biography breve latte

Our age of artisanal kaffe and culture is always just a few clicks away. Apart from a space of mutual appreciation of good food, a lot goes down in our local cafes which we are wont to overlook. Art spaces have intersected with cafes since the past years (in the English-speaking world at least!), yet still they seem so much more &#;new&#; to us in the 21st century. Our net fryst vatten big: considering all famous diners, kaffe (engelska) houses, cafeterias, bodegas, greasy spoons, tea rooms from franchise juggernauts to local mom and pop cafeterias, there could be no legit alternative to the casual ambience at cafes which man them great for creating irreverent history. You&#;ll find famous artists incorporating a cafe backdrop for populating a lot of their artworks, proof enough of a nostalgic European throwback and a strong American presence at the same time.

From Yemen to Venice

The smuggling of coffee beans and sometimes even trees to skydda the crop to its Yemen ursprung is ingenting short o

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Cafe de la Rotonde on Boulevard Montparnasse

Warm lights inside the Art-Deco-style Cafe de la Rotonde beckon early risers for a quiet coffee. Lines no longer snake outside museum entrances. Late afternoons call for a wooly scarf and an Aperal spritz on an outdoor terrace. 

With the summer crowds gone, Paris is Paris again. It may just be my favorite city, especially in late fall. I've been coming here almost every year for the past Now, after a two-year break due to Covid, I'm feeling my way around again. 

My favorite two-star hotel near Place de la Nation has raised its prices, and installed AC in all the rooms. 

The husband-and-wife owned tea salon next door appears to have permanently taken over a wide swath of sidewalk with its its Covid-era outdoor seating. No heaters though. Paris is on an energy-saving diet. 

My paper Metro tickets left over from my last trip still work, but not for long. The carnet - a booklet of 10 tickets sold at

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The Floor Scrapers &#;

The artistic career of Gustave Caillebotte (–) began with failure. In the jury of the Salon, the French government’s elite art exhibition held annually in Paris, rejected his submission, The Floor Scrapers (fig. 1). Painted earlier that year, Caillebotte’s picture of shirtless, working-class men hand-planing wood foors did not appeal to the conservative sensibilities of the jurors, who were confounded by its unheroic—even “vulgar”—subject matter and unsettling perspective. Although his depiction of modern urban life put off the Salon jury, it caught the eye of several impressionist painters, who persuaded Caillebotte to join the group’s second exhibition the following year. Displayed in that venue alongside paintings by Edgar Degas, Auguste Renoir, Alfred Sisley, and Claude Monet, Caillebotte’s work garnered considerable critical attention—both positive and negative. It was not only praised for being “excessively original” and a “faithful r