FranceChevron Saint-Rémy-de-ProvenceChevron Sarah JamesSave this storySaveSave this storySaveAll products and listings featured on Condé Nast Traveler are independently selected by our editors we may receive compensation from retailers and/or from purchases of products through these links and partly because my dad is a creature of habit The morning routine goes a little like this: a brisk stroll up the road to the Bar Tabac des Alpilles where the owner Patrick brings out coffees (café express for my dad café creme for me) and one of the other early morning regulars hands us a newspaper to thumb through Tables and chairs outside Maison Cambillau depuis 1983 reflecting off the honey-hued stone of the old buildings—but in the morning it seems transcendental the prettiest square here with its cluster of restaurants fronted by brightly colored umbrellas and a little burbling fountain we pass by one of the bakeries for just-made croissants and still-warm baguette to take home to my mother Me and my dad drinking rosé out of plastic cups It's an idyllic idea of French village life but towns like Saint-Rémy inspire this kind of stereotypically Provençal routine it's easy to fall into the old-school rhythm here Saint-Rémy-de-Provence is backed by the Alpilles mountain range and surrounded by other equally charming villages that read like a roll-call of the perfect Provençal road trip: Eygalières The ruins of the Roman city of Glanum are found on the outskirts is where Vincent van Gogh was a patient at the Saint-Paul Asylum and where he created some of his best-known works The Starry Night was painted from the window of his room to see the room where van Gogh would have stayed A version of the article originally appeared in Condé Nast Traveller UK Saint-Rémy comes alive as the market rolls into town but it’s worth it to see the streets taken over by stalls selling everything from freshly harvested lavender and local cheese to handcrafted bags and clothes most stalls are set up and the town is yet to heave with shoppers Most of the action is centered around the many squares: On Place Favier you’ll find clothes and accessories; on Place Jules Pellissier there are fruit and vegetable stands as well as my favorite stall that sells olives and tapenades piled high in enormous bowls a craft market where makers sell jewelry and paintings runs until late The institution where Vincent van Gogh spent a very productive—if troubled—year in the late 19th century is a beautiful Romanesque structure with manicured gardens and arched walkways You can visit the public areas of the monastery where van Gogh painted 143 oil paintings and sketched more than 100 drawings the ancient city about a kilometer from the center of town ramparts were built here by Celto-Ligurian tribes destroyed in conflict; its inhabitants formed what is now Saint-Rémy-de-Provence Yet a remarkable amount of structures remain and have been excavated for preservation the team curates exhibitions on figures such as Pablo Picasso which takes place each year on Pentecost Monday sees thousands of ewes paraded through the town centre There's bull running held in the village in the summer Plus you might spot parades through town of people dressed in traditional get-up to celebrate a number of other French holidays One of the biggest draws for visitors to Provence in the summer is the call of the lavender fields The landscape turns brightest purple from mid-June to early August While you will spot lavender dotted around the fields immediately surrounding Saint-Rémy consider a road trip to find the very best fields such as at the Valensole Plateau More than just a beautiful place to visit for the weekend or even the day Saint-Rémy is a wonderful jumping-off point for the equally-as-lovely surrounding towns and villages you'll reach Eygalières with its pretty stone cafés and wonderful views from the top of a nearby hill Another gorgeous hill town is Les Baux-de-Provence set on a craggy plateau with widescreen views of the surrounding countryside where Festival d'Avignon (kind of like a French Fringe Festival) takes place each summer Provençal village life revolves around its bar tabac a contingency of locals pile in with newspapers to chew the fat over espresso and croissants the sunbaked terrace is flooded with tourists and townspeople drinking palest rosé before lunch service begins in earnest there's often excellent fish on the menu but I have to recommend the gigot d’agneau (lamb with creamy potatoes and a green salad that's pungently garlicky) which is carved from the bone right in front of you with its candy-hued lilac and orange color scheme has a roaring fire inside for days when the bitter Mistral wind blows heavily and a shady terrace on Place Favier for the more common sun-drenched days Order savory or sweet crêpes and pichets of cider and watch the world go by which is especially noted for its exquisite desserts This 17th-century hotel is set discreetly behind a buttery façade, and we named it one of the best hotels in Provence German owners Ralph Huesgen and architect Margot Staengle have restored the building handsomely: Seven bedrooms are filled with antique furniture and a wine shop next door selling all sorts of thoughtfully curated bottles with eight bedrooms and a gorgeous garden for long lunches followed by snoozes by the pool There are 10 rooms at L’Auberge De Saint-Rémy which is perhaps better known for its restaurant so it’s perfect as a base from which to explore (and ideal for rolling into bed after a meal downstairs) Tables and chairs set up for the lunchtime rush Want to be the first to know? Sign up to our newsletters for travel inspiration and tips A Guide to Korčula, Croatia Why Everyone Will Be Going to Osaka in 2025 A London Local’s Melting-Pot Itinerary for Food This New Eco-Cruise Through the Galápagos Takes Passengers On a Safari at Sea up-to-the-minute voice in all things travel Condé Nast Traveler is the global citizen’s bible and muse We understand that time is the greatest luxury which is why Condé Nast Traveler mines its network of experts and influencers so that you never waste a meal or a hotel stay wherever you are in the world Attend the lecture: Reliving the ‘last days of Van Gogh’ at the Ciné-Palace in Saint-Rémy-de-Provence on Thursday 5 June at 7pm Intercommunal Tourist Office Alpilles en Provence Saint-Rémy-de-Provence ShareSaveCommentLifestyleSpiritsNew Launch From St-Rémy Sparks A Conversation On French BrandyByClaire Dodd Forbes contributors publish independent expert analyses and insights and shifting global drinks culture.Follow AuthorNov 03 06:29am ESTShareSaveCommentThe new brandy from St Remy includes eaux-de-vie St-Rémy this week launched a new expression that aims to turn consumers on to French brandy while also demonstrating the complexity of blending New St-Rémy Grand Blend (43% ABV) uses five small-batch eau-de-vie master blender describes it as a “first in the history of brandy” She sampled over 100 eau-de-vie and created over 200 different recipes before settling on the final combination we are always playing with the diversity of the different French terroir “I wanted for the consumer to discover a trip through the different French vineyards through tasting the Grand Blend.” named ‘Abundant’ that uses grape varietals from across France ‘Delicate’ uses Loire Valley chenin for sweetness ‘Powerful’ has intense fruity notes of ugni blanc It accounts for 11.6% of the blend and unusually The youngest liquid within it is 25 years old a pot-still produced eau-de-vie made with colombard grapes from what St-Rémy describes as “distinct French terroirs” and accounts for 7.4% of the finished liquid ‘Incandescent’ or Lot no.5 makes up the remaining 6.1% and is a combination of ugni blanc and baco blanc The final blend includes around 25% pot still distillation and its non-chill filtered and free from added coloring further launches are planned for every two years It is the latest launch from the nearly 140-year old brand which in recent years has embarked on an earnest campaign to bring fresh attention to the category many consumers don’t understand what brandy is St Remy aims to demonstrate the variety and complexity of French Brandy with Grand Blend which it described as the “new face of brandy” it features two maturation stages in both new oak and seasoned casks Releases from its Cask Finish Collection include a sauternes wine cask finish and the second batch of its Barbados dark rum cask finish “The brandy category is a not well-known,” adds Roudaut “St-Rémy is really rich in the diversity of the French vineyards We have enough different types of eau-du-vie to invent our brandy; one can change the perception of brandy and still keep its uniqueness I think French brandy could have bigger place in the brandy category.” which permits the use of only eight grape varieties (though the three main ones used are ugni blanc and folle blanche) and casks generally of Tronçais or Limousin oak Its first launch from 2023, Brandy Batch 001 is made from eau-de-vie distilled in France and aged in England Pineau des Charentes and cherry liqueur casks New brands are experimenting with grape varieties Elsewhere, contemporary brand Seven Tails is also looking to flip the script on brandy making it relevant to a more youthful audience “It's the third biggest category by volume globally. Yet there's not one brand that really stands as the world's best brandy,” says Fraser in an interview. “There’s massive confusion, around what cognac is as an appellation, what armagnac is. “Brandy needs a champion. Even though it’s been successful, it’s been stagnant. There hasn’t been anything new coming along. We’ve not had anyone break the mold. “That’s what Seven Tails aspires to do, but of course we are tiny, we’re a startup, we don’t have a billion dollars. We have the right idea. But we need some brand champions that really knock it out of the park. We need somebody to put it on the map.” Dawn Davies, head buyer at Speciality Drinks and the Whisky Exchange agrees that the category seems ripe for change. “There's definitely something exciting about French spirits, full stop, including brandy," she told me. "They really have a story, they really have terroir, and they’re so complicated to make. Working with grapes is not easy. The category is very much underrated. “But I just don't think there's enough French brandy that's out there in the market that is really known. There is this idea that there should be some more accessible, more modern takes on French brandy. Even when we look at a lot of the big houses, they're not that trendy, flash, or bar friendly. “I think the power of what brands like St-Rémy and Seven Tails are doing, is just making it a more accessible, more blendable, and a less snobby product. But to make a movement, you need maybe 10 brands to be doing some really interesting, quirky things.” 2025Photo: Courtesy of Hotel Capelongue; Benoit LineroSave this storySaveSave this storySaveAll products featured on Vogue are independently selected by our editors There’s so much to love about Provence (and thereby the best hotels in Provence), a region in southeastern France, beguiling travelers and wedding parties as much for its glamorous riviera as for its bucolic countryside that’s characterized by its vast sweep of grassy vineyards and fragrant lavender fields punctuated by Provençal farmhouses Roman aqueducts and old chateaus dating back to the 16th century clusters of medieval villages drenched in warm sunlight sparkle from one distant hill to another So when you tire of the glamorous crowds in the French Riviera consider renting a vintage car with Provence Classics and booking a hotel in the countryside of Provence to artistic boltholes and bucolic farmhouses there’s no shortage of great hotels in the Provençal countryside Auberge La Coste is the more affordable counterpart to the luxurious Villa La Coste offering a relaxed yet stylish retreat within the same breathtaking estate it provides guests with a charming stay surrounded by vineyards and access to Château La Coste’s renowned winery and cultural offerings Auberge La Coste is perfect for travelers seeking a refined Provence experience without the splurge La Divine Comédie is an intimate boutique hotel and restaurant in the heart of Aix-en-Provence offering a unique take on French cuisine alongside stylish accommodations with dishes that balance tradition and innovation Known for its attention to detail and thoughtful approach to both flavor and presentation the restaurant provides a relaxed yet refined dining experience combining modern comforts with timeless style La Mirande is a luxurious yet inviting hotel located in the heart of Provence Housed in a beautifully restored 18th-century mansion the hotel features charming rooms that combine classic Provençal decor with contemporary amenities Guests can enjoy exquisite dining at the on-site restaurant where seasonal ingredients are used to create refined and stunning views of the surrounding landscape make La Mirande an ideal retreat for those seeking a peaceful escape while immersing themselves in the beauty and culture of Provence a luxury boutique hotel housed within a majestic 17th-century estate derives its name from the sleepy hilltop village in which it resides offering panoramic views of Mont Ventoux and the surrounding countryside guests can bask in the tranquility of the sun-drenched property from the pool featuring its own optimal views of the nearby vineyards and olive groves before pampering themselves at the Spa des Écuries The property’s two restaurants extend over two respective terraces in which bistro-style cuisine is served at La Table du Ventoux while refined gourmet offerings can be enjoyed at the slightly more elegant La Madeleine Photo: Courtesy of La Colombe d'OrSituated only 20-minutes from the seaside near the top of the road that leads to the medieval village of Saint-Paul-de-Vence and only a 10 minute walk to Fondation Maeght albeit beautifully discreet La Colombe d’Or Originally opened in 1920 as a café bar before it evolved into an inn Paul Roux would accept art from the village’s residing artists–Picasso Matisse and Chagall were among the lot–in exchange for a stay or a few meals the family-run La Colombe d’Or is helmed by Paul’s grandson where in addition to the famed Calder mobile that decorates the outdoor pool and terrace feature an impressive collection of museum-worthy works from many of the greats Photo: Courtesy of Château Saint-Martin & SpaMoving slightly inland from the Riviera a 30-minute drive will get you to the hilltops of Vence where the historic Château Saint-Martin & Spa unites the best of both worlds forming the intersection of where the sea meets the mountains breathtaking sea views are visible from nearly every terrace yet salty air is replaced with scents of thyme and lavender that waft from the estate’s fragrant gardens Château Saint-Martin & Spa seamlessly blends modern comforts and luxurious amenities–from capacious suites to decadent design with the timeless charms characteristic of its pastoral setting– from dining in one of the on-site restaurants under a shady olive grove to indulging in a spa treatment in the garden gazebo Photo: Richard HaughtonJust one hour from Marseille near Aix-en-Provence sits immersed in the 600-acre grounds of the Château La Coste wine estate and open-air art museum A gracefully-executed departure from the old-world farmhouse stays common in the region the sprawling modern estate has become a haven for contemporary art lovers the stark white walls within the 28 minimalist suites are offset by the colorful artwork that adorn them as well as the warm wood furniture that punctuates the spaces Sliding glass doors open to courtyards that overlook the endless vineyards guests have access to a multitude of sensational dining options such as a restaurant curated by renowned Argentine chef French brandy St-Rémy has created a limited edition Grand Blend combining five small-batch eaux-de-vie selected by master blender Cécile Roudaut Each eaux-de-vie used in the Grand Blend is said to tell its own story unites diverse varietals across the French vineyards showcases sweetness with Loire Valley Chenin Described as ‘rich and lively’ is made of Colombard from distinct French terroirs combines Gascon Ugni Blanc and Baco Blanc grape varieties Roudaut said: “We are excited to launch this unique Grand Blend Each lot has been carefully selected to compose a unique product in the spirit of showcasing St-Rémy’s expertise in the making of top-end brandies.” giving the brandy its ‘rich and complex character’ the brandy is non-chill-filtered and free from added colouring St-Rémy Grand Blend offers aromas of prune and candied fruits and a ‘bold The first edition is limited to 8,624 bottles 60 of which will be available in the UK with a suggested retail price of £49 (US$64) Last year, St-Rémy concluded its Cask Finish collection with an expression finished in Château du Breuil Calvados casks. The brandy also partnered in 2023 with artist Lucas Beaufort for a limited edition bottle for its XO We are using cookies to give you the best experience on our website You can find out more about which cookies we are using or switch them off in settings This website uses cookies so that we can provide you with the best user experience possible Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings we will not be able to save your preferences This means that every time you visit this website you will need to enable or disable cookies again This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page The Glanum Festival returns to Saint-Rémy-de-Provence with a new programme from 17 to 19 July 2025 LondonGathering together 61 of Vincent van Gogh’s masterpieces from around the world the National Gallery’s once-in-a-lifetime show lets the art speak for itself heartbreaking and unmissableThis article is more than 7 months oldNational Gallery visitors will be able to see a painting of 1889 whose title but of untrammelled weeds – and by extension Born of his fascination with the raggedy garden of the hospital at Saint-Rémy to which the artist had admitted himself after several breakdowns this picture is covered all over by ivy – a rapacious thug of a plant clustered together here as if in solidarity are also on their way to full colonisation Some small patches of the scene are miraculously dappled with sunlight but the feeling overall is one of viridescent doom enabling it to hang beside the National Gallery’s Sunflowers (1888) for the first time since they were in the artist’s studio; together with La Berceuse (The Lullaby which has travelled from the Museum of Fine Arts Among several pictures from private collections is Trees in the Garden of the Asylum (1889) a gorgeously restrained painting whose framing device – more tree trunks this time cropped at both ends – speaks richly of Van Gogh’s admiration for Japanese woodblock prints View image in fullscreenPortrait of a Peasant (Patience Escalier) on loan for the first time from the Norton Simon Museum Photograph: © Norton Simon Art FoundationHow to deal with such repletion The only way to do it is to put aside all thoughts of Van Gogh the man the better to truly look at what is before you – an approach the exhibition’s tight-lipped curators encourage On the walls you’ll find only titles and dates (to know more you must look up each painting in a booklet): a minimalism designed to allow one’s thoughts and feelings to flow freely unimpeded by talk of bloody ears and gunshot wounds he produced close to 200 paintings and countless drawings in spite of – or perhaps because of – the fact that for 12 months of this he was in the Saint-Paul-de-Mausole asylum in nearby Saint-Rémy where he died by his own hand in July 1890 View image in fullscreenVan Gogh’s Sunflowers Photograph: Lucy North/PAThe temptation is always to see madness in this work: the manic energy that Gauguin with whom Van Gogh briefly shared the Yellow House in Arles would describe as a train “hurtling along at top speed” (a crash This exhibition would rather we focus our attention on the artist’s innovation particularly his experiments with colour (“I believe in the absolute necessity of a new art of colour,” he wrote to his brother Theo in 1888) But the lesson here is that even as you push away the biography Landscapes are not merely transformed; they are reinvented the effect of these paintings is sometimes as oppressive as it is enliveningAt the show’s every turn are ordinary things turned strange and monstrous: olive trees that twist in agony; a vineyard that might be teaming with snakes; mountains that would crush a man if they were to move any closer (in Van Gogh we’re at first seduced by the pink flowers in a blue jug and you see that a novel by that great miserabilist Zola is on the table beside them – and then you remember that oleanders are poisonous There are many gardens: “nests for lovers” in Van Gogh’s eyes (though nest to me is an ambiguous word Roses (1889) deploys impasto and violently deft brushstrokes to capture pale petals whose scent you can almost smell View image in fullscreenThe ‘violently deft’ Roses Photograph: © National Museum of Western Art The Park of the Hospital at Saint-Rémy (1889) seemed heavily symbolic to me in spite of my own efforts and those of the curators to keep my mind wide open rust-red earth: I told myself not to view these things as a kind of apocalypse I read a letter in which he writes about this picture to the artist Émile Bernard this gives rise a little to the feeling of anxiety from which some of my companions in misfortune often suffer…” In the end reading too much into anything – though this isn’t to say I’m not grateful for having been given the chance to see Van Gogh anew These are amazing paintings – masterpieces by any other name the effect is sometimes as oppressive as it is enlivening Van Gogh: Poets and Lovers is at the National Gallery, London, until 19 January 2025 This is the archive of The Observer up until 21/04/2025. The Observer is now owned and operated by Tortoise Media. Published: Dec 30, 2024written by Jina Wallwork Approaching Vincent van Gogh’s artwork without preconceptions about who he was is difficult He has been the subject of many books and films and it’s almost impossible to look at his works without exploring his biography the artworks he created are so fascinating that they can stand alone Through a composition analysis of his work we can focus on the works without any distractions We can appreciate and enjoy the technical skills of a great artist and something is reassuring in the imagery he created The diagram above simplifies Van Gogh’s painting of the Mountains at Saint-Rémy We can look at the composition’s basic structure when we remove all the details The landscape is reduced to a black outline The pink line simplifies those shapes even further The structure can be reduced to the three shapes drawn in pink a triangle points downward to a triangle pointing right This type of construction means that the viewer’s eyes are guided to circulate the canvas in a counterclockwise motion the triangular structure points them to the right They’re also following the line of trees to the right side of the canvas Everything in the image works together to create a particular emotional impact The figure has his back turned to the viewer but it also speaks of a winter for emotions since the painting depicts a lack of warmth Turning the figure to face the viewer would completely change the feelings evoked by the image. Adding a touch of orange to those muted browns would also alter the emotional impact. In this painting, Van Gogh doesn’t do this because he depicts a specific emotion The painting is crafted with emotional depth All the composition elements need to speak with the same voice The diagram above reduces the composition to its basic structure The man’s positioning is indicated by the orange rectangle The positioning of the tops of the trees creates a curve and this is highlighted by the blue line on the diagram This curve gives the painting a simplistic structure structural simplicity is something that should be valued The introduction of basic shapes can enhance a composition and it means that the artist can add more detail Van Gogh’s brushwork had an extra level of detail It also gives the work a sense of distance since it’s more textured in the foreground and flatter in the distance Van Gogh was skilled at portraying emotion through his artwork. This work is all about warmth and tenderness and it depicts a mother and child resting next to a fire. The painting Knotberken could be seen as its opposite. Van Gogh was skilled at portraying emotional extremes and he understood color The work’s focal point is the child cradled by the mother Notice how the upper part of the image mainly uses vertical brushstrokes The lower part of the image is all brushstrokes that curve under the child’s body The figures and details also have their own structure The diagram doesn’t show the U shape created from the textured brushstrokes since it reduces line and structure to its basic aspects this is something that makes the work more interesting The colors in the fire and the child’s hair and face unite those two places on the canvas It makes it clear that the child is the focal point The wave of the fire is parallel to the body of the woman The pink line highlights another parallel wave The woman is framed by two parallel waves which balance both sides of the canvas but placing it next to the child’s face makes it more prominent because it’s next to the main focal point Wheat Field with Cypresses is a painting where the swirls and curves create a dance from one part of the canvas to another. The texture and line of the brushstrokes encourage the viewer to look at the detail. The subject matter is familiar, and that adds simplicity to the painting. Van Gogh used higher levels of swirls and abstraction when depicting the clouds and it is a subject matter that allows for greater freedom The bottom edge of the canvas isn’t the focus but there are red dots in the viewer’s peripheral vision Flowerheads in green’s complementary color The diagram reduces the composition to its basic structure They contrast nicely with the tall shape of the cypresses The viewer doesn’t look away from the canvas because the cypresses are the darkest shape on the canvas You then get to one of the most important aspects of this composition It’s a swirl of clouds that draws the viewer’s eyes away from the edge of the canvas guiding them through the patterns of the clouds before finally returning their gaze to the bush in the lower left corner It is the same counterclockwise composition technique we saw in the painting Mountains at Saint-Rémy Great artists take something familiar and give you a new perspective. As a viewer, you’re experiencing the night sky through the eyes of Van Gogh and this can be a beautiful experience. You want to look at the painting, but it also makes you want to revisit the night sky. By looking at Van Gogh’s connection to the night, you become inspired to explore your own. Van Gogh’s brushwork is amazing and it’s almost like you’re viewing the shape around every star The dark trees in the foreground make the night more spectacular because the contrast between yellow and black is so large allowing us to see more swirls and brushwork The trees are on the right in the painting Wheat Field with Cypresses This was part of an anti-clockwise composition structure and they are part of a clockwise composition structure and the curve of the cloud moves the viewer’s gaze towards the top of a landscape which curls back down towards the silhouette of the trees Van Gogh also anchored that movement with the static object of the moon you have these two competing focal points that are different because one is static The balance between them creates a fascinating composition that’s the foundation of a masterpiece The diagram reduces the image to its basic structure. It shows that the red flowers are mainly positioned in the shape of a triangle. Some red flowers are also placed in a line down the right side of the canvas The flowers share colors similar to those on the vase This means the color is distributed from the top to the bottom of the canvas Adding a triangular composition structure always makes a composition more interesting Van Gogh layered triangles in the structure of the composition but they were created using different elements Jina is an artist whose artwork is exhibited internationally She is passionate about art theory and art as a spiritual practice Jina holds a BA (Hons) in Fine Art from Staffordshire University and a BA (Hons) in Politics The story of the writing of the opera ‘Mireille’ begins in a charming Provençal village a few kilometres from Saint-Rémy-de-Provence the master of the Félibrige (the preservation of the Provençal language) a poem in Provençal that won him the Nobel Prize for Literature in 1904 When the composer Charles Gounod discovered Mireille he was overwhelmed by the story of the impossible love between Mireille and Vincent saw in this work the perfect opportunity to create an opera So he decided to ask Frédéric Mistral for permission to adapt the poem into an opera and he invited him to Saint-Rémy-de-Provence: ‘Provence and I are waiting for you’ He happily agreed to entrust the libretto of Mireille to Charles Gounod who wanted to immerse himself in the culture and atmosphere of Provence when writing the opera So in March 1863 he settled in Saint-Rémy-de-Provence in a coaching inn dating from the 18th century I can do anything as long as there's no noise or movement around me having become the aptly named Hôtel Gounod at 18 place de la République in Saint-Rémy-de-Provence Frédéric Mistral acted as a guide in the Alpilles and showed his prestigious guest the Roman monuments (Les Antiques) Charles Gounod wrote his opera in just a few weeks And so the opera Mireille in 5 acts was born in Saint-Rémy-de-Provence The characters and landscapes in his work are simple and modest in appearance far removed from the enchantment that pervaded the operas of the period but they carry intense feelings and a strong tragic dimension The composer's aim in writing the score was to convey all the emotion he had experienced on reading the original work Charles Gounod ‘s stay in Provence left a lasting impression on his contemporaries as it was the first time in French operatic history that a composer had written a libretto on the very locations where the characters in his work were set the rich suitor her father has chosen for her Keeping the promise they had made to each other to go to Les Saintes-Maries-de-la-Mer if something bad happened she suffers from sunstroke and arrives dying in Les Saintes-Maries-de-la-mer performed here at the Théâtre Antique in Orange Please upgrade your browser to improve your experience Explore the just-revealed full list of 654 MICHELIN-Star restaurants in France 2025 The 68 new Stars for the 2025 edition appear in red no one would dispute that these are hard times we're living in But if there is one place on this troubled Earth where people's joie de vivre will not be dampened You could even go so far as to say it's a treasured space where harmony and civilization are alive and well in the spirit of celebrating all that is wonderful about eating great food with people you love here is a full run-down of every MICHELIN-Star restaurant in France This year, there are two new Three-Star restaurants for France: Hugo Roellinger's Le Coquillage in Cancale and Christopher Coutanceau in La Rochelle These two exceptional chefs—Hugo Roellinger a "chef-fisherman"—both have strong ties to the sea and it shows throughout their cuisine Advocates of sustainable fishing and fierce opponents of waste they share one key trait: each of their dishes is a spellbinding ode to the ocean true happiness is to be found in the fresh air of the countryside In a testament to the dizzying heights reached by chefs in France over 20 establishments have been awarded a Star soon after opening many of whom trained in top kitchens in France and around the world already have that first professional experience in a MICHELIN-Starred restaurant under their belts Autonomy and a spirit of adventure are the hallmarks of 2025's crop of new Two-Star restaurants, too. In addition to those already mentioned, Guillaume Roget's Ekaitza and Diego Delbecq & Camille Pailleau's Rozó are taking things to the next level on account of the strength of their talent and passion Vailly (74): Frédéric Molina au Moulin de LéréMargencel (74): Sechex-Nous - New Hero Image: L'Inattendu - Domaine de Locguenole The Mexican capital takes center stage alongside the culinary world's top talents The Golden State's capital welcomes the culinary world's top talents Six states join the illustrious selection with the region's signature flair and flavors ​13 new restaurants receive their first MICHELIN Star ​Three new establishments are awarded the MICHELIN Green Star Marseille is a crossroads of culture and cuisine shaped by 2,600 years of migration and maritime trade From its Greek founders to waves of immigrants from Italy each community has left an indelible mark on the city’s dynamic food culture based on what's freshest at his local farm Her fully Italian wine list is farmer first and blends perfectly with rustic Italian cooking The general manager of the nearly 20-course tasting menu can make time stand still The Sunshine State just got hauter with these bright new MICHELIN Stars The beverage director of the Tampa fine dining favorite is reimagining the classics to expert effect Four restaurants from the Florida MICHELIN Guide selection call Mills Market home A hub of cultures that look to the sea and the land Croatia is a place where tradition (including the culinary tradition) is still very much alive Discover The MICHELIN Guide Buenos Aires & Mendoza 2025 showcasing newly Starred restaurants and exciting Bib Gourmand additions Non-members can add the privileges at checkout through our 30 day free trial By continuing I accept the Terms & Condition and Privacy Policy. I would like to receive Newsletter from MICHELIN Guide Save lists of your favorite restaurants & hotels This year, there are two new Three-Star restaurants for France: Hugo Roellinger's Le Coquillage in Cancale and Christopher Coutanceau in La Rochelle These two exceptional chefs\u2014Hugo Roellinger a \"chef-fisherman\"\u2014both have strong ties to the sea and it shows throughout their cuisine Autonomy and a spirit of adventure are the hallmarks of 2025's crop of new Two-Star restaurants, too. In addition to those already mentioned, Guillaume Roget's Ekaitza and Diego Delbecq & Camille Pailleau's Roz\u00f3 are taking things to the next level Vailly (74): Fr\u00e9d\u00e9ric Molina au Moulin de L\u00e9r\u00e9Margencel (74): Sechex-Nous - New Crime BeatNews1 dead after deadly collision between minibus, SUV in Saint-RémiBy Rachel LauPublished: April 09, 2025 at 9:40AM EDT Twitter feed ©2025 BellMedia All Rights Reserved There’s something familiar about the North Portland band Maybe you’ve already been to one of their shows or even know some of their members from the University of Portland “Montgomery Park,” brings something entirely new to the table for their listeners: punk “We’re indie rock but we play a lot in the Portland punk scene,” Gabriel Briare are recent UP alums who worked on the band’s music as a duo until Briare and their drummer “Montgomery Park” is the first EP they’ve worked on together The EP was recorded last summer in a make-shift studio by their drummer “We have a little practice space and it was probably an eight-by-eight wood box that we played in,” Briare said “Montgomery Park” takes Saint Rémy towards a playing field they’ve only previously brushed across The band is popular within both indie and punk spaces “Sous l’eau,” cements Saint Rémy as one of the more adventurous bands coming out of the Portland DIY scene “Sous l’eau” both lyrically and sonically crosses into hardcore territory while still keeping up with the band’s traditional indie sound Indie-punk is an alternative subgenre which flourishes within DIY spaces where audiences are often unfixed and tumultuous Making music for a cross-genre audience is not without its difficulties “It’s been a learning curve to learn all that these different styles of guitar,” Briare said “I’d never been a punk guitarist or done any of the punk stuff before joining this band The band no doubt took notes from other hardcore groups in the EP’s creation Briare cites Turnstile’s genre-defying album “Glow On,” as one of the band’s main inspirations features the band’s well-known indie acoustics The song is one of the band’s most popular as well as Briare’s favorite on the EP range and pace as the bass and drums enter about a fifth of the way into the song carrying listeners throughout its entirety without rest The false lead emphasizes the music’s playful nature “Robbers” also retains a sense of youthfulness through its lyrics: “How you been my friend my god it’s been awhile/ I won’t run and hide/ I think I love you tonight.” Briare discussed his appreciation for the second track “Yukon,” finding it the most fun to play on the EP “Yukon” plays into the indie sound arguably less well than the first track The song begins with a lot of force and retains the same intensity throughout with little room for depth Listeners follow the progression of strings and drums as they culminate towards the repeating phrase the instrumentals exhibit some flexibility They carry Connor’s voice over a large sonic wave and safely to the other side The repetitive lyricism cements the second track as the catchiest of the three “Sous l’eau” is somewhat of an anomaly to the band’s discography It initially features the same calm instrumentals like those found within the first track — I could easily imagine myself listening to this on a sunny day But this gentle introduction is quickly contrasted by a metal-quality on all fronts takes a range that is seen more in pop-punk than angsty and tortured indie rock The lyrics are far more grating and the assertive instrumentals display the band’s musical power far better than any of their songs have in the past unpredictable and had me on the edge of my seat It wasn’t until the song’s familiar and peaceful conclusion that I let my body relax once more my roommate dances along to the music while brushing her teeth While the EP certainly has its moments of indie fun it is most remarkable in how it manages to push the limits of indie rock towards punk I’d like to see Saint Rémy continue down the road which “Sous l’eau” has paved I hope the band continues making music which is harder I find myself contemplating things like highschool friendships as I listen to the opening notes of “Robbers” and “Sous l’eau.” The EP’s cover art of Montgomery Park The image perfectly invokes some of the EP’s greatest themes: nostalgia reconnection and acceptance of the impermanent Camille Kuroiwa-Lewis is a reporter for The Beacon. She can be reached at kuroiwal26@up.edu Guide: Where to have a “cafecito con chisme” in Portland Society for Mexican American Philosophy set to host first biannual Summer Institute at UP Letter from the Editor: The future of DEI at The Beacon remains bright The Student Voice Of The University of Portland Since 1935 The Student Voice of the University of Portland Since 1935 « Back Here we explore its most enchanting towns – and the cultural attractions they have to share Antibes Antibes port aerial panoramic view Antibes is a city located on the French Riviera or Cote d’Azur in France Posh yachts, glorious stretches of golden sand and that French Riviera vibe all make Antibes a hit with holidaymakers Wander its romantic 16th-century ramparts and narrow cobblestone streets lined with flower-festooned buildings – you’ll soon see why it appealed to artists and writers including Graham Greene whose genius is on display at the Musée Picasso in the medieval Château Grimaldi for its hidden beaches backed by millionaire mansions View Tours >> Positioned snugly – and smugly – by the Italian border between the Alpes Maritimes and the Mediterranean this lesser-known coastal corner of the Côte d’Azur has a blissful microclimate to rival its glitzier neighbours Such a balmy ambience led to a centuries-long tradition of lemon cultivation which looking up at the pastel-coloured buildings the colourful sub-tropical gardens and the museum dedicated to Jean Cocteau housed in an ancient fort View Tours >> Aerial view of medieval village of Eze | Curioso.Photography/Shutterstock this is a picture-perfect medieval hilltop village topped with the craggy ruins of a 12th-century castle The nearby Jardin Exotique cactus garden is worth the steep walk So is the sunshine-yellow Baroque church dating back to 1764 You’ll find yourself gawping at the mesmerising views of the coast the higher you climb View Tours >> Sign up to our newsletter to save up to $800 on our unique trips See privacy policy Arles On the cusp of the Camargue National Park in the Provence-Alpes-Côte d’Azur region Arles is a heady blast of Van Gogh nostalgia – the artist painted in excess of 200 works around this lovely Roman town is part of the reason for Arles’ Unesco World Heritage Site status The twisting aluminium tower designed by Frank Gehry brings the city’s architecture bang up to date: one more reason to come see the place for yourself View Tours >> this former fishing port has long attracted visitors notably writers Katherine Mansfield and Thomas Mann Today it’s popular with French holidaymakers from Marseille and nearby Toulon as well as tourists in love with its sunny head to the smaller rocky bays and creeks along the coastal path licking a scoop of refreshing lavender ice cream; sample the renowned local wine cultivated in the surrounding sun-ripened vineyards; and enjoy the relaxed View Tours >> amid the rugged landscapes of the Luberon Regional Nature Park Cobbled streets and houses built of golden stone wind their way up around a mountain The village has been home to celebrated painters You can see how the village might have inspired them Highlights for visitors include the Pol Mara Museum View Tours >> who resides in a castle in the town centre flourishing gardens and landmark Tour Fenestrelle The most eye-catching historical feature is the nearby Pont du Gard frequently listed among France’s most popular attractions Uzès remains little known among tourists – visit now to make the most of its peaceful View Tours >> Part of Provencal house of small typical town in Provence grand Renaissance château and quaint stone homes Tucked in a lush valley in the Luberon mountain range it is a place for art lovers and bookworms home to a handful of galleries as well as the tombs of writers Albert Camus and Henri Bosco If you like food you’re in clover – the centre has traditional bistros and cafes and one of France’s most prestigious chefs runs the restaurant Auberge La Fenière with her daughter View Tours >> the most popular destination for those visiting the Luberon massif teetering at the top of a cliff beside an old ochre quarry It has charming 17th- and 18th-century dwellings painted in shades of the aforementioned local rock backdropped by vivid mountain vegetation and rugged panoramas that have attracted many an artist over the years Not for nothing does Roussillon have an impressive art and gallery scene The ochre for which the place is celebrated makes for all kinds of activities – cycling tours along the cliff View Tours >> ornate fountains and one of the oldest arcs de triomphe in the country this small mountain community is a must for history and art lovers It inspired some of the most celebrated works by Van Gogh who painted The Starry Night (1889) while a patient at the local asylum along with The Wheat Field series (1889–1890); numerous depictions of roses irises and forest trees; and haunting views of the hospital You can also visit the birthplace of astrologer Nostradamus before settling in at a cosy cafe for some of Saint Remy’s famously good cuisine View Tours >> On a ridge near the Nesque river canyons is another of France’s most beautiful villages Visitors are drawn by the picturesque houses as well as the magnificent rock formations and one of the oldest shrines in France These historic sights owe their fine condition to their isolated which has escaped the modifying march of centuries Venasque is famed for its production of cherries and grapes its farms reputedly producing some of the best to be found under the Mediterranean sun View Tours >> Pont Saint Benezet bridge and Rhone river aerial panoramic view in Avignon | saiko3p/Shutterstock Once a centre of the Christian world Avignon is a stronghold of chapels and churches crowned by the architectural masterpiece that is the Palais des Papes (Palace of the Popes) Its historic buildings come down to the serene waters of the river Rhône where you’ll find the medieval bridge (and Unesco World Heritage Site) immortalised in the song ‘Sur le Pont d’Avignon’ The town is a focal point for culture and wine: its theatre and music festivals are internationally renowned and its Côtes du Rhône vineyards draw thousands of visitors every year View Tours >> What was formerly a nautical village is now a major attraction for antiques lovers hosting vibrant traditional markets every Sunday Its annual antiques fair is considered one of the best in the world drawing hundreds of dealers and making for fascinating browsing for wandering weekenders There’s plenty more to explore: classic riverside cafes lines of time-honoured shops and winding stretches of water plied by historic boats which have earned the town its nickname: ‘the Venice of Provence’ View Tours >> With its dignified 18th-century homes, sturdy medieval ramparts and verdant, hilly surroundings, Ménerbes is a fascinating place for a weekend Many famous artists and writers have made their home here Peter Mayle (author of the international best-seller A Year in Provence) and The village is renowned for its quality wines and truffles View Tours >> tranquillity – it is a government-protected environment you’ll find a hotel (and restaurants) to suit including yearly jazz and sailing festivals Come and explore this place before everyone else discovers it View Tours >>Jo Fernandez-Corugedo contributed additional reporting to this article Jessica developed a love of learning about other languages and countries which led her to Oxford University in 2010 to study French and Spanish Now working towards an MA in Translation at Surrey University she spends much of her time writing and translating She also loves to write stories as a hobby and obsessing about the novels of Jane Austen Guides & Tips Beat the Crowds with these Alternative Summer Destinations Guides & Tips Scenic Road Trips to Take From Biarritz Guides & Tips The Best European Cities to Visit in December Guides & Tips This Is Europe's Ultimate Road Trip See & Do The Best European Cities to Visit in July Guides & Tips The Best European Cities to Visit in November Architecture A Brutalist Architecture Tour of Marseille See & Do The Best European Cities to Visit in Autumn See & Do The Best European Cities to Visit in September See & Do The Best European Cities to Visit in Summer See & Do 10 French Theme Parks You Should Be Visiting Instead of Disney See & Do The Best European Cities to Visit in October US: +1 (678) 967 4965 | UK: +44 (0)1630 35000 tripssupport@theculturetrip.com © Copyright 2025 The Culture Trip Ltd In a chilling revelation of the extremes to which criminals will go in pursuit of digital wealth has been convicted for his lead role in a harrowing series of violent home invasion robberies across the United States His aim: to plunder victims’ cryptocurrency holdings through terror and coercion delivered a verdict following a meticulous trial that exposed the depth of Remy St Felix’s criminal enterprise St Felix masterminded a crew that traversed states including North Carolina meticulously targeting individuals known to possess significant cryptocurrency assets The modus operandi was as brutal as it was calculated Remy St Felix and his accomplices would stake out their victims gaining access to their homes through forced entries often tying up and threatening victims at gunpoint to coerce them into transferring cryptocurrency directly from their accounts These acts of aggression were not isolated incidents but part of a coordinated effort to exploit the anonymity and decentralization offered by cryptocurrencies like Bitcoin one such incident in April 2023 saw Remy St Felix and his cohort invade a victim’s residence where they proceeded to assault and intimidate the occupants coercing them into transferring over $150,000 in cryptocurrency used encrypted communications and anonymous financial transactions to cover their tracks complicating the task of law enforcement agencies tasked with unraveling their operations Principal Deputy Assistant Attorney General Nicole M emphasized the severity of the crimes and stated that Remy St Felix and his co-conspirators targeted victims across the United States for brutal home invasions and robberies orchestrated to steal cryptocurrency The case highlights the growing challenge posed by criminals exploiting digital assets for illicit gains leveraging technology to evade traditional investigative methods condemning Remy St Felix and his accomplices for their callous disregard for human safety and decency The victims in this case endured a harrowing and painful experience emphasizing the profound impact on those affected by the crew’s ruthless tactics led by the FBI Charlotte Field Office with collaboration from multiple law enforcement agencies culminated in Remy St Felix’s arrest in July 2023 among them members of Remy St Felix’s robbery crew were apprehended and later admitted guilt for their involvement in the criminal enterprise highlight the collaborative efforts of law enforcement in combating sophisticated cyber-enabled crimes Remy St Felix stood trial before a federal jury on charges that included conspiracy His conviction on nine counts carries significant penalties including a mandatory minimum sentence of seven years in prison awaits deliberation by a federal district court judge who will consider the severity of Remy St Felix’s crimes and the impact on his victims NCET focuses on disrupting criminal networks that exploit these technologies for nefarious purposes As cryptocurrencies continue to gain prominence in global finance, cases like Remy St Felix’s serve as stark reminders of the risks associated with digital assets. Law enforcement agencies, bolstered by evolving investigative techniques and international collaboration remain committed to stemming the tide of cyber-enabled crimes safeguarding individuals and communities from the predatory actions of criminal enterprises In the aftermath of Remy St Felix’s conviction the Justice Department and its partners have reiterated their dedication to pursuing justice and holding accountable those who perpetrate violence in pursuit of financial gain The trial stands as a testament to the resilience of law enforcement in the face of technological challenges marking a significant step in the ongoing battle against cybercrime in the digital age Regtechtimes is a niche digital media platform that provides news Regtechtimes is a valuable resource for anyone who wants to learn more about laws technology and innovations and its potential to transform the financial services industry Exclusive: New book describes harrowing period in which he produced most beloved works Details of the most harrowing period in the life of Vincent van Gogh including the names of the men who shared his year of confinement in an asylum in the south of France and his mental collapses when he tried to poison himself with his own paints It was a period of anguish but extraordinary creativity for Van Gogh in which he produced some of his most dazzling and beloved works now in museum collections across the world – all based on brief outings the views through the barred window of his room and many days spent painting in the asylum gardens The author and journalist Martin Bailey, an expert on Van Gogh’s life has traced the admissions register and other records from Saint-Paul de Mausole a small asylum on the outskirts of Saint-Rémy-de-Provence for the period when Van Gogh was admitted as a private patient The register shows Vincent van Gogh Bailey traced the 18 male patients including an elderly priest who was described as constantly smashing up furniture and crockery Bailey was able to match many of the names with death certificates and other evidence and details of medical conditions and minimal treatment in a later book by the asylum director would spend the next half century in the asylum and die there in 1932 whom he called “my companions in misfortune” with no treatment and nothing to fill their days except the next stodgy meal eaten with a spoon because of the risk from knives and forks he described the long nights: “One continually hears shouts and terrible howls as of animals in a menagerie.” following the collapse of a proposed artistic partnership with Paul Gauguin said the register was key to discovering previously unknown details of the artist’s time there including the fact that neither his friends from Arles Theo Van Gogh was kept informed by the stream of illustrated letters from his brother but also news from the asylum director of Van Gogh’s three serious collapses over the year when the paints he tried to swallow had to be taken from him locked room instead of his usual bright bedroom and separate studio on an upper floor wrote: “On several occasions he has attempted to poison himself either by swallowing colours that he used for painting which he had taken from the boy while he was filling his lamps.” His brother recently married and expecting his first child in Paris Bailey said: “I now appreciate quite what a terrifying environment it must have been for Van Gogh “That makes it even more astonishing that he was able to create some of his finest and [most] optimistic paintings in such a situation I am also convinced that it was his art which enabled him to survive.” It had been suggested that Van Gogh might have been sent to an asylum in Marseille that had more than 1,000 patients which Bailey believes would have destroyed the artist View image in fullscreenVan Gogh’s Women Picking Olives Photograph: Metropolitan Museum of ArtThe Saint-Paul asylum which remains part of a psychiatric hospital second and third-class accommodation at different prices Conditions were improving under a new director from an earlier stage when an unpublished official report condemned neglect incontinent patients lying on straw mattresses described as reduced to manure despite evidence of mental collapse following his previous brief breaks from the asylum He yearned for new spring landscapes to paint blamed the company of his fellow patients for his previous and longest collapse The final medical note described Van Gogh as “cured”. He travelled to northern France to begin again he died within two months – 36 hours after shooting himself in the stomach while out painting in the midsummer fields “There have been suggestions that his death was an accident or even manslaughter “The evidence of his mental state in the previous year makes it incontrovertible that he took his own life his strength of will and his art that he survived that year in which he was able to create so much.” is packed with little nuggets and towns that have welcomed artists just a stone's throw from hiking trails that take you through the Natural Park and to make some wonderful discoveries as you step back in time le programme est mis à jour en fonction des annonces officielles Happy Heritage Days in Yvelines Refer your establishment, click herePromote your event, click here Metrics details The Thannhauser Collection of the Solomon R represents an important survey of European avant-garde art production during the late 19th and early 20th centuries Among the works included in this collection are three paintings by Vincent van Gogh These examples each exhibit some degree of surface alteration resulting in obscured color and spatial relationships as well as being the subject of questions regarding authenticity in the case of the two earlier pictures Initial examination involved documentation of the brushwork and distribution of colors under magnification Infrared (IR) and ultraviolet (UV) photography provided additional information on the surface coatings an in-depth scientific investigation of the ground and paint layers with a special focus on fading colors and altered surfaces was carried out non-invasively with point and macro-X-ray fluorescence (XRF) spectroscopy and multi-channel visible spectrum four-light imaging followed by the analysis of cross sections and dispersed pigment samples by means of optical microscopy transmission Fourier-transform infrared (FTIR) and Raman spectroscopies and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS) as well as high-performance liquid chromatography with photodiode array detection (HPLC-PDA) and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) Results indicated that both the brushwork and artist's palette of all three paintings are consistent with data previously reported for other Van Gogh works and with pigments described in the artist’s letters to his friends and his brother Theo evidence of biodeterioration and paint alteration phenomena was found on Roadway with Underpass while specific pigments such as eosin red—historically sold as geranium lake—were detected in areas of Landscape with Snow and Mountains at Saint-Rémy that display severe fading In addition to assisting the development of a suitable plan for the conservation of the 1887 painting this study traces the progression of Van Gogh’s practice over three years critical to his artistic development discusses the historical context in which each masterpiece was created identifies the range of materials and techniques used and addresses authenticity questions by providing a comparison with results of scientific analysis from other similar works Paintings by Vincent van Gogh analyzed in this study c Mountains at Saint-Rémy (Montagnes à Saint-Rémy) Several leading questions regarding the materials composition and related degradation processes determined the primary scope of this study All three paintings exhibit some degree of surface alteration including fading of certain red organic lake pigments—phenomena that are discussed and referenced below Landscape with Snow has lost some of the bold effects of Van Gogh’s signature use of complementary colors such as pink next to green and yellow adjacent to purple The painting no longer retains its original vibrant juxtapositions of hues due to the fading of photosensitive pigments bright pinks and purples can be observed through cracks in the surface Mountains at Saint-Rémy is characterized by an overall blue palette that appears to be missing some of the red hues until it was removed during a major conservation treatment in 2018 brownish-gray layer trapped in the troughs of impasto Presumably applied to cover abraded areas from an earlier restoration this layer penetrated regions of exposed ground and saturation by the varnish accentuated its appearance these coatings rendered the painting dark and brooding closer to Van Gogh’s earlier Dutch period paintings the surface treatment and its subsequent degradation shifted the global tonality of the composition from cool to warm No confirmation exists that Theo received the pictures through Vincent’s friend Christian Mourier-Petersen or that he followed through on his brother's request to have them delivered to the Levaillant de La Boissière family; yet From this group of pictures that Thannhauser acquired in the late 1920s Justin Thannhauser ultimately donated Roadway with Underpass to the Solomon R gave Landscape with Snow to the Guggenheim in 1984 Justin Thannhauser likewise donated Mountains at Saint-Rémy a work whose provenance and authenticity were not in question following a promised gift and extended loan an in-depth technical study of the three Van Gogh paintings at the Guggenheim involved visual documentation and scientific analysis of the surface coatings and degradation materials and their supports by means of a variety of instrumental techniques This research aimed to trace the progression of Van Gogh’s practice over three years as he moves from Paris to the South of France; to discuss the historical context in which the three masterpieces were created; to identify the materials and techniques used; and to compare the results of scientific analysis to data obtained from similar paintings by the artist as well as to his correspondence with friends and family Special attention was devoted to the investigation of the current appearance of the works as a result of the fading of red organic lake pigments as well as in relation to the paintings’ treatment history including early linings and cleaning interventions Based on the results of pigment analysis and spectral reflectance measurements acquired across the surface a digital reconstruction of Landscape with Snow was produced to provide viewers with a recolorized visualization of the appearance of this work prior to the fading of the original pink and purple tones the comparative study of Van Gogh’s materials was crucial to shed light on issues of authenticity concerning Roadway with Underpass and Landscape with Snow the examination of the paintings’ surfaces as well as the analysis of cross sections and identification of various degradation issues helped inform a suitable treatment strategy to clean the 1887 work The campaign of technical examination and scientific analysis performed on Van Gogh’s Roadway with Underpass and Mountains at Saint-Rémy relied on in-situ non-invasive investigations with portable instruments and removal of microscopic samples followed by micro-invasive analysis with benchtop equipment in the Department of Scientific Research (DSR) of The Metropolitan Museum of Art (The Met) Initial inspection of the three paintings in the Guggenheim’s conservation laboratory involved visual documentation of the brushwork non-invasive analyses using handheld X-ray fluorescence (XRF) spectroscopy and multi-channel visible spectrum four-light imaging were carried out to gather information on the color palette in a selection of representative locations of the three works the paintings were transferred to The Met for macro-XRF (MA-XRF) analysis Removal of fourteen microscopic scrapings and samples for cross sections led to examination with optical microscopy and micro-invasive analysis with a variety of instrumental techniques including transmission Fourier-transform infrared (FTIR) and Raman spectroscopies as well as scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS) with the main goal to identify the pigments and extenders located in the ground and paint layers Scrapings were also investigated with high-performance liquid chromatography with photodiode array detection (HPLC-PDA) and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) for a detailed characterization of some of the red lake pigments present in the paint mixtures as well as the varnish and remnants of a brownish-gray material that covered the surface of Roadway with Underpass Experimental conditions for the analytical techniques employed are reported below IR photography IR reflectography and transmittography were conducted using an Opus Instruments equipped with an InGaAs detector with sensitivity in the 900–1700 nm range An 850-nm long-pass IR filter was used with a Rodagon 150 mm f/5.6 lens The Osiris SWIR imager uses a linear 512-pixel sensor within a precision-geared mechanism that assembles a final 4096 × 4096 pixel image file Images were post-processed and optimized within Adobe Photoshop UV photography UV-induced visible fluorescence photography was captured with a Sony Alpha 7RII mirrorless digital camera with Kodak Wratten 2E (UV-blocking) and Peca Products 918 (UV-IR-blocking) filters over the camera lens The paintings were irradiated with two UV Systems TripleBright II fixtures with low-pressure mercury fluorescent UVA lamps with a peak emission at 368 nm A UV Innovations Target-UV was used for white balance and post-processing was performed in Adobe Lightroom following the Capture Workflow by UV Innovations Small-aperture visible reflection spectroscopy Analysis was carried out for Landscape with Snow using a X-Rite i1 Pro 1 spectrophotometer that samples the visible spectrum from 380 nm through 730 nm at 10-nm interval and bandpass and a 3.5-mm circular aperture X-radiography Radiography was carried out using a Picker Hotshot AXR X-ray system by Associated X-Ray Corporation and 90 s for Roadway with Underpass; 45 kV and 45 s for Landscape with Snow; and 45 kV Captures were digitized and stitched at the Northeast Document Conservation Center (NEDCC) The scanner utilized GE Rhythm Acquire version 4.0 and Rhythm Review version 4.0 to capture and then process the files Stitching and other post-processing work was performed with a combination of PTGui and Photoshop softwares Point XRF Analysis was performed using a handheld Bruker Tracer III-V™ energy dispersive XRF analyzer with Peltier-cooled advanced high-resolution silver-free Si-PIN detector with a 0.2-μm beryllium (Be) window and average resolution of approximately 142 eV for the full width at half maximum of the manganese (Mn) Kα line The system is equipped with changeable filters and a rhodium (Rh) transmission target with maximum voltage of 45 kV and tunable beam current of 2–25 µA The size of the spot analyzed is approximately 3 × 4 mm by positioning the instrument at a ≈1-mm distance from the artwork’s surface MA-XRF The three paintings were mapped using a Bruker M6 Jetstream® instrument with the X-ray source operated at 50 kV and 0.5 mA A 700-μm spot size and a 700-μm step size were used for the three works and 120 ms/pixel for Mountains at Saint-Rémy The spectra were processed using the Bruker M6 Jetstream® software FTIR Analysis was carried out in transmission mode with a Hyperion 3000 FTIR spectrometer equipped with a mercury cadmium telluride (MCT) detector Each sample was crushed in a Spectra Tech diamond anvil cell and all the materials contained in it were analyzed as a bulk through a 15× objective Spectra were collected in the 4000–600 cm−1 range Spectra were interpreted by comparison with published literature and library databases available at The Met’s DSR Raman Analysis was conducted using a Bruker Senterra Raman spectrometer equipped with an Olympus 50× long working distance microscope objective and a CCD detector and two holographic gratings (1800 and 1200 rulings/mm) provided a spectral resolution of 3–5 cm−1 The output laser power was kept between 10 and 25 mW while the number of scans and integration time were adjusted to prevent damage from overheating and according to the Raman response of the samples examined SEM/EDS Samples for SEM/EDS analysis were mounted as cross sections in methyl methacrylate resin (Technovit® 2000 LC) then polished using Micro-mesh® cloths to expose the stratigraphy Analysis was carried out with a FE-SEM Zeiss Σigma HD equipped with an Oxford Instrument X-MaxN 80 silicon drift detector (SDD) as well as EDS elemental spot analysis and mapping were performed in high vacuum with an accelerating voltage of 20 kV The solution was evaporated under a gentle N2 stream 10 μL of methanol and 10 μL of 0.01 M aqueous oxalic acid (the latter acting as a chelating agent for any metal elements) were thus added the solution was stirred and dried under N2 stream 20 μL of methanol were added again to the vial and the solution was placed under N2 stream to evaporate the acid further; the same procedure was repeated once again In order to account for the possible presence of indigotin 2 μL of dimethylformamide were then added and heated at 50–60°C for a few min after which 7 μL of 1% aqueous formic acid and 9 μL of methanol were also added to the vial The solution was then centrifuged at 3500 g for 10 min and the supernatant injected into the HPLC system The analytical system used consisted of a 1525 micro binary HPLC pump and a Rheodyne 7725i manual injector with 20-μl loop (Waters Corporation An XBridge BEH Shield RP18 reverse-phase column (3.5-μm particle × 150 mm) equipped with an XBridge BEH Shield RP18 guard column (3.5-μm particle Massachusetts) was used with a flow rate of 0.2 mL/min An Upchurch ultra-low volume pre-column filter with a 0.5-µm stainless steel frit (Sigma-Aldrich Missouri) was attached in front of the guard column The mobile phase was eluted in a gradient mode of (A) 1% formic acid in high purity water and (B) a mixture of methanol and acetonitrile (1/1 The solvent gradient was as follows: 90% (A) for 3 min Missouri) was dissolved in a mixture of methanol and water (1/1 v/v) prior to injection into the HPLC system Py-GC/MS Analysis was conducted on an Agilent 5973N gas chromatograph equipped with a Frontier PY-2020iD Double-Shot vertical furnace pyrolyzer fitted with an AS-1020E Auto-Shot autosampler The GC was coupled to a 5973N single quadrupole mass selective detector (MSD) Samples of 30–50 µg were weighed out in deactivated pyrolysis sample cups (PY1-EC80F Disposable Eco-Cup LF) on a Mettler Toledo UMX2 Ultra microbalance Samples were then either pyrolyzed without derivatization or derivatized with tetramethyl ammonium hydroxide (TMAH) before pyrolysis Derivatization took place in the same cups as follows: 3–4 µl of 25% TMAH in methanol (both from Fisher Scientific) were added directly to the sample in each cup with a 50-µL syringe and The interface to the GC was held at 320°C and purged with helium for 30 s before opening the valve to the GC column The samples were then dropped into the furnace and pyrolyzed at 550°C for 30 s The pyrolysis products were transferred directly to a DB-5MS capillary column (30 m × 0.25 mm × 1 µm) with the helium carrier gas set to a constant flow of 1.5 mL/min The GC oven temperature program was: 40°C for 1 min; 10°C/min to 320°C; isothermal for 1 min The Agilent 5973N MSD conditions were set as follows: transfer line at 320°C electron multiplier at approximately 1770 V; scan range 33–550 amu the detector was turned off until 3 min to avoid saturation by excess of the derivatizing agent and solvent Data analysis was performed on an Agilent MSD ChemStation D.02.00.275 software by comparison with the NIST 2005 spectral libraries A summary of the results obtained from the technical examination and scientific analysis of the three Van Gogh paintings under study is reported in Table 1 These data are presented and discussed in further detail in the following paragraphs Though residing in Paris in 1887, Van Gogh made frequent trips to the suburb of Asnières in order to paint in nature. He would typically stay at the family home of his friend Émile Bernard (1868–1941), a young painter he mentored. Roadway with Underpass (Fig. 1a) depicts one of the many now-extinct poternes that circled Paris and regulated entry into the city The masonry structure of the tunnel and surrounding foliage in the painting are nearly identical to images on postcards that predate alterations made in the early 20th century A woman walks in the shadows of the arched underpass moving away from the viewer toward a glint of light on the other side chimney stacks peek out through the dense vegetation Roadway with Underpass was executed on a 2-mm thick which would have been inexpensive and easy to carry en plein air Van Gogh typically used carton with both smooth and coarse preparations; in this instance the painting’s preparation layer was found to be a characteristic two-layer ground visual features and early photographs of Roadway with Underpass in addition to Thannhauser gallery labels affixed to the reverse suggest that the painting was already mounted on an auxiliary support of approximately 7-mm laminated cardboard by the late 1920s A significant tear or bend in the main carton support at left of center may have been the motivation for the mounting which would have rendered the painting more stable for transport This attachment to a secondary support appears to have resulted in overall flattened impasto and abrasion of thinner areas of paint application and c UV light microphotographs of cross section VG4 from Roadway with Underpass the bottom and top layers of the ground preparation while the red arrow shows the location of the sulfur- Elemental distribution maps of Roadway with Underpass acquired by MA-XRF From top left to bottom right: lead (Pb Lβ) At this time, Van Gogh was known to frequently use a perspective frame when plotting out his landscapes. In the present work, however, no clear indication of the use of this device exists. Instead, beneath the image, dilute linear strokes of red lake are visible (Additional file 3: Figure S3) delineating the architecture and the angles of the roadway The composition was originally defined with thin washes and thinned oil drawing lines and sections of the masonry were left in reserve to establish the base color of the stone structure Dilute red drawing can also be seen in other Paris period paintings notably Montmartre: Windmills and Allotments (1887 One possible explanation of this result may lie in the fact that air-borne dirt and organic residues from the en plein air technique remained on the work’s surface Storage in high humidity conditions may have then contributed to the biodeterioration of these materials over time the painting may have been varnished without completely removing these extraneous surface residues thus locking them beneath the thick varnish coating the gray-brown layer was no longer saturated by the coating and did not compromise the overall appearance as it had previously Having been determined to constitute a permanent alteration to the painting surface Landscape with Snow had the misfortune of emerging on the art market at a time when numerous Van Gogh fakes were being produced; therefore an in-depth technical examination and scientific analysis was carried out with the primary goal to uphold or challenge the work’s authenticity IR reflectogram of verso of canvas for Landscape with Snow detail of center right (rotated 90° counter­clockwise) showing the stamp for Van Gogh's preferred Parisian colorman a BSE image, b polarized light, and c UV light microphotographs of cross section S4 from Landscape with Snow, i.e. ground preparation and paint. In the BSE image, 1 and 2 indicate, respectively, the bottom and top layers of the ground preparation, while the red arrows show the location of the fossilized marine organisms a Polarized light and b UV light microphotographs of cross section S7 from Landscape with Snow revealing a bright pink layer with a yellow UV-induced autofluorescence whose superficial portion likely faded upon exposure to light a scraping of pink paint underneath some purple strokes in the field compared to that of a reference eosin sample d Visible spectrum of the main peak detected in the chromatogram of sample S5 Van Gogh skillfully achieved the patchy coverage of the snow through linear dashes and thick strokes of impasto dragged in all directions across the surface leaving large areas of bare ground exposed which are visible under the bands of colored grasses in the field The graphite lines of a perspective frame could not be readily identified either with the naked eye or under magnification although the artist claimed to have continued his use of this device select trees were left in reserve and the sky was painted around them while others appear to have been painted wet-in-wet was only used in the two roofs of the buildings in the background X-ray elemental maps of two different blue paint samples taken from the sky of Landscape with Snow as analyzed with SEM/EDS in a cross section S3 ground preparation and greenish-blue paint and ultramarine blue; and b cross section S4 Detail of the upper left quadrant of Landscape with Snow and b a digital recolorized visualization that approximates the original appearance of the faded pinks are visible in the foreground of Mountains at Saint-Rémy the paint handling comprises stylized swirling forms and systematic parallel lines adjacent to long undulating veins Although primarily built up with thick impastoed paint intermittent skips reveal the ground layer which is rendered rosy beige by the adjacent blue and green tonalities when the painting was mounted on a standard-size French stretcher Elemental distribution maps of Mountains at Saint-Rémy acquired by MA-XRF a Detail of Mountains at Saint-Rémy juxtaposed with b an overlap of the bromine (Br Kα) and chromium (Cr Kα) distribution maps acquired by MA-XRF The gray arrows in the latter image indicate some of the locations where eosin red (Br) and an iron-containing pigment (Fe) The examination and analysis of three paintings from Vincent van Gogh’s s mature years helped to address authenticity questions and to shed light on the possible presence of ongoing degradation phenomena The in-depth investigation of the surface coatings and degradation materials and their supports provided crucial information to substantiate art historical research to aid in the understanding of materials and techniques and to clarify the current aesthetic appearance of these works which have undergone conservation treatments and natural deterioration the extensive scientific analysis supports the design and development of preservation protocols as well as appropriate conservation treatment strategies The Wacker forgeries of the late 1920s were often based on the artist’s major subjects While Roadway with Underpass and Landscape with Snow are relatively minor paintings within Van Gogh’s oeuvre they document the artist’s movements in France at critical junctures in his career the analysis by a combination of non-invasive and micro-invasive tools revealed the use of materials and techniques analogous to contemporaneous and indisputably authentic Van Gogh works is the close correspondence with the support and ground of View of a Butcher’s Shop a painting made in the first few days following the artist’s arrival in Arles The detection of a stamp from one of Van Gogh’s preferred Parisian colorman shop applied directly to the original support of this 1888 work but hidden beneath an early lining canvas Other salient discoveries included the characterization of faded organic lake pigments which caused a shift of bright pinks to pale pink and white and of mauve to gray in Landscape with Snow and Mountains at Saint-Rémy This identification led to a digital reconstruction of Landscape with Snow providing viewers with a recolorized visualization to approximate the appearance of the original palette prior to the fading of the pink and purple tones the characterization of a non-original varnish and potassium-containing layer between the ground and paint layers and of metabolite products of a certain genus of fungi—yielding a brownish appearance to the surface and likely indicating biodeterioration—contributed to the development of a suitable treatment for this painting All data generated during this study are either included in this published article or available from the corresponding author upon reasonable request Scanning electron microscopy with energy-dispersive X-ray spectroscopy High-performance liquid chromatography with photodiode array detection Pyrolysis-gas chromatography/mass spectrometry Van Gogh’s ‘Garden of the Asylum’: genuine or fake Comparison of the fading and surface deterioration of red lake pigments in six paintings by Vincent van Gogh with artificially aged paint reconstructions Proceedings of the 14th Triennial Meeting of the ICOM Committee for Conservation Meeting in Den Haag An investigation of organic red pigments used by Vincent van Gogh (November 1885 to February 1888) Chicago: The Art Institute of Chicago; 2016 Van Gogh’s Irises and Roses: the contribution of chemical analyses and imaging to the assessment of color changes in the red lake pigments Digitally reconstructing van Gogh’s Field with Irises near Arles part 2: Pigment concentration maps “Paintings fade like flowers”: pigment analysis and digital reconstruction of a faded pink lake pigment in Vincent van Gogh’s Undergrowth with Two Figures Molecular fluorescence imaging spectroscopy for mapping low concentrations of red lake pigments: Van Gogh’s painting The Olive Orchard Rapid evaluation of the debromination mechanism of eosin in oil paint by direct analysis in real time and direct infusion-electrospray ionization mass spectrometry New insights into the fading mechanism of Geranium lake in painting matrix The issue of eosin fading: a combined spectroscopic and mass spectrometric approach applied to historical lakes Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of synchrotron X-ray spectromicroscopy and related methods Degradation process of lead chromate in paintings by Vincent van Gogh studied by means of spectromicroscopic methods and detection of different crystal forms of the chrome yellow pigment Artificial aging of model samples of co-precipitates of lead chromate and lead sulfate Chromium speciation methods and infrared spectroscopy for studying the chemical reactivity of lead chromate-based pigments in oil medium with an illustrated catalogue of the forgeries Sammler und Markt: Unbekannte bilder van Vincent van Gogh Marketing modernism: the Thannhauser Gallery and its clients The Thannhauser Gallery: Marketing Van Gogh Vincent van Gogh: the letters; the complete illustrated and annotated edition Spectral imaging using a commercial colour-filter array digital camera Preprints for the ICOM-CC 14th Triennial Meeting Practical total appearance imaging of paintings Imaging artwork in a studio environment for computer graphics rendering The coccid insect dyes: HPLC and computerized diode-array analysis of dyed yarns Thannhauser Collection: French Modernism at the Guggenheim New York: Guggenheim Museum Publications; 2018 Amending the Record: Vincent van Gogh’s Roadway with Underpass and Landscape with Snow Unravelling the spatial dependency of the complex solid-state chemistry of Pb in a paint micro-sample from Rembrandt’s Homer using XRD-CT Production of mycotoxins on artificially inoculated building materials Microbial deterioration of cultural heritage and works of art—tilting at windmills Van Gogh letter 569: Jansen L, Luijten H, Bakker N, editors. Vincent van Gogh - The Letters. Amsterdam & The Hague: Van Gogh Museum & Huygens ING; 2009. Version: October 2020. http://vangoghletters.org Van Gogh letter 579: Jansen L, Luijten H, Bakker N, editors. Vincent van Gogh - The Letters. Amsterdam & The Hague: Van Gogh Museum & Huygens ING; 2009. Version: October 2020. http://vangoghletters.org Advances in computer-assisted canvas examination: Thread counting algorithms In: 37th Annual Meeting of American Institute for Conservation of Historic and Artistic Works High-resolution non-invasive 3D imaging of paint microstructure by synchrotron-based X-ray laminography A multidisciplinary approach to the study of the brightening effects of white chalk ground layers in 15th and 16th century paintings Van Gogh’s painting grounds: quantitative determination of bulking agents (extenders) using SEM/EDX Van Gogh letter 593: Jansen L, Luijten H, Bakker N, editors. Vincent van Gogh - The Letters. Amsterdam & The Hague: Van Gogh Museum & Huygens ING; 2009. Version: October 2020. http://vangoghletters.org Van Gogh letter 590: Jansen L, Luijten H, Bakker N, editors. Vincent van Gogh - The Letters. Amsterdam & The Hague: Van Gogh Museum & Huygens ING; 2009. Version: October 2020. http://vangoghletters.org Digital color reconstructions of cultural heritage using color-managed imaging and small-aperture spectrophotometry Multi-spectral imaging of a van Gogh's self-portrait at the National Gallery of Art In: Society for imaging science and technology conference proceedings; 2001 Van Gogh letter 595: Jansen L, Luijten H, Bakker N, editors. Vincent van Gogh - The Letters. Amsterdam & The Hague: Van Gogh Museum & Huygens ING; 2009. Version: October 2020. http://vangoghletters.org Van Gogh letter 789: Jansen L, Luijten H, Bakker N, editors. Vincent van Gogh - The Letters. Amsterdam & The Hague: Van Gogh Museum & Huygens ING; 2009. Version: October 2020. http://vangoghletters.org Van Gogh letter 805: Jansen L, Luijten H, Bakker N, editors. Vincent van Gogh - The Letters. Amsterdam & The Hague: Van Gogh Museum & Huygens ING; 2009. Version: October 2020. http://vangoghletters.org Download references The authors are grateful to Charlotte Hale for many helpful discussions and for assisting in setting up the paintings for MA-XRF analysis generously shared her deep knowledge of Van Gogh’s work and was an invaluable research partner Paintings Conservator at the Van Gogh Museum also facilitated comparative study and analysis and the authors likewise appreciate the additional research support from Neinke Bakker coordinated many facets of this Van Gogh study at the Guggenheim Anna Cesaratto for her contribution to this project during her time at The Met working in the NICS program This research was made possible by the Network Initiative for Conservation Science (NICS) Support for NICS was provided by a grant (31500630) from The Andrew W Departments of Curatorial and Conservation as well as part of SEM/EDS analysis and data interpretation and wrote the manuscript draft with inputs from all other authors EB conducted some of the SEM/EDS analysis and data interpretation NS performed HPLC-PDA analysis and data interpretation LMS acquired the MA-XRF data and contributed to the data processing and interpretation SAC contributed to the MA-XRF data processing and interpretation as well as to the interpretation of micro-analytical data RB carried out visible reflection spectroscopy and multi-channel visible spectrum four-light imaging and created the digital recolorized visualization of Landscape with Snow All authors edited the manuscript and approved the final version The authors declare that they have no competing interests Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations Polarized light microphotographs of cross sections VG1 (top) and VG3 (bottom) from Roadway with Underpass X-ray elemental maps acquired by SEM/EDS of a portion of cross section VG4 from Roadway with Underpass The red arrows indicate the presence of two sulfur- It is possible that the migration of these elements from the adjacent lead white and iron-containing earth paints may have contributed to the formation of the layers observed showing dilute red underpainting of the tree trunk and grainy effect created by the ground (photograph taken after the 2018 varnish removal) Detail of Roadway with Underpass before (right) and after (left) cleaning Polarized light microphotographs of cross sections S2 (top) (A) Raman and (B) FTIR spectra of sample S2 from Landscape with Snow Materials identified include lead white in the form of hydrocerussite Elemental distribution maps of Landscape with Snow acquired by MA-XRF X-ray elemental maps and BSE image acquired by SEM/EDS of a portion of cross section S7 from Landscape with Snow revealing that the latter consists of a bromine-containing pigment precipitated onto an aluminum-based substrate mixed with lead white and an abundance of minute ultramarine blue particles unless otherwise stated in a credit line to the data Download citation DOI: https://doi.org/10.1186/s40494-021-00489-1 Anyone you share the following link with will be able to read this content: a shareable link is not currently available for this article Sign up for the Nature Briefing newsletter — what matters in science Latest UpdatesCountries Why Join?IL MagazineFree Daily E-LetterVideoOur ExpertsTestimonialsFAQsTopics Tuula Rampont is thrilled to have found her own slice of “la belle vie” and loves sharing the best of what living in France has to offer the couple packed up their home in Menlo Park California and embarked on a life-changing adventure in Neuchatel who was working at an American company at the time had accepted an offer to represent his firm in the company’s Swiss office Surrounded by the beautiful alpine countryside and French-speaking colleagues and neighbors Keith and Val were in for the ride of their lives and pared-down pace of life…the couple didn’t want to miss a minute exploring as much of Europe as possible in their free time “When you move to a different country, it’s life changing,” says Keith. “We loved it. We traveled all over Europe. We traveled to France a lot Learn more about France and other countries in our daily postcard e-letter Simply enter your email address below and we’ll send you a FREE REPORT: A Taste of France: All the Ingredients for the Good Life but not so big that it’s like a real city,” says Keith “It’s surrounded by a lot of interesting little villages to visit The couple returned year after year to vacation in Saint Remy and eventually decided they wanted to make the town their part-time home Keith says that they weren’t ready to give up their day jobs so capitalizing on their combined talents seemed like the right road to take The couple became consultants in their respective fields—Keith in finance and Val in economic development and it took several years to build up their client base to a point where they could feel comfortable making the part-time move abroad “You can work a lot part of the year,” says Keith, “and then not as much for another part of the year. And we structured things around that, so we could spend three months in France and mostly not work Through a bit of trial and error over the years Keith and Val have discovered ways to optimize their “life in Saint Remy” budget “Don’t get a place in a main tourist town,” says Keith People love long-term stays—everybody wins.” she also regularly checks rental listings on local tourist office sites Keith warns that certain indulgences can quickly run up the budget You can be very reasonable and eat like royalty.” Following these guidelines, Keith believes that a couple can live comfortably in Provence for about $2,500 a month (plus transit) Now an accomplished writer in his own right Keith has published two books about living la belle vie in France with Val: One Sip at a Time: Learning to Live in Provence and Are We French Yet the couple may slow down on the business side of things but have no plans to give up their sunny escape in southern France A 7-Day Itinerary for Alluring Occitanie, the Other South of France 5 Things to do in France’s Occitanie Region 5 Best Cities and Towns to Live and Retire in France The Domaine et Musée de la Fondation Coubertin, nestled in Saint-Rémy-lès-Chevreuse, is a true cultural treasure of the Yvelines region. Many know the town for its sublime Ponts promenade just a stone's throw away but did you know that the Fondation Coubertin estate is open to visitors at weekends Here you can discover the Jardin des bronzes an open-air sculpture museum set in a superb park between plain and forest The château houses the magnificent works of Joseph Bernard The Fondation de Coubertin was born in 1949 from the meeting between Yvonne de Coubertin and Jean Bernard Their shared vision led to the creation of a workers' university recognized as a public utility in 1973 The Fondation de Coubertin is dedicated to moral and cultural upliftment transmitting the values of humanism through an education focused on manual trades The Fondation de Coubertin museum, which has been awarded the"Musée de France" label houses sculptures and drawings dating from the late 19th century to the present day The museum displays its collections in several spaces around the château offering a unique exhibition in the heart of nature The collection began with gifts from Jean Bernard in 1985 and has grown over the years through donations and bequests Domaine de Coubertin covers 30 hectares and includes the château is a historic site that belonged to the Fredy de Coubertin family for 400 years offers accommodation for students and visitors with the Ateliers Saint-Jacques and the Fonderie de Coubertin exhibits some of the museum's sculptures and is a renowned vocational training center is a permanent exhibition of sculptures dating from the 19th century to the present day Designed by architect Robert Auzelle at Jean Bernard's request while small staircases provide access to successive terraces created this marvellous open-air exhibition space Appel.les Fenosa and Robert Wlérick are on permanent display Étienne Hadju is represented by Eléonore (bronze) and Fabulation (lead bas-relief The garden is linked to the lawn behind the château by a monumental staircase where Pablo Gargallo's Urano can be admired The walk through the alleys of the château park is enhanced by large sculptures In front of the château stand two monumental bronzes by Bourdelle created by the Fonderie de Coubertin: Cheval du monument du général Alvear and L'Epopée polonaise On the terrace overlooking the Jardin des bronzes are three bronzes byÉtienne-Martin installed in the perspective of the 18th-century ice house This spring 2024, the museum presents a temporary exhibition dedicated to the sculptor Maria Papa Rostkowska made in the Italian quarries of the Henraux marble factory in Querceta The museum is open to the public only on Saturdays and Sundays from 2:00 pm to 7:00 pm reservations are required from April 1 to October 31 Rates are €5 full price and €3 concessions are available at an additional cost of €3.In short this is a great idea for a stroll through an open-air museum a visit to a wooded estate and the discovery of a temporary exhibition by a talented sculptress Call us: +96265504222 Copyright © 2025 Ammonnews. All Rights Reserved. Adventures with Van Gogh is a weekly blog by Martin Bailey The Art Newspaper's long-standing correspondent and expert on the Dutch painter stories range from newsy items about this most intriguing artist to scholarly pieces based on meticulous investigations and discoveries Explore all of Martin’s adventures with Van Gogh here The bizarre forms in Mountains at Saint-Rémy (July 1889) are often assumed to reflect Van Gogh’s tortured mind But in fact the artist has brilliantly captured the contortions of the strange peaks of Les Alpilles in southern France In the centre of the artist’s composition he has included a weathered limestone feature known as Les Deux Trous (The Two Holes) a name that aptly describes a crest which has been punctured by rain and wind Initially he was confined within the asylum’s walls but a month later he was allowed out for a few hours each day to explore the dramatic landscape—and to paint Van Gogh regarded Les Alpilles (the small Alps) as mountains even though they should really be regarded as mere hills they were the highest elevations he had ever seen Vincent wrote to his brother Theo in mid July 1889 about Mountains at Saint-Rémy: “The latest canvas I’ve done is a view of mountains with a darkish hut among olive trees at the bottom.” He explained to Theo that he had been partly inspired by a passage in a newly published novel by the Swiss-French writer Edouard Rod Rod referred to the homes of mountain dwellers: “Their wooden huts are small and dark meagre against the terrible cold of their winters” adding that in their small gardens “sway scarce sunflowers” In the painting, the lone farmhouse nestles in an olive grove. Van Gogh duly added several of his beloved sunflowers in the foreground but his red pigment has disappeared (fading of Van Gogh’s colours is a widespread problem) Mountains at Saint-Rémy was painted around ten minutes’ walk from the asylum’s gate on the road that ran southwards over Les Alpilles Postcard of the road over the Alpilles (around 1905) The roof of the farmhouse in Van Gogh’s painting can just be made out on the left A few of the paving stones over a roadside ditch that appear in the painting can also be seen in the postcard In the background of the postcard the dominant mountain with three peaks is Mont Gaussier (Van Gogh depicted only the two left peaks in his painting) Les Deux Trous can just be seen in the postcard By the early 20th century it was realised that the extensive ruins of the Roman city of Glanum lay buried beneath the area in the foreground of the postcard leading to the demolition of the farmhouse and the moving of the road slightly to the west Van Gogh suffered a severe mental attack on 16 or 17 July just two days after completing Mountains at Saint-Rémy While working nearby he was suddenly overcome and ate some of his paints but his throat quickly became very badly swollen For four days he was in agony and unable to eat Acknowledging that he had attempted suicide he explained that “finding the water too cold” he was struggling “to catch hold of the [river] bank again” It can be dangerous to read too much into Van Gogh’s mental condition from his carefully crafted paintings but perhaps something of the controlled energy behind Mountains at Saint-Rémy mirrors the intensity of his thoughts at this time After his recovery, Vincent sent Mountains at Saint-Rémy to his brother Theo in Paris in September 1889. In June 1890, a month before Vincent’s suicide, Theo offered the Saint-Rémy landscape to their Belgian artist friend Eugène Boch Boch gave the two brothers a picture of the exterior of a coal mine in the Borinage Eugène Boch’s The Mine Crachet-Picquery in Frameries Borinage (1888-90) Credit: Van Gogh Museum The Boch painting had a particular personal significance for Vincent since before he set out to become an artist he had served as a missionary among the Borinage coal miners Five years later the new owner lent it to the landmark exhibition of Modern art held at the New York Armory The painting was bought in 1929 by the US dealer Justin Thannhauser Thannhauser lent a large group of paintings Two years after his death in 1976 Mountains at Saint-Rémy was bequeathed to the museum where it remains as one of the highlights of the Thannhauser collection A very short letter from Van Gogh, which sold for €93,600 ($103,000) at Aguttes in Paris on 5 April is being auctioned again, just two months later, this time by Boston-based RR Auctions. It is now estimated at $200,000-$300,000 which with the buyer’s premium would be more than double or triple the April price Presumably the April buyer thought they had bought it for a bargain price and wanted to realise a profit The letter, dated 2 September 1875, was sent to Egbert Borchers It has only six sentences (160 words) of text—and no mention of art If it sells for its mid-estimate on 15 June the bidder will pay (with buyer’s premium) nearly $2,000 a word Martin Bailey is a leading Van Gogh specialist and special correspondent for The Art Newspaper He has curated exhibitions at the Barbican Art Gallery Compton Verney/National Gallery of Scotland and Tate Britain To contact Martin Bailey, please email vangogh@theartnewspaper.com Please note that he does not undertake authentications Explore all of Martin’s adventures with Van Gogh here there is now a surge in the market for Vincent’s late paintings blog25 February 2022Revealed: Van Gogh landscape once owned by Yves Saint Laurent coming up for sale, valued at $45mChristie’s is to offer the never-exhibited painting in a New York auction in May Please enable JS and disable any ad blocker ShareSaveBusinessRetailCanadian Push For Final St-Rémy Cask-Finish Brandy And New Art EditionByKevin Rozario and the global traveling shopper.Follow AuthorDec 31 07:39am ESTShareSaveThe final release from the Cask Finish Collection will be in Canadian retail soon French brandy producer St-Rémy is ending its Cask Finish Collection with a flourish by teaming up with Calvados producer Château du Breuil for the final expression The Canadian launch is slated for early 2024 another limited edition is arriving in stores through an exclusive collaboration with French artist Lucas Beaufort The ninth and last cask collection edition—Finished in Calvados Casks—consists of just 12,580 bottles and has a limited geographical rollout executive director at St Rémy's parent Rémy Cointreau the line has already launched in travel retail and Mexico—plus France at the Chateau du Breuil boutique in Pays d’Auge The dates and timings for these latter markets will vary “some of them depending on the stocks of the previous editions of the Cask Finish Collection” said Rimbaud it is already available at the Chateau du Breuil boutique but will only be available in Canada next year.” says that being present in over 70 markets worldwide makes St-Rémy the market leader with a share of 18.2% (source: IWSR 2021 data) Canada’s historic French connections make it the top market globally for St-Rémy Retail distribution is mainly through government enterprises such as the Liquor Control Board of Ontario (LCBO) and BC Liquor which have hundreds of outlets in their respective provinces Canadian pricing will be in line with previous lines from the Cask Finish Collection said Rimbaud a previous Port Cask Finish 70cl bottle currently retails for 49.99 Canadian dollars ($37.69) in BC Liquor’s online store there is little appetite for brandy—it is essentially an export product master blender for St-Rémy told me: “About 92% of it is exported as St-Rémy is not well known in France; consumers here don’t really buy brandy cognac and armagnac are better known but more for the end of a meal shows the value of marketing in some markets and not others “Travel retail remains a key market for us because it gives the brand global exposure but distribution changes and tax increases led consumers towards more local products The calvados limited edition will only be offered in the selected markets noted above Roudaut decided to partner with a French calvados house to have an all-French send-off “I expect it will be a success in Canada,” she said “The apple element will appeal to palates there as apple-derived flavors are known to find favor in Canada The calvados cask version relies more on the flavor coming from the cask itself with more time to fully develop The series is ending now “because I want to do something else” Roudaut said candidly The colorful Lucas Beaufort limited edition is likely to have a wider demographic appeal St-Rémy’s Roudaut said: “With the pot-still distillation process you have several possibilities using varietals and mono-grapes Blends of grapes from specific French regions to highlight different terroirs is one idea That is possibly a clue—collections based on regional grape varieties and terroirs the Lucas Beaufort limited edition XO bottle adds an extra element of excitement to the brandy category thanks to the artist’s colorful street art and urban styling The artwork is said to be inspired by a tasting and masterclass with Roudaut where Beaufort then translated St-Rémy XO’s key flavors of vanilla and wood plus ripe fruits and honey into different hues for the design F | F | 5-Day Forecast °F Now | Forecast A view of State Street from our room at the Double Tree Santa Barbara Downtown The stylish interior of the Saint Remy Restaurant Pasadena is a beautiful place but sometimes you just need a change of scenery One of my favorite scenic spots is Santa Barbara So I was excited to be invited to the opening of the Saint Remy restaurant at the newly renovated Courtyard Santa Barbara Downtown We were staying the night in the hotel while enjoying the restaurant Our room faced the outside of the hotel with a view of State Street and all the beautiful Spanish architecture I could even see a bit of ocean peeking through the palm fronds The Saith Remy is an intimate restaurant with seating for fifty Its menu has a definite Coastal Mediterranean bent with dishes that use feta cheese and locally-sourced veggies and other ingredients We began our evening with an Old Fashioned with the bartender’s own simple syrup and an order of the restaurant’s devine Whipped Feta The dish was a heavenly combination of creamy feta It was served with charred lavash bread that was encrusted with sesame seeds The feta was light and fluffy with a subtle lemon essence The pop of the sweet pomegranate created a foil to the salt and tart of the feta We followed up the fabulous feta with the Prosecco Poached Shrimp succulent shrimp was poached in a delicate sauce of prosecco The shrimp and garlic made the perfect bite For our main course we chose the Crispy Short Rib Hummus and Chicken Puttanesca the short rib was frizzled for a crisp texture and placed upon a thick layer of Israeli hummus A sauce of sherry and caramelized onion was drizzled over the top I could have used more sauce to give it some moisture There was plenty of lavash bread for grabbing the hummus the Chicken Puttanesca shined with pan-seared chicken roasted red peppers and marinara all served on a bed of capellini For dessert we sampled the Churros served with dulce de leche and dark chocolate sauces There was plenty of cinnamon sugar on the churros and the sauces were tasty My personal preference was the dark chocolate (because you know The fusion of a night at the Courtyard Santa Barbara Downtown and dinner at the Saint Remy was the perfect combination for a night away from the grind The Saint Remy is located in the Courtyard Santa Barbara Downtown, 1601 State Street, Santa Barbara. For more information or reservations call (805) 975-0660 or visit www.saintremysb.com. XHTML: You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong> Martin Bailey's Starry Night: Van Gogh at the Asylum (paperback edition of the original 2018 publication) Credit: Frances Lincoln/Quarto I travelled to the southern French town of Saint-Rémy-de-Provence We had heard that the local archive had acquired a register of the asylum It turned out to be a large volume bound in mottled paper recording the arrival of hundreds of patients Register of admissions (1876-92) at the asylum of Saint-Paul-de-Mausole on the outskirts of Saint-Rémy-de-Provence Credit: Archives Municipales spotting the arrival of the asylum’s most illustrious patient It recorded that Vincent van Gogh had been born in Holland and had travelled from nearby Arles on 8 May The date of Van Gogh’s arrival had long been known but we quickly realised that the newly unearthed register should make it possible to identify the artist’s fellow patients Entries in the register of admissions at Saint-Paul-de-Mausole in 1889 including Van Gogh’s name (indicated in red) Credit: Archives Municipales Until now most biographers of Van Gogh have given comparatively little attention to the impact that living among these disturbed people must have had on the artist the refectory and the garden—and even when alone in his bedroom he was unable to escape the screams and howls The asylum, established in the former monastery of Saint-Paul-de-Mausole, would have been nothing remotely like a modern psychiatric hospital At that time little was known about mental illnesses and even less about what could be done to treat people or alleviate their condition There were only 18 male patients at Saint-Paul-de-Mausole when Vincent arrived He lived in this small community for a full year Vincent described them on several occasions as “my companions in misfortune” Vincent wrote to his brother Theo that “the room where we stay on rainy days is like a 3rd-class waiting room in some stagnant village” What struck him most forcibly was the men’s boredom and sluggishness The admissions register contains no medical data but with the names of the other patients it proved possible to use other sources to research their varied backgrounds and conditions I was shocked to discover quite how ill most of them were—and what a challenging environment this must have created for the artist Vincent wrote that “one continually hears shouts and terrible howls as though of the animals in a menagerie” he confessed to his brother that “I’m afraid of the other patients” Further research revealed disturbing details about the condition of some of the men Their individual stories give us an insight into their suffering although it does make for distressing reading He had never learned to speak and was prone to acts of violence—hardly surprisingly since he was unable to communicate verbally Jean ended up being the last male patient in the asylum which only accepted females after the First World War he would usually sit by the entrance lodge of the asylum aged 65—after living for 45 years behind its walls Vincent was presumably referring to Jean when he wrote to Theo about an unnamed patient “who doesn’t reply except in incoherent sounds” Vincent told Theo that the man only responded to him “because he isn’t afraid of me” suggesting that the artist went to considerable efforts to be sensitive and understanding Medical reports at the time categorised him as “a true suicidal monomaniac” He is not recorded at the asylum in the 1891 census so by then he could have been moved elsewhere—or he might possibly have died tragically young was admitted just two weeks after Van Gogh Vincent wrote to Theo: “A new person has arrived who is so agitated that he breaks everything and shouts day and night he also tears the straitjackets and up to now he scarcely calms down he demolishes his bed and all the rest in his room It’s very sad to see—but they have a lot of patience here.” was a retired priest who had been living at the nearby monastery of Saint-Michel-de-Frigolet He may well have been suffering from dementia Eating together and observing his companions Van Gogh must quickly have had the idea of painting portraits of these unusual characters—or at least the more amenable men who were able to sit still Van Gogh’s Portrait of a Man with a Cigarette (autumn 1889) Credit: Van Gogh Museum Portrait of a Man with a Cigarette is often said to depict a patient with only one eye but in fact the sitter appears to have been suffering from a drooping eyelid It was courageous of someone with such a condition to have posed for a portrait particularly as Van Gogh made no effort to disguise their affliction who was even more disfigured (after the mutilation of his ear) In October 1889 Vincent wrote to his mother that he was working on “a portrait of one of the patients” Vincent added that “it’s strange that when one is with them for some time and is used to them one no longer thinks about their being mad” Van Gogh’s Portrait of a Man (autumn 1889) Credit: Van Gogh Museum Van Gogh’s disturbing Portrait of a Man depicts an elderly patient expressionist and rather crude image has at some point suffered deterioration in the forehead area giving the sitter’s gaunt face an even more sorrowful appearance this unnerving portrait—which has rarely been exhibited and is relatively little known—tellingly reveals much about the reality of asylum life The man’s empty-looking eyes betray a deep sadness and sense of incomprehension It is heartbreaking to think of Van Gogh living among such troubled patients And it is difficult to conceive of an artist being able to create such vibrant and optimistic paintings surrounded by such distress Van Gogh was well aware of the dangers: “What would be infinitely worse is to let myself slide into the state of my companions in misfortune who do nothing all day Van Gogh’s Window in the Studio (September–October 1889) Credit: Van Gogh Museum But it was art that actually saved Van Gogh and made life tolerable he was allocated another room for his studio a retreat where he could apply his creative talents—and try to forget where he was living After recovering from a mental crisis in April 1890 Van Gogh was more determined than ever to leave was due in considerable part to the influence of the other patients Vincent explained in a deeply felt letter: “The surroundings here are starting to weigh on me more than I could express.. Starry Night—his personal vision of the heavens Van Gogh’s Starry Night (June 1889) Credit: Museum of Modern Art In May 1890, a year after his arrival, Vincent left Saint-Paul-de-Mausole. His doctor then categorised him as “cured”, but sadly that was hardly the case. Three months later, in a wheatfield on the outskirts of Auvers-sur-Oise, he ended his life. Maryna Savchenko’s painting (2016) of the actor Eleanor Tomlinson the daughter of Van Gogh’s landlord in Auvers-sur-Oise in the animated film Loving Vincent (2017) Credit: Loving Vincent Art Auction in aid of Ukrainian Children • Two of the paintings used in the animated film Loving Vincent are to be auctioned to benefit a Ukrainian charity based in Poland. Ending on 24 September, the online sale is being organised by the Polish-Based BreakThru Films—and it will support the Fundacja Rozwoju Dzieci which runs 100 childcare centres for Ukrainian refugees Reconstruction (2023) of the lost image of Van Gogh’s hidden painting of two wrestlers and his Self-portrait with Grey Felt Hat (September-October 1887) Credits: Oxia Palus has published a reconstruction of a lost Van Gogh image which was later overpainted on the canvas as a flower picture (Still Life with Meadow Flowers and Roses x-rays revealed that underneath the still life was an earlier composition of two boxers which is referred to in a letter from Vincent to his brother Theo written in Antwerp in January 1886 The Oxia Palus reconstruction was done by neuroscientist Anthony Bourached and physicist George Cann of University College London the resulting image gives only a rough approximation of Van Gogh’s lost work The crude brushwork of the reconstruction seems unlike that of Van Gogh and the colours and background patterning are more reminiscent of his self-portrait painted in Paris in September-October 1887 after his technique had developed blog24 April 2020Van Gogh experienced lockdown—how did isolation impact on his art?The artist once told his sister that isolation was “sometimes as hard to bear as exile”—but was necessary “if we want to work” Cécile Roudaut, master blender, states: “We are excited to launch this unique Grand Blend, a first in the history of brandy. Each lot has been carefully selected to compose a unique product in the spirit of showcasing St-Rémy’s expertise in the making of top-end brandies.” St-Rémy has ensured that the final blend includes around 25% pot still distillation, giving the brandy its rich and complex character. Bottled at 43% ABV, this brandy is non-chill filtered and free from added colouring, offering a pure and authentic tasting experience. St-Rémy Grand Blend delights the senses with its complex aromas of prune and candied fruits, and a bold, gourmet flavour that lingers on the palate. Only 8,624 bottles of this first edition have been produced, making it a rare find for brandy lovers. Each of the five batches has been carefully chosen to create a distinctive product that highlights St-Rémy’s expertise in producing high-quality brandies. St-Rémy Grand Blend is now available across the UK at RRP £49. This limited edition, with only 60 bottles available across the UK, offers a unique opportunity to experience a piece of St-Rémy’s rich legacy. DIRTEA, the UK’s leading functional mushroom brand, announces a series of major retail partnerships, further... Benefit, the UK's #1 Prestige Brow Brand, is delighted to announce the return of its... WHITE RABBIT is taking on the premium ambient biscuit aisle, with a category-first authentic gluten-free... Creator of authentic Mexican food, Gran Luchito, is proud to announce that Morrisons will now... The Glen Grant Single Malt Scotch Whisky announces the release of The Glen Grant 30-Year-Old,... This Coeliac Awareness Month, BFree is supporting Coeliac UK by donating 40p from every pack... it is your duty to unmask the culprit as soon as possible so that serenity returns to Saint-Rémy Subscribe to the Montecito Journal’s Morning MoJo newsletter and get local news delivered to your inbox twice weekly Social gridlock reigned when the ubiquitous Andrew Firestone and his partner Jess Parker threw an opening bash at their new 122-room State Street hostelry the Cearnal Collective-designed hotel’s new poolside eatery featuring self-taught chef Jeremy Caruso The impressive property is being managed by the Azul Hospitality Group from San Diego Having spent the month of September in past years splitting myself between rented character properties in Tuscany and Provence the latter at the charming hamlet of Saint-Étienne-du-Grès I was interested to see what Saint Remy had to offer and wasn’t disappointed My trusty shutterbug Pricilla and I tucked into Prosecco poached shrimp and chicken puttanesca accompanied by Miller Family Reciprocity cabernet from the Paso Highlands with aromas of dark berry The list also features wines from Argentina says: “Every meal is uniformly inventive and crafted with the rich history and culture of the coast “It brings a new hotspot to the local dining scene for date nights A nice new addition to the local hotel scene with room rates around $250 a night… The World Heritage Centre is at the forefront of the international community’s efforts to protect and preserve World Heritage partnerships for conservation Ensuring that World Heritage sites sustain their outstanding universal value is an increasingly challenging mission in today’s complex world where sites are vulnerable to the effects of uncontrolled urban development Our Partners Donate Take advantage of the search to browse through the World Heritage Centre information The outstanding handling of new architectural techniques in the 13th century and the harmonious marriage of sculptural decoration with architecture has made Notre-Dame in Reims one of the masterpieces of Gothic art The former abbey still has its beautiful 9th-century nave in which lie the remains of Archbishop St Rémi (440–533) who instituted the Holy Anointing of the kings of France The former archiepiscopal palace known as the Tau Palace which played an important role in religious ceremonies was almost entirely rebuilt in the 17th century L'utilisation exceptionnelle des nouvelles techniques architecturales du XIIIe siècle et l'harmonieux mariage de la décoration sculptée avec les éléments architecturaux ont fait de la cathédrale Notre-Dame de Reims un des chefs-d'œuvre de l'art gothique qui a conservé une très belle nef du XIe siècle abrite les restes de l'archevêque saint Rémi (440-533) qui institua la sainte onction des rois de France qui occupait une place importante dans la cérémonie du sacre a été presque entièrement reconstruit au XVIIe siècle إنّ الاستخدام الاستثنائي للتقنيات الهندسية الجديدة في القرن الثالث عشر والتزاوج المتناسق بين الديكور المنحوت بعناصره الهندسية جعلا من كاتدرائية نوتر دام رانس إحدى تُحف الفن القوطي إنّ الدير القديم الذي حافظ على جناح قديم رائع الجمال يعود للقرن الحادي عشر يضمّ رفاة المطران القديس ريمي (440-533) الذي أنشأ المسحة المقدسة لملوك فرنسا وأُعيد بناء قصر تو بكامله تقريباً في القرن السابع عشر، وهو قصر أسقفي قديم احتلّ مكانةً هامة في مراسم احتفالات التتويج 13世纪新建筑工艺的出色应用以及雕像装饰与建筑的完美结合，使兰斯圣母大教堂成了哥特式建筑的杰作之一。修道院保留了9世纪的精美中殿，供奉着开启了法国国王受洗仪的圣雷米主教（440年至533年）的遗体。曾经在宗教仪式中具有举足轻重作用的前大主教宫殿——圣安东尼宫，已于17世纪进行了彻底重修。 Выдающийся опыт использования новых архитектурных приемов и гармоничное сочетание скульптурных украшений с архитектурой сделали Нотр-Дам в Реймсе одним из шедевров готического искусства XIII в учредившего священное помазание королей Франции известный как дворец То и игравший важную роль в религиозных церемониях La notable aplicación de las nuevas técnicas arquitectónicas del siglo XIII y la armonía entre las esculturas y los elementos arquitectónicos ha hecho de la catedral Notre-Dame de Reims una obra maestra del arte gótico La antigua abadía donde yace los despojos mortales de Saint-Remi (440-533) el arzobispo que instituyó la unción sagrada de los reyes de Francia ha conservado una hermosa nave del siglo XI residencia de los arzobispos de Reims y escenario importante de la ceremonia de la unción real fue reconstruido casi por completo en el siglo XVII the Palace of Tau and the Abbey of Saint-Rémi of Reims are closely linked to the history of the French monarchy The Cathedral of Notre-Dame is a masterpiece of Gothic art: it bears witness to the remarkable mastery of the new architectural techniques acquired in the course of the 13th century and achieves a harmonious marriage of architecture with sculpted decoration The perfection of the cathedral's architecture and group of sculptures is so great that it influenced many later buildings the sculptures of Reims Cathedral are an integral part of the architectural composition of the building Reflecting both the traditions of Île-de-France and the minor arts of the Champagne region these sculptures have a monumentality and grace inspired by the art of goldsmiths who worked silver or gold the magnificence of the composition of the Coronation of the Virgin (above the central portal) or the grave nobility of other figures like that of Elizabeth in the scene depicting the Visitation have attained universal celebrity The original well-balanced harmony has been preserved as has the wealth of ornamentation an evident testimony to the twenty-five royal coronations that took place there holds the memory of the coronation ceremony and feasted after his coronation in the banquet hall The beautiful 13th century Palatine Chapel and the 15th century banquet hall have remained intact The façade of the Palace of Tau boasts a beautiful 17th century order and it currently houses the Musée de l’Oeuvre where treasures and artwork linked to the coronation ceremonies are displayed The former Royal Benedictine Abbey of Saint-Rémi features a majestic 18th century architecture with a chapter house still containing fine Romanesque sculptures a pilgrimage church built around the tomb of Saint Remi is an outstanding example of medieval architecture: it was the largest Romanesque building in northern France before being transformed with spectacular sobriety during the Gothic era It was closely involved in the ritual of the coronations: the ceremonies began and ended at the abbey conservatory of the Holy Ampulla containing the chrism dating back to the baptism of Clovis by Bishop Rémi and used for the coronation of kings The abbey is now a museum of heritage and history of Reims and its region Criterion (i): The Cathedral of Notre-Dame of Reims is a masterpiece of Gothic art due to the outstanding handling of new architectural techniques in the 13th century and the harmonious marriage of architecture and sculptured ornamentation Criterion (ii): The perfection of the architecture and sculptural work of these buildings had a strong influence on later buildings in Europe the archiepiscopal palace and the former Abbey of Saint-Rémi are directly linked to the history of the French monarchy and hence the history of France These places involved in the coronation ceremony recall the balance between public authority and sacred function that has made French royalty a political model throughout Europe the Palace of Tau and the Abbey of Saint-Rémi of Rheims constitute coronation places in their entirety which were badly damaged during the First World War the geography and the ritual of coronation can be evoked or represented there The cathedral’s sculpture and stained glass still bear witness to these celebrations  These buildings are part of the urban fabric of the great medieval compound of the13th century in which we distinguish the traces of the ancient road network The alternance between post-war reconstructed buildings in an eclectic spirit contemporary buildings and restored old buildings characterizes the area surrounding these monuments The history of the Cathedral of Notre-Dame of Reims entails eight centuries of technical or artistic innovations from the 13th century to its restoration after the First World War which provided it with a remarkable reinforced concrete framework Although Reims Cathedral has unfortunately lost part of its original stained glass it still has some of the most remarkable examples of Gothic stained glass the State has a double policy of stained-glass restoration and support for its creation some of these medieval windows have regained their former splendor while played an important role in religious ceremonies; it was almost entirely rebuilt during the 17th century the French Revolution interrupted the tradition of coronations which was resumed one last time for the coronation of Charles X Successive restorations until today have enabled the implementation of technological innovations respectful of the authenticity of the buildings The three buildings forming the property are protected under the Heritage Code (Historic Monuments) the Cathedral is listed in its entirely as a Historic Monument since 1862 (the Palace of Tau since 1886) It is legally assigned to Catholic worship The Palace of Tau is managed by the Centre des monuments nationaux a public institution under the supervision of the Ministry of Culture Annual and multi-annual programmes ensure the monuments’ maintenance and restoration; they are either implemented directly by the State or carried out under its scientific and technical control The Abbey of Saint-Rémi is owned by the city of Reims; its maintenance and restoration are the responsibility of the municipality under the scientific and technical control of the State The redevelopment of the forecourt helps to improve access and circulation around the monument preserving the urban fabric and establishing view cones of the cathedral ensures the preservation of the close relationship linking the building to the city The Saint-Rémi district is a Remarkable Heritage Site the objective of which is the protection of the buildings and the enhancement of the public space and monumental perspectives in a project and urban renewal approach Another Remarkable Heritage Site that will integrate the Cathedral district is under study and will serve as a basis for defining a buffer zone The management plan for the property is under preparation