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Twenty five years ago, for the 24 month period when I was dating Roo, my English then-boyfriend, I thought nothing of flying across the Big Pond for a rendezvous every couple of months. Flights from Atlanta to London were relatively cheap and often there was enough room to stretch out across empty seats. Plus, I had a lot of motivation for going.

Now, it’s a different story. Roo and I are married and see a lot of each other without having to go anywhere. Good thing because travel to anywhere from where we live in northern Michigan is complicated: transatlantic flights are expensive and usually packed to the gunnels. Add to that the fact that these days my body doesn’t adjust all that well to time changes and different food, I need a pretty good reason to make the long trip to Europe.

In August, looking at Instagram, I found that reason: On the tiny screen of my device one of my IG artist friends had posted a photo of her standing in front of a large painting by Joan Mitchell taken at the Baltimore Museum of Art. A comprehensive retrospective of Mitchell’s work had been touring the U.S., first in California and now, in its final days, in Maryland. I’d toyed with the idea of traveling to see it there, but simply couldn’t get past my images of spending dog days in a city even to see paintings I knew I’d love. But, now, reading my friend’s description of how wonderful it had been to spend hours with Joan’s large paintings, I regretted my decision to stay home.

A day or two later, however, I happened to see a post announcing that the Mitchell Retrospective was moving on from Baltimore to the Fondation Louis Vuitton in Paris! And, not only would the retrospective exhibit be installed there for several months, but it would be paired with another they were calling Monet & Mitchell. This time I would not hesitate to seize the opportunity to make the journey, no matter what the cost in sleep and troubled digestion. And, it would not simply be a visit to the museum.

I mused about what would make the travel challenges worthwhile enough to constitute a legitimate art biz expense. I’d known that Joan Mitchell had lived and painted for decades in France in, Vétheuil, a small village along the Seine, and vaguely understood that she had been in some way been influenced by the fact that Monet had also lived there. (As it turns out, she lived in a house directly above the one her occupied for three years with an almost identical view of the Seine.) If Mitchell had been intrigued enough to live where Monet lived, I wondered what it would be like to follow in the footsteps of these iconic artists, to see what I might see in the places that inspired them.

We developed a plan that would allow us to visit the spectacular Frank Gehry building that houses the Fdn. Louis Vuitton on either end of our stay in France. Sandwiched between two four-day stints in Paris, we’d follow the Seine north to the English Channel, stopping in at places we knew Monet at least had painted. We booked Airbandbs accordingly finding accommodations in or near Vétheuil, Giverny, Vernon, Rouen, Etretat, Le Havre, and Honfleur.

Just back from this satisfying adventure last week, I’m happy to report my belly is recovering nicely and the painting juices that started flowing almost immediately after the first visit to the Mitchell and Monet/Mitchell exhibits continue to pour forth. (I’ve posted a number of small sketches I made in the various places we stopped along the Seine.)

But, wait, there’s more: I find myself wanting to explore in writing some insights garnered from my contemplation of what it means to be a Real Artist. What in fact is a Real Artist? What is the work of a Real Artist? And, how does any artist, inevitably influenced by other artists (especially those considered to be Real Artists), claim an original voice? I’ve discussed these themes in my workshops, but I’ve never taken the time it now seems I called to delve into for my own pleasure and edification.

I’m posting this introduction of sorts in my blog as a kind of kick in the seat of the pants to actually do the thing I’ve said I want to do for many years now. (A draft of a book called The Work of Art has been tucked away in my laptop for going on 10 years!)

With your implied permission, I intend to use this space as a Structure for Accountability, posting something relevant to a new book, Monet, Mitchell & Me, at least once a week, starting today, until it’s done, no later than May 1, 2023. (See 7 Habits of Deeply Fulfilled Artists: Your Aesthetic Needs & How to Meet Them.) I seem to work best when I know someone is watching or reading, so any and all curiosity, positive encouragement, or pokes on the part of whoever is reading this is welcome. I am willing to be embarrassed if I don’t follow through on my intention.

Next installment, look for a Table of Contents.

With thanks in advance,

Ellie