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  I guess you'll have your own guide book to help you plan your visit. But whichever one (or more) it is, I thought you might find the Michelin Green Guide 's tourist map of Paris (below) helpful, as it makes it easy to locate the main sights. I think you'll find if you click on the map, it will blow up to a more legible size. The inset box at top left explains Michelin's ratings system, similar to its approach to restaurant ratings. With a decent guide book, you won't need much help from me, but I just wanted to add one or two items that visitors might miss, plus an idea for a north-south walk (or south-north, as you wish) that makes a change from the usual main east-west (or west-east!) drag. Also, finally, one neglected but unique museum, and a few practicalities. Where young Parisians hang out - and where I shop for the weekend République is a good place to be. Quite often, American friends choose hotels bang in the centre of Paris - near Opéra, say - and then c

THREE STRONG RECOMMENDATIONS These are the three places I'd most strongly recommend during your visit, as I think they offer a nice variety of quality Parisian eating experiences. 1. Dinner at Le Train Bleu When the underlying idea was to recommend places off the tourist track, it might seem odd to start with Le Train Bleu, at the Gare de Lyon. But this is surely one of the most extraordinary restaurant spaces in the world. You can only experience it in Paris, of course, and I usually take any first-time visitor there for dinner. It's Lyon-influenced brasserie food at more-than-brasserie prices, but they have simple set-price menus at 55 and 74 euros, and anyway, as usual, the final bill depends above all on what you drink. It's worth it (and in any case it won't break the bank) for the overall experience. The decor is as 'Paris 1900' as can be. Nearly all the more academic French painters of the day were involved, including Gervex (above), so as well as its bei

Installation view at the Galerie Mitterrand's booth at ArtParis 2024 In my last post, marking the tenth anniversary of the death of painter David Caille, I wrote that the latest example of David's enduring legacy is his influence on Mamali Shafahi's latest project,  Rest in Peace. Rest in Peace marks a new, more contemplative phase in Mamali's output, and a new example of artistic collaboration. In an unexpected return to a traditional medium, oil pastels (set, jewel-like, in high-relief casings) the series draws together, as if taking stock, all the strands that have run through his work over the past twenty years: the active involvement, in some cases transformation, of others; new technologies and their impact on us all; concern that new generations, focusing on technology, are losing their ancestral memory of traditional cultures, myths and legends; the quest, therefore, to build bridges between our high-tech future and the richness of the traditional past, especia

I've already posted a short article about David Caille, but as today is the tenth anniversary of his death, I thought I'd make a longer post, even if it repeats some of the former one, and add more photos. David was an immensely talented young painter, but at 27 he took his own life: a tragedy for him and his family, of course, but also a great loss to art. He'd studied in Düsseldorf with Peter Doig, who on learning of his death wrote: ' I loved David's work and really really liked him as a person - as a fellow artist and as a student. He first came to visit me in Düsseldorf from Lyon with his portfolio, and showed me his work. He asked if he could join my class and he said he felt he was marginalised making paintings in Lyon. I was immediately attracted to his painted language and the imagery that he worked with. I enjoyed having him in my class, as did all the students who worked there during this time. He was a very popular and respected student and even years af