22 Paintings, Following The True And Tragic Persian Love Story of Shirin and King Khusrau Parvîz

Unknown artist
Detail; King Khusraw Anushirvan, c. 741 A.H. (A.D. 1341)
Ink, opaque watercolor, and gold on paper
1 1/4 x 9 1/2 in. (28.58 x 24.13 cm)
Los Angeles County Museum of Art

King Khusraw Anushirvan Enthroned, Page from a Manuscript of the Shahnama (Book of Kings) of Firdawsi

Khosrow and Shirin is a work of fiction and a tale of love between the Sasanian king Khosrow II and Shirin, the Armenian Princess who went on and became the queen of Persia. 

Unknown artist
King Khusraw Anushirvan, c. 741 A.H. (A.D. 1341)
Ink, opaque watercolor, and gold on paper
1 1/4 x 9 1/2 in. (28.58 x 24.13 cm)
Los Angeles County Museum of Art

The love story starts off with the birth and education of Khosrow. Following this, Khosrow is chastised by his father, Hormizd IV for throwing a feast in a farmer’s house. Khosrow begs for his fathers forgiveness and repents for his actions. Once he does this, his father, Hormizd IV, forgives him.

That night, Anushirvan, the grandfather of Khosrow, visits Khosrow in his dreams. Anushirvan tells him about the future, about his future wife Shirin, a riding horse who goes by the name of Shabdiz, Barbad the musician and the great kingdom of Persia.

One fine day, a close friend and painter named Shapur tells Khosrow of a beautiful woman and Armenian princess named Shirin. Apparently, Shirin was the niece of Mahim Banu, the queen of Greece. Not only does Shapur give Khosrow information about Shirin’s whereabouts, but he also goes on and vividly describes her beauty. After listening to it all, Khosrow falls madly in love with Shirin.

Unknown artist
The sculptor Farhad brought before Shirin, ca. 1400
Ink, opaque watercolor and gold on paper
H x W: 27.3 x 16.5 cm (10 3/4 x 6 1/2 in)
Smithsonian Institution

Detached folio from the Khusraw u Shirin by Nizami; text: Persian in black nasta'liq script; heading in gold; recto: illustration: The sculptor Farhad brought before Shirin; verso: text, 4 columns, 23 lines; one of a group of 7 detached folios (F1931-37) from the manuscript (F1931.29) and the book binding (F 1931.30); accessioned separately. More on this work

Unknown artist
Shirin Examines the Portrait of Khusraw, c. 1431
From the manuscript Khamsa by Nizami
Gouache,
23.7 x 13.7 cm
Timurid Dynasty, Iran
Hermitage Museum

Shortly after, Shapur embarks on a journey to Armenia in search of Shirin. Upon finding her, Shapur shows her the picture of Khosrow and she falls in love with him. She grew immensely passionate for Khosrow and fled Armenian to travel to Mada’in, Khosrow’s capital in search of her love Khosrow. Meanwhile, sadly, Khosrow has a falling out with his father, and in an attempt to flee from his father’s anger, Khosrow sets out on a journey of his own to Armenia in search of his love Shirin.

Shaikh Zada,  (Iranian, active 1510–1550)
Khosrow Catches Sight of Shirin Bathing Nude, c. 1524-25
Ink, opaque watercolor, and gold on paper
32.1 x 22.2 cm
Metropolitan Museum of Art

Reza Derakshani (Iranian, b. 1952)
A Scene from 'Khosro and Shirin', c. 2007
Oil, encaustic and gold leaf on canvas, in two parts, laid down on canvas
702⁄3 x 783⁄8in. (179.5 x 199cm.)
Private collection

Reza Derakshani (Iran, born 1952)
Khosrow Catches Sight of Shirin Bathing Nude
A Scene from 'Khosrow and Shirin', circa early 2000's
Oil on canvas
160 x 125cm (63 x 49 3/16in).
Private collection

Reza Derakshani is painter, poet, musician and performance artist, born in Sangsar, Iran in 1952. He graduated from the University of Tehran in 1976 and pursued his studies at the Pasadena School of Art in California. He now lives and works between Dubai, UAE and Austin, USA.

After experimenting with pure abstraction at the beginning of his artistic career in the 1980's whilst being associated with the Neo-expressionists, Derakshani devised his personal artistic style blending abstract and figurative elements from both Western and Eastern cultures, thereby creating an idiosyncratic oeuvre at the confluence of civilizations. In his work, the artist explores the natural world, as well as emotional states and themes of exile and alienation. He builds up the luminous, textured surfaces of his paintings with a base of roof tar, after which he applies layers of color and other materials such as gold, silver, enamel, and sand.

His work features in many public art collections including The British Museum, London; The Metropolitan Museum of Art, New York; The Tehran Museum of Contemporary Art; The Russian Museum in St Petersburg, Russia and the Kunstsammlungen Chemnitz, Germany. In 2016, Derakshani has had two major solo exhibitions at The State Russian Museum in St Petersburg, Russia and at the Kunstsammlungen Chemnitz, Germany. More on Reza Derakshani

Both Shirin and Khosrow have a chance encounter each other midway through their journey. Khosrow happens upon Shirin while she was bathing naked and washing her hair in a stream. Unfortunately, Khosrow disguised himself in peasant clothes which made him unrecognizable for Shirin and Khosrow doesn’t recognize her as well. Upon reaching her kingdom in Armenia, the queen Shamira welcomes him, and he finds out that Shirin is in his capital town of Mada’in in search of him.

Artist unknown
Khusraw at the castle of Shirin, c. 14th century
Ink, gouache and gold on paper
height: 25.7 cm (10.1 in); width: 18.4 cm (7.2 in)
Freer Gallery of Art 

This time too, Shapur is sent to bring Shirin back to Armenia, but due to a tragic turn of events that led to his father’s death, Khosrow had to return to Mada’in immediately. Both lovers kept traveling to opposite places in search of one another and never meet each other. Later on, Khosrow is overthrown by general Bahram Chobin and flees to Armenia.

Unknown artist
THE BATTLE BETWEEN THE SASANIAN KING KHUSRAU PARVIS AND BAHRAM CHUBINEH, TURKISH, c. 1580
Gouache heightened with gold on paper
20 by 19cm. leaf 23.5 by 20cm.
Private collection

Unknown artist
The Night Attack of Bahram Chubina on the Army of Khusraw Parvis, circa 1560
Opaque watercolor heightened with gold and silver on paper
16 11/16 x 10 5/8 in. (42.42 x 26.92 cm); Mat- 30 1/4 x 22 1/4 in. (76.84 x 56.52 cm)
Los Angeles County Museum of Art 

In Armenia, Shirin and Khosrow finally meet and Shirin welcomes him with open arms. However, Shirin declines the invitation to marriage and puts forth a condition. Until and unless Khosrow fights for his motherland and wins it back from general Bahram Chobin, she won’t marry him.

To win Shirin’s heart as well as his kingdom and Mada’in back, Khosrow leaves Armenia and set out to meet the Byzantine emperor Maurice, in Constantinople. The Caesar agrees to help him wage war and overthrow general Bahram Chobinl. Nevertheless, Caesar’s assistance came at a price. The Caesar’s clause was that he’d assist Khosrow only if Khosrow agrees to married Caesar’s daughter Mariam. Khosrow was also made to promise that he wouldn’t marry anyone else as long as his wife Mariam was alive. Khosrow agrees and with the help of Caesar, he overthrows the general Chobin and regains his throne.


Shaikh Zada (Iranian, active 1510–1550)
Khusrau Seated on his Throne, c. A.H. 931/1524–25 CE
Ink, opaque watercolor, and gold on paper
Page: H. 12 5/8 in. (32.1 cm), W. 8 3/4 in. (22.2 cm)
Folio 64 from a Khamsa (Quintet) of Nizami of Ganja
Metropolitan Museum of Art

Seated on his throne under a colorful canopy, the king Khusrau Parviz holds court. Toward the middle of the composition, a pair of figures captures our attention. A bearded man holds an inscribed paper in one hand, while a young man applies ink to a seal ring on the other. This action likely identifies the bearded man as a chancery scribe, or courtier, entrusted with writing official correspondence and affixing the ruler’s seal. More on this painting

The Sasanian King Khusraw and Courtiers in a Garden, Page from a manuscript of the Shahnama (Book of Kings) of Firdawsi, late 15th-early 16th century
Ink, opaque watercolor, and gold on paper
9 1/2 x 5 7/16 in. (24.1 x 13.8 cm)
Brooklyn Museum

The ruler, dressed in an elaborate headpiece, sits in a garden upon a raised, gilded throne, surronded by attendants courtiers, and musicians. Although the illustration appears to be somewhat generic—it could represent an enthronement setting for any given ruler—the text reveals that it actually illustrates an episode from the reign of the Sasanian king Khusraw (ruled 590–628) as recounted in the Shāhnāma. More on this painting

Shaikh Zada (Iranian, active 1510–1550)
Farhad Carves a Milk Channel for Shirin
Ink, opaque watercolor, and gold on paper
H. 8 3/8 in. (21.3 cm), W. 5 1/16 in. (12.9 cm)
Folio 74 from a Khamsa (Quintet) of Nizami of Ganja
Metropolitan Museum of Art

When Shirin desires milk from a herd of goats that graze in a distant field, Farhad sets to work cutting a channel from the goats’ mountain pastureland to a pool at the foot of Shirin’s palace. In this painting, Shirin visits Farhad upon his completion of the pool. At the very top of the composition, a goat cavorts in its hillside home. More on this painting

While all this was happening, Farhad, a sculptor fell in love with Shirin and became Khosrow’s love rival. Khosrow couldn’t tolerate this and Farhad was then sent on on an exile to the Behistun mountain. Farhad is assigned a mammoth and impossible task of carving steps out of the cliff rocks. 

Calligrapher: Ali ibn Hasan al-Sultani
Shirin visits the sculptor Farhad at work, ca. 1400
Ink, opaque watercolor and gold on paper
Collection: Freer Gallery of Art

Before beginning, Farhad carves the portraits of Shirin and Khosrow on the surface of the rock. Shirin travels to it to see the carvings, but faints with exhaustion and Farhad takes her back to the castle, carrying her on his back and riding his horse.

Shaikh Zada (Iranian, active 1510–1550)
Copied by Muhammed ibn Mulla Mir al-Hosseini, Iran
Detail; Farhad carrying Shirin and her horse, c. 1591
Ink, opaque watercolor, and gold on pape
Calouste Gulbenkian Museum

Later, Khosrow sends false news of Shirin’s death to the sculptor. When Farhad hears this news he is heart broken and decides to commit suicide by throwing himself off a cliff. Soon after Farhad dies, Mariam passes away too.

Though Khosrow is free to propose to Shirin, he first tries romancing a woman who goes by the name of Shekar in Isfahan. After some time goes by, his trials of intimacy with Shekar end and he finally embarks to Shirin’s castle to see her. When he arrives Shirin notices that Khusrow is drunk . Because of this, Shirin refuses his admission into the castle and makes her objects about his affair with Shekar known.

Disappointed and dejected, Khosrow returns to his own palace. Finally, after a few more heroic deeds and maneuvers, Shirin agrees to marry Khosrow.

Shaikh Zada (Iranian, active 1510–1550)
Marriage of Khusrau and Shirin
Ink, opaque watercolor, and gold on paper
H. 7 in. (17.8 cm), W. 4 3/4 in. (12.1 cm)
The Metropolitan Museum of Art.

This painting depicts their marriage, set within a crystalline architectural composition. Great care is lavished upon the details of the building, suggesting that the artist may have intended to depict a specific structure. Over the heads of the couple appears an invocation to God—"Oh! Opener of Doors!" More on this painting

In 614 C.E., Khosrau II removed part of the true cross as a trophy, when he captured Jerusalem. Thirteen years later, in 628, the Byzantine Emperor Heraclius defeated Khosrau and retook the relic, which he at first placed in Constantinople, and later took back to Jerusalem in March 21, 630. 

After the Byzantines killed Emperor Maurice, Khosrow II began a war in 602 against the Byzantines. Khosrow II's forces captured much of the Byzantine Empire's territories, earning the king the epithet "the Victorious". 

Cenni Di Francesco Di Ser Cenni
Khosrow II Stealing True Cross, Scene from Stories of Cross, c. 1410
Fresco,
Chapel of the Holy Cross, Church of St Francis, Volterra, Tuscany

Cenni di Francesco ( 1369 – 1415 circa) is considered an eclectic painter. His first works are indebted to Orcagna and in general make use of gold backgrounds. According to Boskovits, the artist must have collaborated with Giovanni del Biondo at a time when he was most interested in issues of perspective. Also evident is the influence of Agnolo Gaddi. Cenni di Francesco’s figures have delicate, elegant features and elongated proportions, as evident in The Adoration of the Magi in San Donato in Polverosa, Florence. His work as an illuminator had a profound influence on his style, particularly in his marked sense of narrative, interest in detail and bright colouring. Cenni di Francesco’s late works combine Gothic elements with other, more traditional ones, as can be seen in The Virgin and Child with Saints (ca. 1400) in the Museo d’Arte Sacra di Montespertoli, and in his only signed work, namely the frescoes in the oratory of the church of San Francesco in Volterra of 1410, depicting The Legend of the True Cross. Other late works include the frescoes in San Lorenzo in Ponte, San Gemignano. More on Cenni di Francesco

In 614 C.E., Khosrau II removed part of the true cross as a trophy, when he captured Jerusalem. 

A siege of the Byzantine capital of Constantinople in 626 was unsuccessful, and Emperor Heraclius, now allied with Turks, started a risky but successful counterattack deep into Persia's heartland. Supported by the feudal families of the empire, Khosrow II's son Sheroe (Kavad II) imprisoned and killed his father, Khosrow II. This led to a civil war and interregnum in the empire and the reversal of all Sasanian gains in the war against the Byzantines.

Piero della Francesca
Battle between Heraclius and Chosroes, c. 1458 - 1466
The Legend of the True Cross
Fresco
329 x 747 cm
Basilica of San Francesco, Arezzo, Italy

This artwork is a part of The Legend of the True Cross - a series of frescoes painted by Francesca in the Basilica of San Francesco in Arezzo. Not only is it his largest work, but it is also considered one of his finest, as well as one of the finest works of the Early Renaissance period. The theme of the frescoes was derived from a 13th century book on the lives of the Saints, and the Triumph of the True Cross, which was said to be the actual cross on which Christ was crucified. More on this work

Piero della Francesca (1415 – 1492) was an Italian painter of the Early Renaissance. As testified by Giorgio Vasari in his Lives of the Most Excellent Painters, Sculptors, and Architects, to contemporaries he was also known as a mathematician and geometer. Nowadays Piero della Francesca is chiefly appreciated for his art. His painting was characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo. More on Piero della Francesca

Netherlands Artist
Emperor Heraclius Slays the King of Persia, c. 1485–1495
Tempera and oil on panel
66.6 × 52.6 cm (26 1/4 × 20 7/8 in.)
Art institute of Chicago

Here Emperor Heraclius defeats a king who is probably meant to be the son of Chosroës. The emperor can be identified by the closed imperial crown that caps his helmet, the double-headed eagle symbol on the trumpet and the trappings of his followers’ horses, and the fact that he is about to behead his opponent. This narrative provides an excuse for a vivid display of armor and weaponry. More on this work

Limbourg brothers
Heraclius Returns with The Cross, Folio 156r
Ink, tempera, and gold leaf on vellum
9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)
The Metropolitan Museum of Art, New York

Limbourg brothers are the best-known of all late Gothic manuscript illuminators. They were among the first illuminators to render specific landscape scenes (such as the environs and appearance of their patron’s castles) with great accuracy and sensitivity. More on this work

Limbourg brothers
Heraclius Enters Jerusalem, Folio 156v
Ink, tempera, and gold leaf on vellum
9 3/8 x 6 5/8 in. (23.8 x 16.8 cm)
The Metropolitan Museum of Art, New York

On Folio 156v, we see Heraclius, dismounted from his chariot, more humbly dressed, and carrying the cross on his back, with the gates of Jerusalem now open to receive emperor and cross. More on this work

But then, in an Oedipus like twist, Shiroy – Khosrow’s son from Mariam, falls in love with Shirin and murders his father, Khosrow, for her. 

Unknown artist
Khusrau Parvîz, his hands bound, is led by two rustics wearing straw hats with high crowns, from a pavilion in a garden where he had taken refuge, 1616 - 1620
Manuscripts, Turkish
 22 x 18.1 cm
The New York Public Library

Unknown artist
The funeral procession of King Khosrow II, c. 1726
From a version of Nizami Ganjavi's 'Khusrau u Shirin', Mughal school

Shiroy then sends her a messenger instructing her that after a week of morning, she then must marry him. Heartbroken and unwilling to marry her son in law Shiroy, Shirin decides to kills herself.

After their deaths, Kushrow and Shirin finally become one and are buried together in a single grave. More on Khosrow and Shirin



Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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01 Painting, Streets of Paris, Antoon Heinsbergen's Paris Opera House, with footnotes, Part 83

Antoon Heinsbergen
Paris Opera House, c. 1941
Oil on canvas
Height: 20 inches / 50.8 cm, Width: 24 inches / 60.96 cm
Private collection

A panoramic view of early twentieth-century Paris with early automobiles, charabancs and pedestrians filling the boulevards converging on the Paris Opera beneath sunny blue skies.

Anthony Heinsbergen (December 13, 1894 – June 14, 1981) was an American muralist considered the foremost designer of North American movie theatre interiors.

Born Antoon Heinsbergen in Haarlem (the Netherlands), he emigrated with his family to the United States in 1906 where they settled in Los Angeles. Heinsbergen began painting while still a boy; and, as a young man he worked as an apprentice painter and was one of the first students to take formal training from Mrs. Nelbert Chouinard at her Chouinard Art Institute in Los Angeles. His area of interest in which he developed a renowned expertise was the painting of murals and in 1922 he went into business for himself. He was successful in obtaining a few commissions out of which he earned considerable recognition that led to a number of major contracts in and around Los Angeles The praise he received for this work opened the doors to jobs at more than twenty Pantages theatres and helped Heinsbergen become a major national contractor for theatre murals.

Heinsbergen's company grew to employ more than one hundred and eighty decorative painters involved with a wide variety of wall and ceiling murals for corporate offices, churches, synagogues, civic auditoriums, libraries and other ornate structures of the era. More on Anthony Heinsbergen




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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01 painting, The amorous game, Moses Soyer's Couple, with Footnotes, #90

Moses Soyer
Couple, c. 1938
Oil on panel
Height: 14 inches / 35.56 cm, Width: 10.5 inches / 26.67 cm
Private collection

Moses Soyer (December 25, 1899 – September 3, 1974) was an American social realist painter.

Soyer married in 1922 to Ida Chassne, a dancer. Together they had one son, David Soyer. Dancers were a recurring subject in his paintings.

Soyer studied art in New York with his twin Raphael, first at Cooper Union, and continued his studied at National Academy of Design. He diverged from his twin and attended Educational Alliance. And later studying at the Ferrer Art School, where he studied under the Ashcan painters Robert Henri and George Bellows.

He had his first solo exhibition in 1926 and began teaching art the following year at the Contemporary Art School and The New School.

He was an artist of the Great Depression, and during the 1930s, Moses and his brother Raphael engaged in Social Realism, demonstrating empathy with the struggles of the working class. In 1939, the twins worked together with the Works Project Administration, Federal Art Project (WPA-FAP) mural at the Kingsessing Station post office in Philadelphia. More on Moses Soyer




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01 painting, The amorous game, Filippo Indoni's The courtship, with Footnotes, #89

Filippo Indoni (Italian, 1800-1884)
The courtship
Pencil, watercolour and gouache on paper
20 x 28¾ in. (50.8 x 73 cm.)
Private collection

Filippo Indoni, Italian (1800 - 1884). In a reaction against the frivolous and unrealistic images of early 19th century Romanticism, artists turned to less glamorous aspects of life and society in search of a direct experience. By 1850, they had formed a relatively cohesive movement that battled for popularity with Romanticism, a far more widespread style.

This movement, known as Realism, revolutionized art, and artists took a renewed interest in genre scenes - the everyday activities of middle and lower class citizens that previously had been excluded from the fine arts. Roman-born artist Filippo Indoni embraced this artistic movement, presenting jubilant peasants reaping the rewards of their hard work, thus encouraging viewers to seek aesthetic pleasure in the unheralded members of society and moments of daily living. Realists' work such as Indoni's suggests that the everyday movements of life can be as lovely as the life-changing events. More on Filippo Indoni




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03 Works, Eanger Irving Couse's Mourning the Chief of the Tribe, with 2 Studies, with footnotes

Eanger Irving Couse (American, 1866-1936)
Study for Mourning the Chief of the Tribe, c. 1893
Titled "The Final Song" 
Pen and ink on illustration board 
15.5 x 19.875 (in) 
Private collection

Eanger Irving Couse (American, 1866-1936)
Mourning the Chief of the Tribe (preparatory sketch), 1891-1892
Pencil on paper
7 x 11-1/2 inches (17.8 x 29.2 cm)
Private collection

This sketch was made as a preparatory drawing for Couse's oil painting Mourning the Chief of the Tribe, which was exhibited at the Paris Salon of 1893.

Eanger Irving Couse
Mourning the Tribal Chief / Mourning Her Brave
I have no further description, at this time

Eanger Irving Couse was an American painter best known for his realistic depictions of Native Americans and landscapes of the Southwestern United States. Born on September 3, 1866 in Saginaw, MI, Couse went on to study at the Art Institute of Chicago and later under William-Adolphe Bougereau at the Académie Julian in Paris. Upon his return to the United States from France after nearly 10 years abroad, he was introduced to the landscapes of the West while visiting his father-in-law’s sheep ranch in Oregon. In 1902, his friends Ernest Blumenschein and Joseph Henry Sharp invited Couse to visit Taos to paint. Over the following years, he visited each summer, spending the rest of his time in New York. Between 1922 and 1934, his works were used by the Santa Fe Railway as advertisements to draw tourists from the Eastern states. The artist died on April 26, 1936 in Albuquerque, NM. Today, Couse’s works are held in the collections of the Smithsonian American Art Museum in Washington, D.C., the Phoenix Art Museum, and the Fred Jones Jr. Museum of Art at the University of Oklahoma, among others. More on Eanger Irving Couse




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

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09 Painting, Streets of Paris, Nine of Olga Novokhatska's Parisian Cafés and Brasseries, with footnotes, Part #79

Olga Novokhatska, France
Brasserie at St. Louis
Oil on Canvas
25.6 W x 31.9 H x 0.8 D in

Located at the tip of Ile Saint-Louis, opposite Notre-Dame de Paris cathedral, the Brasserie de l'Isle Saint-Louis welcomes you in its warm decor typical of Parisian brasseries of the 1930s.

A family establishment that has seen three generations at the helm since the 1950s, the Brasserie de l'Isle Saint-Louis is still run by the same family today. She strives to perpetuate the tradition and maintain with passion and regularity the spirit of this "old lady" who has seen several generations of political, artistic or literary personalities settle at her table, without ever succumbing to the sirens of the fashion. It retains its clientele of eternal regulars; some even remember the beginnings of the Guépratte spouses in 1953 (!) and their descendants ensure that ancestral traditions are respected. More on Brasserie de l'Isle Saint-Louis

Olga Novokhatska, France
Café de Flore II
Oil on Canvas
18.1 W x 25.6 H x 0.8 D in

This Parisian institute is one of the most renowned cafes in Paris and is about as classic as it gets, with its crisp white marquee and overflow of customers relaxing at chic tables outside. Although the hot chocolate and setting are more than enough reason to make a visit, it’s Cafe de Flore’s illustrious history that attracts thousands of tourists every year and makes it one of the best cafes in Paris.

Located on the Seine’s picturesque left bank between the fifth and sixth arrondissement, this art deco destination has been featured by the likes of Vogue Australia, Goop, Time Out Paris and more. Unsurprisingly, it’s topped many Parisian guidebooks as a must-visit place especially for those who love literature, fashion and art. (In fact, the cafe is lined with works of art by the master artists who used to frequent Cafe de Flore.) More on Café de Flore

Olga Novokhatska, France
Café Le Janou
Oil on Canvas
51.2 W x 31.9 H x 0.8 D in
Private collection

This unpretentious Provençal bistro is very cozy, with old French movie posters on the walls, a pleasant atmosphere, and classic French-Mediterranean cuisine, such as king prawns, scallops, rabbit, and ratatouille.

With a selection of more than 80 pastis, this small restaurant with a green frontage stands out from the start. There is something for everyone, from classic pastis, to that from elsewhere, whether from Greece or Turkey. More on Café Le Janou

Olga Novokhatska, France
Les Deux Magots
Oil on Canvas
31.9 W x 39.4 H x 0.8 D in
Private collection

Les Deux Magots is a famous café and restaurant situated at 6, Place Saint-Germain-des-Prés in Paris's 6th arrondissement, France. It once had a reputation as the rendezvous of the literary and intellectual elite of the city. It is now a popular tourist destination. Its historical reputation is derived from the patronage of Surrealist artists, intellectuals to the likes of Simone de Beauvoir and Jean-Paul Sartre, as well as young writers, such as Ernest Hemingway. Other patrons included Albert Camus, Pablo Picasso, James Joyce, Bertolt Brecht, Julia Child and the American writers James Baldwin, Chester Himes and Richard Wright.

The Deux Magots literary prize (Prix des Deux Magots) has been awarded to a French novel every year since 1933 at Les Deux Magots. 

"Magot" literally means "stocky figurine from the Far East". The name originally belonged to a fabric and novelty shop at nearby 23 Rue de Buci. The shop sold silk lingerie and took its name from a popular play of the moment (19th century) entitled Les Deux Magots de la Chine. Its two statues represent Chinese "mandarins", or "magicians", who gaze serenely over the room. In 1873, the business moved to its current location in the Place Saint-Germain-des-Prés. In 1884, the business changed to a café and liquoriste, keeping the name.

Auguste Boulay bought the business in 1914, when it was on the brink of bankruptcy, for 400,000 francs. The present manager, Catherine Mathivat, is his great-great-granddaughter. More on Les Deux Magots

Olga Novokhatska, France
Le Petit Cler
Oil on Canvas
24 W x 19.7 H x 0.8 D in
Private collection

Perfect Paris Lunch Stop After Visiting the Eiffel Tour. Le Petit Cler is on the famous market street Rue Cler in Paris‘s 7th Arrondissement. The street and the restaurant are a 10 minute walk from the Eiffel Tower. Inside, it is typical bistro - black and white tiled floor and dark wood railings. The menu is filled with tartines, salads, cheese plates, and organic wines. Le Petit Cler is an excellent place for lunch after a visit the Eiffel Tower. Don’t hesitate to get the entree and the main course menu if you climbed all those stairs. More on Le Petit Cler

Olga Novokhatska, France
Café le Bon Pecheur
Oil on Canvas
 21.3 W x 25.6 H x 0.8 D in

Located near the Châtelet district, Le Bon Pêcheur prepares a warm welcome for you in an authentic setting. The decoration of the restaurant gives it a very particular charm: the wooden furniture, the tall columns and the small lamps suspended from the ceiling give Le Bon Pêcheur a typical old-fashioned atmosphere, while remaining comfortable and cozy. Perfect for having a meal with friends!

The menu suggests many French and European specialties, ideal to accompany a good glass of cocktail , as well as a selection of vegetarian dishes. The generous portions, at very affordable prices, will be served with a smile by a team attentive to all your needs. More on Le Bon Pêcheur 

Olga Novokhatska, France
Café at St. Louis
Oil on Canvas
18.1 W x 25.6 H x 0.8 D in

Café Saint Louis is located in the Mile End at the corner of Villeneuve and De Bullion streets. Opened in June 2019, it offers a convivial space where you can enjoy quality coffee and delicious pastries.

The name “Louis” has a place of honour at the corner of Villeneuve and De Bullion. Firstly, because the Mile End used to be known as Saint-Louis, but also because the name “Louis” is common in each of the owners’ families. Café Saint Louis

Olga Novokhatska, France
Paradise café
Oil on Canvas
11.8 W x 15.7 H x 0.8 D in
Private collection

Located a stone's throw from Châtelet, Café Paradis is the perfect spot for a gourmet break in a very pleasant setting.

With a beautiful heated terrace adorned with all these flowers, Café Paradis captures the attention of pedestrians. The pink plaids and this floral decoration give a cocooning atmosphere to the place, we immediately want to stop there! More on Café Paradis

Olga Novokhatska, France
The Green Café
Oil on Canvas
19.7 W x 19.7 H x 0.8 D in
Private collection

The Green Café is first and foremost an Italian meeting place: mainly pasta and pizza, but secondly it is world cuisine: spices such as barberries, saffron, curry... In short, the chef is not lacking in ideas. He also concocted the owner's Pizza which has its success. The charcuterie is of high quality. All fruit juices are pressed by the minute. In the evening you can often attend concerts. More on The Green Café

Olga Novokhatska is a Ukrainian artist. She lives and works in Paris. After obtaining her Master's degree in painting at the Academy of Fine Arts in Kharkiv, Ukraine, she continued her artistic education at the School of Fine Arts in Lorraine. She obtained her DNSEP in 2010. Her style is between abstract and figurative, with a strong impressionist influence. Olga Novokhatska uses oil paint on canvas as a medium for her works. Her favorite subjects are the human figure and nature. In her latest series, she depicts spring trees in bloom, with a rich texture, worked with a spatula. More on Olga Novokhatska 




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