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Culture, Wine & Olives in Crispiano (Satis Shroff)


COME with me to Crispiano, a lovely town with fragrances and flowers from the vineyards and olive trees in the Masseria, where the sun smiles all day. I never met such amiable people as the people in Crispiano and Taranto. Dolche vita and amore mio, Crispiano.
It lies in the region Ampulia in the province of Taranto in the Southern Italian Zone, and has a population of 13,809 . The people are called Crispianesi and the saint of the town is: Madonna della Neve.
The flight from Zürich to Brindisi was pleasant, even though the jet was full. I had a window seat on the left side of the Finnish jet and the personnel spoke German with a distinctly Swiss accent. It was fascinating to see Lake Constance (Bodensee) and the Swiss lakes reveal themselves only to be hidden by clouds, akin…

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Culture, Wine & Olives in Crispiano (Satis Shroff)


COME with me to Crispiano, a lovely town with fragrances and flowers from the vineyards and olive trees in the Masseria, where the sun smiles all day. I never met such amiable people as the people in Crispiano and Taranto. Dolche vita and amore mio, Crispiano.
It lies in the region Ampulia in the province of Taranto in the Southern Italian Zone, and has a population of 13,809 . The people are called Crispianesi and the saint of the town is: Madonna della Neve.
The flight from Zürich to Brindisi was pleasant, even though the jet was full. I had a window seat on the left side of the Finnish jet and the personnel spoke German with a distinctly Swiss accent. It was fascinating to see Lake Constance (Bodensee) and the Swiss lakes reveal themselves only to be hidden by clouds, akin to those I’d often seen on Tibetan thankas.
Clouds of all shapes and sizes marked the journey and suddenly you noticed, as we left Venice behind, we were flying over the Adriatic Sea. The islands strewn along the Adriatic coast looked lovely. The endless blue of the sea, and beyond, towards the east lay the Dalmatian Alps and to the south Albania, Greece and Crete in the Mediterranean Sea.
Flying over Lake Zurich, past the Canton Schwyz and Klöntaler lake over the Glaner Alps. To the east the Albula Alps and Engadin, overflying St. Moritz and the bernine mountains to the east and Oberhalbstein to the west.


Crossing Bellinzona and over Lake Como and the town of Chiasso on our way to Italy. We left Lake Maggiore, with its lakeside towns Ascona and Locarno, behind. It was fascinating to note that the jet took course over the Adriatic Sea, where you could see myriads of islets. The water was glistening like diamonds caused by the reflection of light on the blue water surface. An amazing natural phenomenon as the jet descended on its way to the airport of Brindisi on the east coast of the Italian boot, behind Sicily.

* * *


Here I am on my way to Crispiano to attend the Neruda Awards 2017. How did it happen? I was happily writing articles and when I didn’t have much time I’d write poems or prose poems. I’ve been writing for internet websites since decades. Some websites exist still and some like the American Chronicle and have been sold and gone commercial. However, and are still marching on and now you have Facebook, Twitter, Tumbler, and a host of others. My experience is not to put all your eggs in one basket so that if one goes defunct, the others are still there.
One day an Irish poetess, Amy Barry, chatted on FB and she introduced me to Maria Miraglia from the Neruda Associazione Lit Club and soon I asked to be the Director for Germany of the Writers International Foundation under the leadership of Preeth nambiar, based in South India. Two German newspapers Freiburg’s Badische Zeitung and Kirchzarten’s Dreisamtäler picked up the story and I was interviewed by Anja Bochtel and Christine van Herk regarding the nomination for the Pablo Neruda Award 2017.


German reporters are very critical and sceptical about prizes for literature other countries and Ms. Bochtel asked particularly about the standard of the poems in the internet. Sometimes, I do admit the standard of the poems aren’t up to the mark because some poets don’t bother to double-check their poems and are poorly edited at times. At other times, there are painstakingly edited and re-edited verses which are a delight to read. Didn’t someone say journalism was literature in a big hurry? Hope this doesn’t hold for poetry in general.
I appreciate the work that is involved in organising such a big poetry and cultural festival in Crispiano this year, and in Taranto last year. This time there are five international poets and poetesses and the others protagonist, as they are called in Italian, are from Italy itself. Behind the scenes there are a lot of translations being done, which is a great contribution to world literature. The world literature has gone digital and it’s time that internet writers are taken seriously. Whether you publish on Amazon,,, Kindle or any standard publisher, the books are now offered online as cheaper e-books or standard paperbacks. Not only the internet publishers do it but also the traditional publishers to reach more people. Much like Neruda Lit Club, Pentasi B based in Manila and others like Roula Pollard and Dimitris Krakaitios based in Larissa (Greece), there are a good many websites that have been contributing towards the dissemination, popularity and popularity of literature around the world.

* * *
Here was I, originally a Nepalese, resident in the Schwarzwald town of Freiburg, on my way to Italy at the invitation of the Assoziazione Pablo Neruda in Crispiano to be presented the Neruda Award 2017. What an honour and delight after all those years of teaching Creative Writing at the University of Freiburg (ZfS) and poetry at the University of Education as well as the Volkshochschule in Freiburg and Dreisam Valley (Kirchzarten) and other workshops on Creative Writing for International Writers in Zähringen.
It’s really amazing how it really began. At school in the foothills of the Himalayas, I’d had English language and literature taught by the Christian Brothers of Ireland. It was a boarding school and was like a fortress, a state within a state, with the principal as the chief. The Brothers never told us which part of Ireland they were from though they’d make jokes about the Protestants and say: ‘What are they protesting about anyway.’ The Brothers knew everything about us school-kids but never talked about themselves. You couldn’t be warm with them and they wanted to keep it that way. In the days of the East India Company it was master-and-servants and in the school it was masters-and-charges, who paid for their schooling. No protests were tolerated and the school-kids had to stand like soldiers during the early morning inspection in impeccable school uniforms a hand stretched out with a clean, ironed handkerchief. If someone didn’t come up to the standards set the Irish principle could say to him in a gruffy, whiskey-driven voice and beef-red face: ‘Come to the office!’ That meant benders: whacks on his bottom with a leather strap. If you went out of bounds for even a second you were obliged to get benders. I had my share of it.
All the books we used came from England, even the science books. In the lower classes we did adventure stories like Robinson Crusoe and Moby Dick, King Solomon’s Mines and the Lake District poets.
At home my Mom used to recite and read from the Ramayana and Bhagavad Gita and in school we did ‘Tess’ by Thomas Hardy and ‘A Tale of Two Cities’ by Charles Dickens, Shakespeare’s ‘Macbeth,’ ‘Julius Caesar’ and ‘As you like it’ and lots of poems by British and a few American authors.
The Christian Brothers expected us to recite poems, which was actually a good thing. I loved reading and reciting and doing questions from the context, writing essays, précis and analysis of stories. The final years at school went fast and suddenly there I was with a certificate from the University of Cambridge (and an Indian equivalent) in the hand and no more sitting on the hard old bench, do-da-do-da-day.
After school I went to Kathmandu for my further studies. I’d applied to the Amrit Science College in Thamel, and one fine day I received a positive reply letter from the principal of the college, a certain Mr. Joshi, with a PhD in Physics. We had to do a subject called ‘Panchayat’ which was mostly about the glorification of the Nepalese Royal family and how the Panchayat system from the Vedic times suited Nepal in every way, because Nepal was made up mostly of villages. It was a system about the five elders of each village in Nepal and the national religion was Hinduism, with the King and Queen holding the executive, legislative and judiciary powers.
At my second school St. Joseph’s, North Point, I met Prince Dhirendra Shah and he was in my batch. I and my friend Tek were doing our Bachelors in Zoology, Botany and Geology and Prince Dhirendra his BA in Geography at the Tri Chandra College.
Later, I went to Germany for higher studies and Prince Dhirendra moved to the Britain. His elder brother Birendra Shah became the King of Nepal after the demise of his father King Mahendra. King Birendra had a tough time with the Congress at the beginning of his reign and later the Maoists began overrunning the police and government check-posts. The movement started in western Nepal, later moving to central and eastern Nepal. Demonstrations and strikes were staged in all parts of the Nepalese Kingdom.
After I’d done my Bachelors I worked in a so-called English Medium School. In the prospectus they mentioned a lake but it was jsut a greenish, dirty pond with algae. The two headmasters were out to make money and I pitied the students. Some of them were Gurkha children and their fathers were doing service as soldiers and guarding the Sultan’s palace in Brunei, Malaysia fighting against the communists in the jungles of Kalimantan and in North Borneo. But the kids made the best out of the situation.
One day a dear friend’s father advised me to go over to The Rising Nepal’s editorial department. I went and was met by a guy named Josse who also had a public school background. He asked me which school I’d attended. The language was English and not the lingua franca of Nepal, which is Nepali.
He said he’d gone to St. Augustine in K’pong. Then he stared me in the eyes for a few seconds. I didn’t blink because this was a game I’d played often with my neighbour’s lovely daughter. We’d just play this staring game. And I’d always win. She’d either lower her eyes or blink. I remember a similar situation in Doris Lessing’s ‘The Second Hut’ in which a Major Carruthers hires an Afrikander named Van Herdeen. Did the editor look at the width of my eyes, the shape of my skull and how my legs were apart? How I stood there, a young guy fresh from college and stared at him in his eyes. He must have thought: this bloke’s okay, good character, good public-school-product, a gentleman.
‘Okay, you can start tomorrow,’ he said.
So I started working with the Rising Nepal, writing the second editorial and letters to the editor when there weren’t any, correcting articles written and submitted by Nepalese and foreign residents of Catmandu Valley.
Josse had said: ‘You’ll reach more readers that your school class.’
He was right.
I started writing a regular science spot column every Thursday and one day a Mr. Pandey from the External Service of Radio Nepal came to the office and said:
‘I read your ‘Bustle of Basantapur’ article and really enjoyed it. Would you like to write commentaries for Radio Nepal?’
I felt delighted. I thought for a second about the development issues but you really didn’t have much choice but to give the Royal Palace’s views in the editorials. Can I make it different with culture, perhaps?
So I started writing commentaries on Nepal’s development and culture which were read by Gauri KC in the evening programme.


You can imagine my surprise when I met Gauri KC, Shyam KC and other journalists at the Graf Zeppelin Hotel in Stuttgart. They’d accompanied King Birendra and Queen Aishwarya on a state visit to Germany. I’d received an invitation for the official reception at La Redoute in Bonn and also in Stuttgart. Frau Margot Busak was so kind to drive with me in her black Mercedes car. She died shortly thereafter.

Satis Shroff's Creative Writing Semester, University of Freiburg

In Freiburg I started learning at the Goethe Institute and reading Medicine. It was at the university that I attended Prof. Bruce Dobler’s Creative Writing semester. We did poems and Bruce was the one who got me interested in poems. At school poems were the works of exalted literary personalities, almost gods. Nobody taught us to write poems. We were obliged to learn English poems by heart. That was all to literature. No Irish Brother was interested in Creative Writing. It didn’t exist in their minds. We did write a good many letters, essays and précis though. There was a prize for performance in science but none for literature. It heartens me to note that in the German Gymnasiums the school-kids learn Creative Writing and prizes are given not only for science but also for music and literature.

Creative Writing has come to the Continent from the USA. British universities have also introduced Creative Writing in their syllabus. In Germany you can do Kreatives Schreiben in a few universities in Hildesheim and Saxony. The Frankfurter and Leipziger Book Fairs attract thousands of authors, readers and publishers from all over the world.

* * *
Since the sea is a bit far away from Crispiano its inhabitants cannot gather the frutti de mare, they have made use of the fruits of labour of the earth. The people of Crispiano grow wheat, grapes, vegetables, olives and make bread, wine and paste with their hands as ‘chiangaredd’ or ‘frucidd.’ The vegetables and fresh seasonal fruits are brought to the Italian table. There are many kinds of bread to be found in the Italian table. Bread could also replaced by legumes like peas and beans, which developed into excellent food in various dishes such as ‘ncapriata’ together with other vegetables boiled and sautéed with stir-fried onions.

On festive occasions the dishes are richer as ‘tien,’ meat and potatoes and, of course, ‘fecha scchet.’ This involves baking figs in the oven, additionally with toasted almonds and laurel. A typical speciality from Crispiano is the liver called ‘gnummredde,’ which is made from the entrails of lamb such as liver, heart and lungs, wrapped in a net and tied with guts, strewn with salt.

It reminded me of the time I was invited by a family Moosmann in the Black Forest to a Schweineschlacht. Kurt Vonnegut Jr.’s ‘Slaughterhouse-Five is another matter with an eloquent anti-war message. In this case also, nothing was thrown away and big boxes of spices were used to make the meat tasty. The smell of clover, cardamom, paprika and salt emanated from the schlachthaus (butchery) to our nostrils. Even the blood was cooked with bacon to make Blutwurst. The person who kills the animal is called the ‘Schlächter’ and the butcher has a Meisterbrief and many years of training in his trade and an examination behind him.
‘The Agrigentiner (farmers) eat as though they would die the next day, and they build as they would live forever’ said Empedokles.
But when it comes to the fancies of our palate, we must leave it to Hippocrates, who said: ‘The tongue tastes the food, as though it were music.’
No question is more popular than that of Marco Polo (1254-1324): did the Venetian bring the noodles from China to Italy or was it the other way round?
The spices come from the countries of the four currents of Paradise: the Nile, Ganges, Euphrates and Tigris. Legends tell us the bird phoenix burns in a cinnamon (zimt)-nest, and one promises oneself that the balsam-spices have life-extending qualities.

‘I think, one finds in people who’re born near good wine are much happier,’ said Leonardo da Vinci.
This is the impression I had of Saverio, Ariel, Egidio and Adriano. All jolly men in the middle of their lives, which they lives with gusto.
It was no other than Nietzsche (Ecce Homo) who said: ‘The best cuisine belongs to Piemont. I’d say the Italian cuisine in Crispiano and Taranto was second to none.
This was a place where they love music, food and wine. The olive is reaped later in Autumn but you could, nevertheless, eat olives and tartufi (truffles) served with tasty risotto rice and delicate sea-food. You felt like a god, waking up in the beautiful ambient of Villa Marina in Crispiano, a short drive away from the town. You could bathe in the history of lovely Crispiano and the harbour town of Taranto, as told by my dear friends Maria and Saverio.
Maria is a cosmopolitan poetess based in Crispiano. You notice immediately that she loves meeting people from other cultural backgrounds. She told me she’d been to India last year and her question was: where is the spiritual India of yore? In Europe you always hear about India as the Lands of Spirituality with its gurus, pundits, sadhus and rishis. People in the streets of India tended to be business minded. She’d visited Jaipur and Delhi and knows a well-known poet from India.
I told her living in a subcontinent with such a big population isn’t easy. I was thinking about a book review I’d written about ‘The White Tiger,’a book about modern India. The German poet Günter Grass also wrote his subjective views about Calcutta.

Dr. Maria Miraglia's Anthology of Poems : 'Dancing Winds'

Maria’s literary works have been translated into: Spanish, Turkish, Macedonian, Albanian and Azerbaijan languages. In the forward to her anthology of poems ‘Dancing Winds’ Yawchien Fang, a Taiwanese academic poet and writer, describes her book as a ‘modern classic with a magnificent poetry collection by one of the finest poets of contemporary literature.’ Further, he writes: ‘In many poems we can read the poet’s heart that wishes for a world united in love.’

Saverio Sinapoli grew up in Taranto, a town with big mansions and two bridges and a seaside restaurant with a magnificent backdrop of the Adriatic Sea. The sun was going down under the horizon of the golden sea and the Gulf of Taranto when we went for dinner and a promenade. Further southwards below Italy’s boot lay the Ionian Sea.
* * *

Journey Back: Ah, the sun is going down with a scarlet glow along the horizon, with greyish-blue clouds which look like the brush strokes of Monet and Cezanne on the heavenly canvas. The sun is setting behind the blue mountains as we reach Wettingen at a steady speed. The sun is becoming fainter and fainter and the scarlet hue has disappeared, now becoming yellowish with more bluish-grey clouds appearing and covering the sky above the horizon. Lights have started appearing in the townships that fleet by. One of the many long tunnels appears and suddenly there’s more light outside. Blue mountains appear in the horizon as we head for Basle Brugg.


My thoughts go to the burly Egidio Ippolito, the mayor of Crispiano, a gentleman with a positive Mediterranean approach to life. He’s interested in making Cispiano a great place to live in, and his deep interest in culture, not only of his Heimat but also cultures beyond the Mediterranean. I never met a more positive, cosmopolitan and sympathetic mayor in my life. He not only manages the administration of the town but indulges successfully in creative design. He invited us to try out his fantasy costume in the town council of Crispano.
Before going to Italy I sent a request per e-mail to the mayor of Freiburg for a small symbolic gesture for his Italian counterpart (I had an exchange of the emblems of Freiburg and Crispiano in mind) but didn’t receive a reply. So I rang up his ‘Vorzimmer Dame’ and she congratulated me on the Neruda Award but said: ‘Wir machen so was nicht.’ That was it. My heart sank to my feet. I had a strange feeling because this so-called Green City professes to be world open (even the Dalai Lama was greeted and feted by Freiburg City) but it did have its limits. So I went to town and bought souvenirs on my own. Andere Länder, andere Sitten. We, Germans, are know as stiff people. In comparison to my hometown Freiburg im Breisgau, the town of Crispiano and its mayor were magnanimous towards the poets who were invited and treated as special guests of the Neruda Award 2017.
Grazie Egidio Ippolito. Grazie Crispiano

Nipponese Influence in Monet’s Art (Satis

(c) beyeler fondation, basle, schweiz

Nipponese Influence in Monet‘s Art (Satis Shroff)

It was a beautiful day in May with just the clouds moving languidly across the sky above the Rhine Valley. You could see the Vosges beyond the vineyards of Kaiserstuhl and the Schwarzwald seemed to be receding. It was lunchtime that I arrived in the second biggest town (after Zurich) in Switzerland, namely Basle. This Swiss town has almost the same population as Freiburg. I headed straight for Minamoto: a Japanese restaurant to fortify myself..

Apero was Riesling Kung Fu Girl, followed by Salat Kaarage, which turned out to be a salad compositae, as the French call it, with baked poulet pieces  in a plum vinnaigrette. Mundgerecht, as we say in German.  I opted for the Minamoto Don: meat in a Japanese onion sauce with Bei Shoga ginger. I skipped the Tiramisu because my inner man doesn’t prefer it and  chose Umeshu-plum wine choya.

Influence of Japan: Why does my visit to an art museum begin in a Japanese restaurant, you might ask. Monet was fascinated by the picture series of Japanese artists. For instance the landscape-painting with a row of poplars by Audo Hiroshige is one of the 69 stations on the way to Kisokaisso (1835-42). Through the passage of time Monet’s similar series of paintings were sold as single pieces and are scattered throughout the world from Boston and Chicago to London and even Japan, where it all began.

Monet and his Impressionist friends were fascinated by the way how Japanese artists created lighted colour spaces and enhanced the art. The colour wooden paintings of ‘Tsukuda at Fullmoon’ by Ando Hiroshige is an example. Monet’s bridge in Giverny is an expression of his homage and admiration to Japan, especially the bridge of Hiroshige.

Great Impressionist: Now I was ready for the 20th century anniversary of Fondation Beyeler devoted to one of my favourite artists. When you enter the Fondation you’re greeted by an outsized black-and-white photograph of Claude Monet (1840-1926). The great Impressionist started reorienting his art work after the demise of his wife Camille in 1879. He was the pioneer of Impressionism    but later he left it to others. Unlike other painters of his time, Monet was growing independent financially as seen by his journeys to Mediterranean, the Atlantic coast and , of course, London. He dedicated his work to subjective sensations ‘the strange and tragic’  quality of landscape, as stated in a letter he wrote to his second wife Alice Hoschede.

The exhibition has 62 works which have been borrowed from European, American and Japanese museums, and from rare private collections. When you observe all these paintings you begin to be awed by the endless possibilities of playing with your palette of colours. You discovered Monet’s diversity in art.

Recurring themes: One thing that strikes you is not only the choice of pastel colours in blue, orange, yellow and red but the recurring themes of the lily pond and the subtle differentiation of shadows in his art, whereby the shadows and the mirroring effect of the ladies fishing from a wooden Norwegian boat and the poplar trees appear in countless variations.

Ice floes become lilies: Winter is a hard, cold, frosty, icy season in Europe. History has shown that two great armies suffered heavy losses not from Ivan’s artillery but the enemy winter. The winter of 1879-80 was particularly cold and caused waterways to freeze—even Monet’s beloved River Seine. The thawing ice at night caused the ice to crack loudly. Monet went out to paint the spectacle and created a dozen paintings of the riverine winter landscape with white chunks floating in the thawing river.

The water lily pond in Giverny became a great motif from 1899 onwards. The layout of the Giverny garden was inspired by Japanese wood block prints. Monet used superb brushstrokes to evoke water lilies, algae, reeds, grass, bushes, leaves branches that dangled to the water surrounding a Japanese bridge. Monet’s garden came to its flourishing existence through his own perseverance: he dug, planted and cut out the weeks himself. And in the evenings the children watered the plants.

Although there were protests, he let the river Ru to be diverted to a pond where he planted meadows, iris and bamboo. The water surface was covered with exotic lotus flowers. This pond remained the middle-point of twenty-five years of Claude Monet’s life.

Claude Monet was born in Paris in 1840. In his days art just wasn’t ‘in.’ He spent his youth in Le Havre, a harbour town. He didn’t like school but he was a promising caricaturist. Even as a youth he earned a lot of money through his caricatures of the citizens of Le Havre. The local artist Eugene Boudin talked him over to accompany him during his outdoor paintings.

‘Suddenly a veil was torn away and my calling to be an artist stood there,’ said Monet. His father didn’t like the idea but eventually allowed him to study Art in Paris. Monet had to do military service in 1861, was sent to Algeria. When he came back to Paris in 1862, he decided to make a name as a free artists. Monet’s family bought him free from military service under the condition that he continue his Art studies in Paris with his teacher. Claude Monet was obstinate and went to the atelier of Charles Gleyre against his will. Gleyre hurt his feelings deeply by criticizing the way Monet painted. But Monet met also similar thinkers: Frederic Bazille, Alfred Sisley and August Renoir. They painted together in the forest of Fontainbleu.

In his painting ‘Sunset on the Seine in Winter,’ Monet uses warm scarlet hues which form a contrast to the cold tones of the scene. The setting sun is a red fireball, which is reflected in the water in pink and orange hues. The ice floes dabbed in brush strokes of white and blue  impart the picture flashy patches and impart the impression of  ice floating on water. Monet experimented with this method and used it successfully by putting water lilies instead of ice floes. A genial transfer of technique from one theme to another.

More in haystacks than meet the eye: Haystacks in detail backlit with strong sunlight showing long shadows cast by them. The haystacks and grain were fascinating because they were painted  from various angles and light-conditions. The farmers in the Black Forest and alpine countries (Switzerland, Austria) do the same to store their harvest.

The pioneer of abstract art Wassily Kandinsky observed Monet’s painting in Moscow in 1896, and for him it was a work of artistic revelation. Kandinsky simply couldn’t identify what he was looking at. He said: ‘..for the first time, I saw a picture. That it was a haystack, the catalogue informed me. I didn’t recognize it..Painting took on a fairy-tale splendour.’ (W. Kandinsky, Reminiscences, 1913).

In the painting ‘Jean-Pierre Hoschede and Michael Monet on the Banks of the Epte’ the artist depicts the riverbank in pastel  tones with a series of naked poplar trees. There’s a certain rhythm the way the poplars and their reflections are shown, whereby the reflections of the poplars appear just as grand as the original objects above the water.

After Camille’s passed away, Monet lived with his two children and the six children of his companion Alice Hoschede. They lived in a big house in Giverny, which Monet bought in 1890. This was a period in which the artist filled his canvas with humans. Thereafter, he devoted his time singularly to landscapes.

Low tide at Varengeville: Claude Monet went to Normandy in 1882 for several months and lied in a town called Dieppe. But it was the fishing village of Pouriville where he painted the wonderful landscape: rugged chills and the Atlantic. His works with magnificent clouds reflected on water pools, in the background the receding tide. It’s amazing how the master captures,, fixes and reveals the objects and translates into unforgettable images with light and shade in pastel and oil. Monet loved to experiment with different angles and perspectives on the same object.

Like his contemporaries, Claude Monet and Alice also went to Venice in 1908 as tourists and were so happy at the Piazza San Marco with pigeons around them and even perched on their heads. Monet wrote: ‘She was so proud of my drive.’ He also painted the gondolas of Venice and found the extraordinary light in Venice  fascinating. Since she didn’t want to return to Venice alone after Alice’s death, he started working in Giverny with his Venice paintings. He said: ‘It is difficult. I always have to think of her, when I paint.’

London’s beauty and the fog: ‘Without the fog, London would not be a beautiful city. It is the fog that gives it its marvellous breadth. In 1870 he painted ‘Views of the Thames in fog.’ He returned in the winter of 1899 and the following year. He had a view of  the Waterloo Bridge to the left and Charing Cross Bridge to the right. While painting London, Monet was perplexed by the fog because it was fickle and changed fast. He had to work feverish simultaneously with many pictures, and created around 100 works of art in the British capital. Monet began with the Houses of Parliament in 1900 and they were finished and signatured  in 1903 and 1904. He set up his easel on the terrace of St. Thomas’ Hospital in London to paint the Houses of Parliament at Sunset. He re-worked on the paintings for three to four years.  Like a work of literature, where writing is re-writing, the artist works on his themes till he has the impression that he can’t add anymore after an incubation period of several years.

I remember talking with my friend Herbert Tombreul after a vernissage about how long it sometimes takes to paint and finish a theme. You can actually see certain paintings   have taken time to be what they are. For Monet, the challenge comprised in conveying the visual impression experienced at the moment of watching the object.

Monet didn’t idealise London. He transferred the fog, light and atmosphere into their respective hues.

What does the artist or poet in you see when you look at an object? How do you see it? An interesting question to ponder about.

I’ve embarked on my homeward journey to the Schwarzwald. The sun is going down, as the scarlet double-decker train moves towards Freiburg from Basle Badische Bahnhof. You can see the blue Vosges mountains in the distance and rows of green bushes, interspersed with apple trees. Past Efringen-Kirchen. The while plastic covers of asparagus mounds lie bundled in a coerned of the field. A beautiful sunset, the sky above has retained its bluish colour. A Luftwaffe jet is climbing vertically in the distant sky, leaving behind a condense vapour trail.  The train stops at Auggen a short while, then starts slowly after the doors slam shut. It gathers momentum on its way to Offenburg via Freiburg. Next stop: Müllheim.

The small  fiery ball in the distance above the mountains has a scarlet glow, as we pull out of Müllheim.Stretches of light green grass and yellow rape seed flowers appear. ‘Meine Damen und Herren, der nächste Stop ist Freiburg im Breisgau. Der Zug hält hier.‘