The Flickering Memories of Dining Out

I’ve been thinking about old restaurants a lot.  Not necessarily the fancy, Michelin-starred sort of places, necessarily, but places which have hung on for a long time.  When you stand back and look at it rationally, it’s a bit weird that we put more of an emotional investment into the occasional spending outlay of eating out, than we do into things we purchase all the time, like soap or paper towels.  So why is that?

We’ve been having a really hard time of it lately in Georgetown, the neighborhood in Washington, DC where I happen to hang my cape.  One after the other, a number of long-established local dining institutions have been shutting down, to be replaced either by new restaurants or by retail space.  Au Pied du Cochon, The Guards, and Cafe La Ruche, among others, have become historical footnotes in the history of the village.  Now we can add Chadwick’s to that list.

Businesses don’t last forever, not even favorite old haunts, and particularly not in the restaurant world.  True, some places have remarkable powers of survival.  Lhardy in Madrid for example, has been serving outstanding food near the Puerta del Sol since 1839; Scott’s in London has existed in one form or another since the 17th century, albeit not in its present location, when it began life as a tavern serving oysters brought down by coach from Scotland.

In some cases the place stays the same, but the identity changes.  Georgetown’s City Tavern Club, for example, occupies what started out as The Indian King tavern and coaching inn back in 1796, and has gone through numerous owners and name changes since then.  Other dining spots manage to hold on to both location and ownership, such as Billy Martin’s Tavern, which opened in Georgetown in 1933 and is still owned and operated by the Martin family today.  If Martin’s ever went bust, I think I would go into mourning.

Lest you think that such things only concern what we might call everyday people, the high and mighty have their own attachments to favorite dining establishments.  For example, in the British press this morning there were reports of Prince Charles having personally written a letter to Antonio Carluccio, when the chef had to close down his popular Neal Street restaurant in Covent Garden.  The place where celebrity chef Jamie Oliver got his start had to shutter, due to ill health stemming from the chef’s exhaustion.  That is the nature of the beast of course, when the chef both defines the place and runs the business, as it can spell the inevitable end of a great dining establishment over time.

When we lose a favorite dining spot, particularly one that we have known for awhile, it’s a bit like losing a member of the family.  We may even feel guilty about not visiting them more often, as if we owed a for-profit business some measure of sworn fealty or filial devotion.  After all, this is just commerce, and an ephemeral sort of commerce at that: we eat the food, and it is gone.

Except what really distinguishes a favorite restaurant is not the food, but the memories we make there.  A dining spot where we celebrated a significant event, for example, like a birthday or anniversary or first date, can burn bright in our memories long after we’ve forgotten what we ate.  And even when we do remember the menu, more likely than not it’s not just the food, but the company who shared that food with us, that causes us to look back fondly at the place.

Restaurants will continue to come and go as tastes change, market forces expand and contract, and chefs retire or move on to other things.  So while not turning into some sort of guilt complex, it’s important to periodically visit your favorite spots to help keep them going.  More importantly however, you want to make return visits to places you like to eat, in order to keep your old memories fresh, and continue to make new ones.  For the day will almost inevitably come when you can no longer sit down to dinner at a place like The Guards, in front of a roaring fire, eating the best cheeseburger in the village with a group of good friends in lively discussion.  And that will be quite a sorry day, when it comes.

Fireplace at The Guards, Georgetown, circa 2009

Fireplace at The Guards, Georgetown, circa 2009

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Rose’s Turn: The Power of Painting with Pink

Ah, the time-honored summer art exhibition: when art galleries and dealers in big cities try to keep themselves from falling asleep out of boredom, waiting for customers to drop by.  The reader may not be aware, but from a business perspective, the selling of art is often as seasonal as is the selling of other commodities, from bikinis to snowplows. Just as art dealers in vacation areas tend to languish during the period between the end and the start of their area’s high season, so too galleries in urban areas often suffer from the doldrums during the summer vacations of their regular clientele.

To counteract this, a summer exhibition is a great way to generate some interest in what might otherwise be a period of lethargy.  The Royal Academy in London, for example, started hosting its annual Summer Exhibition way back in 1769, which over the centuries has proven to be a hugely profitable venture not only for the Royal Academy, but for the artists exhibited there and the galleries nearby.  The Academy gets a percentage of the proceeds of any of the works sold at the show, and the London art dealers rather than packing up and fleeing to the Rivera in search of their clients, will typically host their own, brief shows around the same time, so that potential collectors can drop by and see their works, as well.

Such is the case, I imagine, with the brief run of “Everything’s Rosy” at Susan Calloway Fine Arts in Georgetown, which opened this past Friday.  The exhibition features a selection of works by a number of artists, all working in very different styles and with no thematic program, yet all are connected by their use of the color rose – or pink, depending on how you look at it, which of course for my Catholic readers brings back the old canard about the color of the priestly vestments for Gaudete and Laetare Sunday.  Appropriately enough, the opening reception for the show was accompanied by cocktails made with strawberries, rose sparkling wine, and Saint Germain.  My charming companion and I noted the refreshing recipe for future use, as we looked at the many types of painting on display, and chatted with one of the (always very gracious) gallery staff.

Pink is a color which today we often associate with the feminine – blue for boys, pink for girls – even though for centuries, that formula was reversed.  In an article about child-rearing in the venerable “Ladies’ Home Journal” published in June 1918, we read that when choosing a color for a baby’s clothing, outside of easy-to-bleach white, “the generally accepted rule is pink for the boy and blue for the girl. The reason is that pink being a more decided and stronger color is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl.”  One may also note that in traditional Catholic images of the Madonna and Child, the Virgin Mary is almost always depicted wearing blue, and there are many examples of the Christ Child wearing pink.

It is the boldness of pink as a color, much like the use of red, which tends to attract the eye; such a powerful shade can often completely dominate an image, unless the artist is careful.  What is appealing about the Susan Calloway show is how the selection of works speaks to a variety of tastes, but nothing hits you over the head with “PINK”, like walking into a child’s bedroom.  Yes, there are a few very charming, dare one say “pretty” images, but there are also some bold, textural pieces as well, which use pink in different ways.

Take for example an arresting painting by David Ivan Clark titled “Untitled (Still #69)”, a very horizontal work which features a gradation of color from pale gray to puce to black.  There is nothing “Hello Kitty” about this picture, and despite its substantial horizontality, it is a decidedly masculine-feeling piece.  Another work in the show, “Departures” by Janet Fry Rogers, features gleaming squares of silver leaf atop an underpainting of a deep, hot pink, reminding the viewer of the techniques employed in Medieval and Early Renaissance panel painting.  If, like this scrivener, you have certain magpie tendencies, you cannot help but be enthralled by the piece, so arresting is the juxtaposition of the bright undertone with the burnished, gleaming surface.

Arguably the star of the show is “Magnolia Swimwater” by Allison Hall Copley, a very large work on canvas which greets you as you enter the gallery.  Interestingly enough, the piece is framed, rather than stretched, leaving the unfinished edges of the piece exposed to look almost like rag paper.  The composition is a huge swirl of colors, a shower of bright pinks, oranges and blues against the plain white canvas.  Copley gives a wonderful sense of movement and flight to the painting, like a host of flower petals being caught up in a whirlwind and falling to earth again.

Although these three highlighted works are examples of different types of abstraction, those with an aversion to the non-representational need not fear. “Everything’s Rosy” additional features a number of charming, representational pieces, from artists such as the extremely talented landscape artist Ed Cooper, among others.  This is truly one of those bright and cheerful shows which has something for everyone, not only asking the visitor to consider pink in different ways, but also proving to be quite refreshing during yet another oppressively Washingtonian July.

“Everything’s Rosy” at Susan Calloway Fine Arts in Georgetown runs from July 11th to July 22nd.

The wonderfully-textured "Departures" by Janet Fry Rogers,  looking great against the textured white brick walls at Susan Calloway Fine Arts in Georgetown

The wonderfully textured “Departures” by Janet Fry Rogers,
looking great against the textured white brick walls at Susan Calloway Fine Arts in Georgetown

 

Making the Case for a New Georgetown Fountain

With news that EastBanc may be purchasing the site of the gas station across the street from the Four Seasons,  Georgetown developer Anthony Lanier finds himself in rather an important position, when it comes to the impression that both residents and visitors have of one of the Nation’s Capital.  For starters, EastBanc is already at work on plans to redevelop the site currently occupied by another gas station at the opposite end of M Street, the neighborhood’s main East-West thoroughfare, right across from the Key Bridge.  As travelers come into D.C. from the GW Parkway, it will be, along with the Car Barn and the spires of Georgetown University, one of the first impressions they get of the city.

This second project, at the other end of what Georgetown residents refer to as our “village”, is positioned on a parcel of land sandwiched between M Street and Pennsylvania Avenue, where they cross over Rock Creek Parkway into the city proper.  EastBanc will be building directly across from arguably the most prestigious hotel in town, at least if you are one of the foreign heads of state or movie stars who regularly stay or dine there.  It’s a given in the life of the village that at least several times a week, a motorcade or flock of black SUV’s will be tying up traffic around the entrance to the Four Seasons for several minutes.  Even yesterday, coming home from church, the blare of police sirens clearing a path for a visiting V.I.P. swept up behind me on their way to the hotel.  The gas station however, has long been a curious eyesore, a leftover of what Georgetown looked like decades ago, when its commercial district had become somewhat seedy and run-down.

Mr. Lanier, himself a Georgetown resident, has done a great deal to provide both new and renovated, updated, retail and residential space in a nearly 300-year-old neighborhood where completely new construction is very rare, thanks to the entire 1-square mile area being listed as a historic district.  Although a few pockets of seedy Georgetown remain, largely concentrated within a 2-3 block stretch of the area’s primary North-South axis, Wisconsin Avenue, on the whole the commercial district is much improved in appearance.  Blocks where once there was nothing apart from warehouses or industrial buildings have been converted to modern hotels, apartments, and condominiums.  Because of the possibility of Mr. Lanier now redeveloping this prominent “gateway” site in Georgetown,  now seems as good an opportunity as any to bring up a project which would not only make this development look better, but bring a much-needed public space back into use for the area.

Directly abutting the land which EastBanc is looking to acquire is a somewhat desolate, hemispherical public plaza, occupied by some benches, a lot of brick pavers, and weeds.  In the past however, this spot used to feature a fountain which was considered one of the best in Washington, and DC has a lot of fountains. The piece was originally installed in the 1880’s, but was replaced with a smaller fountain decades later.  Both of these fountains are now long-gone, but the former, larger one still exists, sort of.  After leaving Georgetown, it went on to grace the now-vanished Truxton Circle, in a different part of the city.  Sadly, the fountain is now in pieces, crumbling away in Fort Washington National Park in Maryland.

Although the original fountain is apparently irretrievably damaged, I for one would like to renew my call for making this, one of the most important entries to Georgetown and indeed the Capital City, a more inviting place.  Would it be possible for EastBanc to bring back the fountain which used to stand here – or rather, a reproduction of it?  Or perhaps a more modern fountain would be possible?

The impression that so many visitors, both drivers and walkers, form of Georgetown when they enter from either end of M Street is hugely important.  The soaring spires of the university at one end cannot, of course, be replicated at the other.  However, given the comparatively lower elevation of the Rock Creek end of the neighborhood, and the proximity of the parcel in question to that body of water, it would only seem appropriate to bring back a public space with the kind of splashing, elegant water feature which previous residents and visitors enjoyed.  On a hot summer day when everyone, tourists and townies alike, is desperate for a place to rest in the shade and cool off, the return of a fountain-park would be a welcome addition to a place which, because of its 18th century village layout, has so relatively few open areas for people to congregate.  And of course, for EastBanc’s new development, if it happens, having an attractive place for residents of your new building to look at would make sense, as well.

So just a thought for you there, Mr. Lanier; now, the ball’s in your court.

Remnants of the former M Street fountain in Fort Washington, Maryland

Fragments of the former M Street fountain in Fort Washington, Maryland