This is another project that is abstract and involves sticky materials! This washi tape art project is always a hit with kids! It uses two very fun art materials: patterned washi tape and Kwik Stix paint sticks.
● There are many different kinds of washi tapes that you might enjoy. I tested out several different sets to share with you and these vary in quality with some being completely useless, ripping as you try to unpeel them to others that unpeel and stick easily. The ones listed below I have tried out and like how they unpeel and stick. (The others I just returned!)
Set of 27 Monet Inspired Washi Tape rolls (some with gold foil)- when I first opened the package it didn’t look as bright in person, but when I unrolled the tape onto white paper, the colors were very nice. I say these are inspired because I’m not sure all of these patterns are directly from his paintings.
Whether or not intuition can be described (only) as “instincts…honed through use and experience”, it’s the next sentence that struck me:
you reach a point in life when they are usually right
How unusual to hear this from a woman. How wonderful!
I’ve been journalling on what I might do differently if I (finally) accepted this … and wanting to share that thought with all the women who read my blog.
I could not get these photos to load in any kind of order for the life of me!?!?!
The show was a huge success, and everyone really seemed to enjoy walking through, participating in the activities(kids and parents), and as always…the cookie table was a hit!
I purchased a book from Amazon that was the Cryptids of the United States. Each class learned about a different state and the cryptids found there. (Pretty much every state has a Big Foot & Locke Ness type creature.) They all seemed to love the theme. They created about 4 pictures total in that theme, and were able to select their favorite. You will see a lot of classes went for the same project to put in the show because they loved the media/style we were working.
Students working at one of the activity areas!
Former Student (no mid 20’s) Former Student Teacher
Layering has long been important in my painting process. It’s a simple notion: on day one, I paint the first layer; on day 2, I paint on top of the first layer; on day 3, I paint on top of the second layer; at some point, the layers, what’s hidden and what’s revealed, form a composition that satisfies, and the painting is finished.
Of course, it is much more complicated, and more contingent, than that.
I paint with acrylics, which means that layers dry fast. On top of acrylic paint or ink, one can layer oil paint, oil sticks, graphite, pencil, pastels, acrylic markers, more paint. A layer of paint over paint can be scumbled (applied very dry) or glazed/washed (very wet). Layering the same colour intensifies the hue; layering another colour changes it.
Artist Tristan Martinez recently released a new photo book, published by Friend Editions. “Waiting Room” is a celebration of transitional moments and experiences which may be otherwise overlooked. Martinez describes the work as “the feeling of being on the cusp of a moment, just as something is about to happen or just after something has happened.” Tristan Martinez is a New York-based artist from LA, rooted in Lower Manhattan skateboard scene.
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It’s been a while since I’ve written about my open-studio library events. This mixed-media process art weaving invitation that I set out for a multi-age group was more prep than I usually do, but it was worth it and as successful as I had hoped!
I will admit I was a little ambiguous about how this would go. I really needed to trust myself and trust that children would figure things out on their own. Since this was a process art experience, I didn’t set out an example or teach the weaving technique in any way. I hoped that the different textures and materials would spark interest, and I included some familiar materials like tempera paint sticks and dot labels for children to turn to if they didn’t feel quite ready to jump into something new.
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I can’t wait to share what happened, but first, here is a materials list. These are just what I used because I had everything in my basement, but use whatever you have!!
Materials for process art weaving invitation:
~ Cardboard (approx. 8×10 inch pieces but doesn’t have to be exact)
1. First I cut up the cardboard. They are not all the same size, I basically just cut down lots of boxes so whatever was easiest to make some rectangles from each box.
2. I used a ruler to make even marks on either end of the cardboard pieces and then snipped with scissors.
3. I didn’t make these looms in the typical way, like with a warp that could be removed. These are just quick-and-dirty, meant to give children a feel for the process but not actually take it off the loom. This also makes them much easier to put together. We just wrapped yarn around the cardboard and taped the ends on the backs. My superstar husband helped me. This was still a heavy prep project which I don’t normally do for these events. But I wanted to try it, even though it took some time.
I made about 60 looms. I typically have about 45 children coming through the space within a 2-hour timespan, so I wanted to make sure I had enough in case some kids wanted to make more than one.
4. I cut up all the different materials into strips that were a little longer than the width of the looms. I cut the felt into shapes, thinking that maybe they could be painted on or used later for something else.
5. I set out the materials in lots of different baskets and divided trays (many of these come from Ikea). I know it looks like a lot so when I say “Less is More” it feels like I’m joking, but what I mean is that the low baskets and trays make it so that I can’t put a lot out at once. Children don’t want to sift through a big bin of materials, it’s much easier to have just 20 pieces on a flat tray. I have extra nearby to replenish.
Notes on how children approached the weaving table:
Process art is all about letting children guide their own experiences with materials, but sometimes we have to really practice taking ourselves out of the equation. At first, children wandered over to the weaving table and just walked around touching some materials and then moving away. Maybe they went to the liquid watercolor table, a familiar medium, or the maker table, also filled with familiar materials. Some parents came to the table very excited, exclaiming “Ohhhh, weaving!” They attempted to teach their child the technique. Some kids sat with their parents. But mostly, I noticed that it was the children who attempted weaving on their own, or who already had some knowledge about weaving and didn’t have a parent over their shoulder that stayed engaged the longest.
This didn’t surprise me. My partner, Shannon, and I have built our whole approach at The Creativity Project around the very idea that children bring their creativity, and the materials do the teaching. Adults just need to step back and be there as support if needed. Children who have the freedom to move on their own and choose how to use materials are the ones who get into flow and build that creative confidence.
I loved observing and documenting all the different ways that children made their weaving. Some were minimalist, some were maximalist. Some were orderly and repetitive, others were carefree and experimental. There was no right or wrong way to approach the materials, which is the beauty of open-ended tables like this.
I was really proud of parents for letting their children struggle and persevere. I heard a few, “I can’t do it” from children, and then “Try again” from their adult. I’ve been doing these open studios for a year and a half now, and parents have grown and learned along with their children. They have noticed how much more joy their child gets from a creative exploration when the adult doesn’t instruct or navigate the experience.
I’m including this last photo because this child took some of the soft textiles and brought them to the painting table to make a toy for his dog. This is always what I hope might happen – when children take materials along with them to build on an idea. This could only happen in a setting where children are allowed to take risks and where they know that can try anything. It’s not too hard to create an environment like this. The part that takes the longest to learn is our part – the stepping back and not making it about us and our vision. Once we can learn this though, we realize that children are a thousand times more creative than we can ever hope to be.
xo, Bar
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Did you like this post? Here are some more weaving ideas:
We caught up with Gina Parr to explore the inspirations and intentions behind her latest work and her creative journey. Describing her art as a “pot pourri of experiences,” she crafts pieces that seem to simultaneously expand and contract—a process of releasing darkness while making space for joy. Through her work, she navigates the complexities of a traumatic childhood, transforming emotion into visual expression.
By Sophie Heatley | 10 Apr 2025
Anselm Kiefer once said, “Art is longing. You never arrive, but you keep going in the hope that you will.” For Gina Parr, that is both a challenge and a calling. In her pursuit to render the unspoken, to explore the tension between what is seen and what is felt, her paintings become not literal representations of place or time, but rather instinctive portrayals of internal landscapes. With their rich textures and emotional depth, they hold the resonance of experiences without defining or justifying them: fragments of memory, echoes of grief, and the physical density of longing.
Parr’s artistic journey is one shaped as much by life as by practice. A former set designer for BBC television, she spent 25 years working to briefs; creating immersive, fictional environments for others to perform in. Now, she paints another kind of space—one uniquely her own, far from fiction, yet always one step shy of the truth. “It’s a quest, in effect, to design the space that I was denied as a child,” she says.
Parr speaks candidly about how her early life continues to shape her work. The death of her father when she was 17, and her mother’s hoarding disorder, remain central forces. She recalls the calm of fishing with her father interwoven with a sense of unease—brief, peaceful escapes from the turmoil at home. That same tension runs through her work: a thoughtful balance between peace and turbulence.
The nature of nothingness by Gina Parr (oil, charcoal and acrylic on canvas, 2024, 100 x 100 cm)
Upon observation, I have the unusual sensation that Parr’s work is expanding and contracting at the same time; the swell and suction of ocean on coast; the ominous pause between lightning strike and thunderclap. There’s this feeling that something has happened, is happening, and is yet to come—a powerful evocation of trauma’s circular, ever-present nature. It is important to note here that, in 2004, Parr ran from the Boxing Day Tsunami with her family. They all survived.
Her work loops through memory, always close yet never fully within reach. This experience of rupture—of life split into before and after—has profoundly shaped her understanding of space, both physical and emotional. These paintings suggest that absence is not a void, but charged: a presence in its own right, echoing what was, or what might have been.
Studio paints and textures
In this way, her work becomes a cathartic mapping of emotional topographies—a wandering through internal landscapes to understand, to resolve, to find reason in the foggy aftermath of pain and heartache. There’s a distinct duality at play. Parr often speaks of balancing excess with restraint, of paintings that oscillate between “clutter and clear.” It is within this constant flux that she finds meaning, pushing beyond comfort to reach something raw and truthful.
Dialogue with my inner child by Gina Parr (oil, charcoal and acrylic on canvas, 2024, 60 x 60 cm)
Although Parr draws much inspiration from the natural world, there’s a habitual mark-making that is less from external observation and more from gazing within. “There’s a need and a comfort in repeating images, to make patterns.” Perhaps reflective of the human impulse to revisit old wounds and longings as a way to understand or, in many cases, to hold onto something we’re not quite ready to let go of. “I’ll never find a solution to that childhood trauma but I’m driven everyday to creatively pursue it.”
Photography is a natural extension of Parr’s painting. When travelling or away from the canvas, the camera becomes her brush. “I’m always looking at walls, sides of boats and other interesting surfaces… just stuff in the urban sprawl. I’m searching for paintings on those surfaces. The connection is that I’m looking for a chimerical space that already exists – whether created by weather, by humans, by graffiti, or some serendipitous weatheration.”
These photographs are not merely studies; they are cousins of her paintings – born from the same impulse to find meaning in surface, memory in matter. There is an element of chance in each frame, of having stumbled upon something quietly sacred. The artist relishes this unpredictability – both in photographing what the universe happens to place in her path, and in those moments during painting when something unexpected emerges unbidden.
“I often think about Picasso and that quote about spending our entire lives trying to paint like the children we once were – uninhibited.” Though her work draws on past experiences, Parr still longs to “get back to the freshness, the wonderful gut reaction to creating something.” That instinctive response brings a lightness and relief to her practice – it’s not all darkness and discomfort. “I actually have a joyous relationship with the canvas. Everything I’m thinking, feeling – all my movements – go into that canvas. I’m so in that space, so immersed in the process. And there are flashes, as I’m working through it, where I get the feeling that it’s going to be okay.”
Each of her pieces is a journey, a wrestling match between the perfectionist’s instinct to tidy and the artist’s need to leave marks raw, exposed. The result is work that feels alive: layered, searching, and suspended between resolution and unrest. “Painting is a battle between controlled intention and spontaneity,” she reflects. “I guess I’m looking towards the end of each painting, for it to feel right—pictorially and emotionally.”
The Portuguese word saudade—that ineffable ache for something lost—comes to mind when Parr describes the heart of her practice. Her paintings are not limited to grief or trauma, but they are informed by them, shadowed by longing and illuminated by moments of relief. “It’s a balance between longing and love,” she says. Her work speaks not of resolution but of movement: inching forward, circling back, daring always to be brave.
Strasbourg, the capital of the Alsace region in France, is one of the most fascinating old cities I visited in Europe due to its unique blend of architectural styles, geographical location, and a cultural mix of French and German influences. The city was overflowing with colorful flowers in warm spring, and it was a pleasure to walk its old city center and Little France. Picture-perfect views reflect its unusual blend of architectural styles.
Strasbourg originated from the Roman military camp of Argentoratum, first mentioned in 12 BC. Between 362 and 1262, Strasbourg was controlled by the bishops of Strasbourg, until a citizen rebellion in 1262 led to its status as a free imperial city. Following the conquest of Alsace by Louis XIV’s armies in 1681, Strasbourg became a French city. After the Franco-Prussian War in 1871, Strasbourg was annexed by Germany until the end of World War I in 1918. The city was again under German control during World War II until 1944.
Strasbourg, France, old city square view of some houses
Alsace is a historical region in northeastern France on the Rhine River plain. Bordering Germany and Switzerland, it has alternated between German and French control over the centuries and reflects a mix of French and German architectural influences and cultures. Its capital, Strasbourg, is centered on the Ill River’s Grand Île island, bordered by canals and home to the Gothic Cathédrale Notre-Dame de Strasbourg, with its animated astronomical clock.
Let’s look at the evolution of Strasbourg architecture over centuries as the city alternated between German and French rule.
Alsatian Half-Timbered House Architecture in Strasbourg
Perhaps the most unusual feature of Strasbourg’s architecture is the prevalence of half-timbered houses, particularly in the charming “La Petite France” district. These Alsatian houses, dating back to the Middle Ages, feature exposed timber frames filled with wattle and daub or brick. Their steeply pitched roofs, often with stepped gables, and colorful facades (historically functional, with colors potentially indicating profession or ownership) create a picture-perfect cityscape. Many Alsatian half-timbered houses have diamond-shaped windows that were used to accommodate weavers’ looms. These houses were built to withstand the regional climate, with steep roofs to shed snow and thick walls for insulation.
To learn about the history of the region and these unique French-German houses, you can visit the Alsatian Museum (23-25 quai Saint-Nicolas, closed on Tuesday). Overlooking the river, the Alsatian Museum’s typical half-timbered house architecture dates from around 1600. It has reconstructions of the traditional house interiors. You can see how people lived by walking through the living room, kitchen, pharmacy, etc.
Pink Sandstone
Strasbourg Cathedral, France, a closeup with pink sandstone, decoration and clock, Veronica Winters art blog
Many of Strasbourg’s most significant buildings, including the elaborate “Cathédrale Notre-Dame de Strasbourg”, are constructed from the distinctive pink sandstone of the Vosges Mountains. This material gives the city a unique, reddish color. The color is attributed to iron oxide, which gives the sandstone its characteristic reddish-pink hue.
Gothic Style: The Strasbourg Cathedral
The “Cathédrale Notre-Dame de Strasbourg” is a major landmark of the city, being visible miles away. Seen from afar, it’s a masterpiece of Gothic cathedral architecture with some Romanesque influences (1015-12th century). Let’s look at the Gothic cathedral architecture details. Construction began in the Romanesque style in 1015 being under the influence of the Holy Roman Empire. It was largely rebuilt in the Rayonnant Gothic style from the late 12th to the 15th centuries. Strasbourg transitioned from the rule of Bishops to a Free Imperial City during this time. Between 362 and 1262, Strasbourg was governed by the bishops of Strasbourg, and in 1262, the citizens rebelled against the bishop’s rule, and Strasbourg became a free imperial city. Erwin von Steinbach is credited with the architectural design of the Strasbourg cathedral as the construction in the Gothic style largely began in the 1260s under his influence.
Its single, openwork soaring spire (142 meters) made it the tallest building in the world until 1874. Johannes Hültz completed the spire of the Strasbourg Cathedral in 1439. The cathedral’s lace-like facade features hundreds of sculptures depicting biblical scenes. The dark interior has stunning stained glass windows from various periods, including Romanesque and Gothic. The Rose Window is incredibly beautiful.
If you’re interested in climbing up the 330 steps of the amazing staircase, you’ll reach the platform 66 meters above the street level to see the spire and beautiful city view. On a clear day you can see the mountains on the French side and the Black Forest on the German side.
Astronomical clock:
The highlight of the cathedral is its automated astronomical clock and the pillar of angels, which features a calendar, real positions of the Sun and 7 planets, the Moon phases and eclipses, a celestial globe with 5000 stars, and a noontime procession of Christ and the Apostles.
The difference between the Romanesque and gothic cathedral architectural styles
The Romanesque and Gothic architectural styles, while both prevalent in medieval Europe, exhibit clear differences.
Romanesque (roughly 10th-12th centuries):
Arches: Characterized by rounded arches in arcades, windows, and doorways, directly influenced by Roman architecture.
Walls: Massive, thick walls with few and small windows, giving interiors a darker, more fortress-like feel.
Support: Relied on these thick walls and stout piers or columns to bear the weight of the structure.
Buttresses: If present, they were typically flat, square, and didn’t project far from the walls, as the walls themselves provided much of the support.
Vaulting: Employed barrel vaults (a continuous series of rounded arches) and groin vaults (formed by two intersecting barrel vaults), which exerted significant outward thrust, necessitating the thick walls. Rib vaults were used but were simpler and less structurally integral than in Gothic architecture.
Light: Interiors tended to be dimly lit due to the small window openings.
Exterior Appearance: Overall impression is one of solidity, strength, and monumentality. Towers were often present and could be massive. Decoration was generally less elaborate than in Gothic, with sculpture often integrated into the architectural elements, particularly around portals.
Emphasis: Focused on creating a sense of earthly power and the physical presence of God.
Gothic (roughly 12th-16th centuries):
Arches: Defined by pointed arches, which directed the thrust more downwards than outwards, allowing for taller and thinner structures.
Walls: Walls became thinner and less load-bearing due to the innovative support systems. This allowed for much larger window openings.
Support: The weight of the roof and vaults was transferred away from the walls to external flying buttresses and internal slender columns or piers.
Buttresses: A defining feature, flying buttresses are arched exterior supports that reach up to the roof and vault, counteracting the outward thrust.
Vaulting: Featured ribbed vaults, a framework of pointed arches (ribs) that supported the ceiling panels. This system was lighter and stronger than Romanesque vaulting, allowing for greater height and more complex designs. Later Gothic styles saw even more intricate vaulting patterns.
Light: Interiors were bright and airy due to the large stained glass windows, which became a major art form, filling the space with colored light.
Exterior Appearance: Characterized by verticality and soaring heights, with features like tall spires, pinnacles, and large traceried windows. Decoration was elaborate, with extensive sculpture, including gargoyles and other figures, often covering the facade.
Emphasis: Aimed to create a sense of the heavenly and divine, with the soaring lines and light drawing the eye upwards.
In essence, the Gothic style built upon some Romanesque foundations but introduced key structural innovations, such as the pointed arch, ribbed vault, and flying buttress. These advancements allowed for taller, lighter, and more visually complex cathedrals with expansive stained glass windows, creating a dramatically different aesthetic and spiritual experience compared to the more solid Romanesque style.
The Gothic-style Dominican church: L’ÉGLISE PROTESTANTE DU TEMPLE NEUF
The Gothic-style Dominican church was built between 1254 and 1260. It was converted to a Protestant church in the 16th century. Its choir was abandoned to house the municipal library, including the famous Hortus deliciarum, the university library, the Daniel Schoepflin collection, and the budding municipal museum whose artefacts include the Zurich casserole, dating from 1576, and the Phrygian cap that crowned Strasbourg Cathedral from 1794 to 1802.
Present-day church architecture (1874-1877) was designed in the Romanesque Revival style by architect Emile Salomon (1833-1913). It contains the tombstone of Dominican spiritual leader Johannes Tauler, a prominent figure of the Friends of God mystical group of the 14th century. It’s located near the La petite France.
The Neo-Gothic style: L’ÉGLISE SAINT-PAUL
Sitting at the top of the Sainte-Hélène island, St Paul’s Church was built for the Protestant garrison of Strasbourg. Designed in the neo-Gothic style by architect Louis Müller, it was constructed between 1890 and 1997. The church accommodates up to 2000 worshippers. The two spires stretch 76 meters high, ‘hugging’ the giant rose window, 8 meters in diameter. The church still has some original stained-glass windows depicting the allegories of the Empire. Today, St. Paul’s church is a reformed Protestant church.
Renaissance influence
During the Renaissance period (15th – 17th centuries) some private residences were upgraded to a different style, reflecting Strasbourg’s status as a wealthy city. The University of Strasbourg was established in 1538 as a cultural and intellectual center. It’s the second largest university in France today. 18 Nobel Prizes have been awarded to professors or students of the university, like Wilhem Röntgen, Max von Laue, Albert Schweitzer, Pieter Zeeman, Louis Néel, Jean-Marie Lehn, Jean-Pierre Sauvage…
Strasbourg played an important part in the Protestant Reformation, with personalities such as John Calvin, and Reverence for Life, with Albert Schweitzer. It was also one of the first center of the printing industry with pioneers such as Johannes Gutenberg and Johann Carolus.
The Palace Rohan Courtyard
The Kammerzell House
This Renaissance house, called the Old House earlier, was build over the medieval ground floor in 1427. This is one of the most interesting old houses in the city center, which is made of stone and wood. The unique windows have sculpted frames that depict biblical and mythological scenes. The top floor has a pulley to move staff up to the attic. It’s a restaurant and a hotel today facing the cathedral. The restaurant hosts events and welcomes tourists to try local food.
The History Museum of the City of Strasbourg
2 rue du Vieux-Marché-aux-Poissons. (closed on Monday)
The museum displays 9 centuries of Strasbourg’s history through 1700 works. It opened in 1920, occupying the historic butchers’ shops built between 1587 and 1588. The interactive museum shows the history of the city from the Middle Ages to the foundation of the European institutions and offers a historical and playful adventure. Through the collections, it explores the living conditions of the past. The main attraction of this museum is the 1727 plan relief, commissioned by Louis XV. The museum also presents an exhibition about Johannes Gutenberg, who stayed in Strasbourg between 1434 and 1444 to acquire metal-smithing skills. Here he tested his printing process used later to print the Bible in Mainz.
The Museum Oeuvre Notre Dame
3 Place du Chateau (closed on Monday)
Strasbourg, France, Palace Rohan (left) and the Museum Oeuvre Notre Dame, Veronica Winters art blog
The museum stands across from the Cathedral and next to the Palace Rohan in two unique 14th and 16th century buildings with tiered gables and spired-gables roofs connected by a spiral, 17th century tower.
The museum’s art collection spans from the Romanesque period to 1681, the year Strasbourg was incorporated into the Kingdom of France. The museum offers a chronological journey through 40 rooms set in ancient buildings representative of Strasbourg’s varied architectural styles. It showcases the art from Strasbourg Cathedral and the 15-16th century Upper Rhine art. The museum has a drawing room with the architectural drawings of the cathedral shown in a guided tour. The garden represents heaven and is decorated with stone sculptures, funerary slabs, and flowers. https://www.musees.strasbourg.eu/musee-de-l-oeuvre-notre-dame
French Baroque Architecture: the Palais Rohan in Strasbourg
Following the annexation of Strasbourg by France under King Louis XIV in 1681, French architectural styles began to exert a stronger influence. Built in the 1730s, the opulent “Palais Rohan” is a prime example of French Baroque architecture. Its interiors are somewhat reminiscent of the Versailles, and now house several museums. Robert de Cotte (1656-1735) was king Louis XV’s first architect who designed this rather small palace in comparison to other famous European palaces. It feels more like a residence although beautiful and in the style of French kings of that period. The Palais Rohan is easy to spot next to the cathedral in the old city center.
The Palais Rohan
2 Place du Chateau (closed on Tuesday)
The Palais Rohan, the former Episcopal residence, was built between 1732 and 1741 for Cardinal Armand Gaston, de Rohan-Soubise, Prince Bishop of Strasbourg. The palace’s exterior design was inspired by the great Parisian mansions. The building features a beautiful, rococo-style interior, a courtyard, and a terrace overlooking the river. Before the French Revolution, it was the residence of four successive bishops of Strasbourg from the Rohan family. During the French Revolution, it became Strasbourg’s town hall, and in 1805 the Imperial residence. From 1872 to 1884, the Palace housed a German university, and today it’s a place of three museums, the Archaeological Museum, the Decorative Arts Museum, and the Fine Arts Museum.
Museum of Decorative Arts: This museum occupies the ground floor of the Palais Rohan that you must visit it because it’s housed in beautiful apartments of the cardinals of Rohan, former stables, and courtrooms. The decorative arts collections feature the furniture, ceramics, clocks and watches, China, and jewelry of Strasbourg from 1681 to 1870. This period was dominated by the Hannong ceramics factory, renowned for its fleurs fines decoration. The museum also displays some mechanical toys.
Museum of Fine Arts: This museum occupies the first floor of the Palais Rohan. It displays art of Italian and Flemish artists like Giotto and Memling, Renaissance and Mannerism styles of Botticelli, Raphael, Veronese, Lucas de Leyde, and El Greco. The art museum also has paintings from Baroque, Naturalism, and Classicism styles, showing famous artists like Rubens, Vouet, Zurbarán, La Belle Strasbourgeoise de Largillière, Canaletto, Tiepolo, Goya. The 19th-century art is represented by Delacroix, Chassériau, Corot, and Courbet.
The Archaeological Museum: The Archaeological Museum was founded in the 18th century and is the oldest of Strasbourg’s museums. Housed in the basement of the Palais Rohan, this museum shows the history of Strasbourg and Alsace, from the most distant beginnings of prehistory to the first centuries of the Middle Ages
Some rooms inside the museum:
The Synod Hall
The entrance hall is a reception area that features a trompe-l’œil mural painting showing a statue of Ceres, the goddess of the harvest.
The Chamber of the Bishops
These were several rooms forming the King’s apartments. The gaming room has gaming tables. It used to be the royal antechamber decorated with the portraits of bishops that were burned by revolutionaries in 1793, who replaced them with allegorical figures of the Civic Virtues, still shown today. Above the fireplace is a reproduction of a portrait of Armand-Gaston, Prince de Rohan-Soubise. Opposite is a painting dating from the First French Empire and displaying the monogram of Napoleon I and the Empress Josephine.
The King’s Bedchamber
This is the most beautiful room in the Palais Rohan Strasbourg that housed the king or members of his family on their visits to Strasbourg. Louis XV slept in it during his stay in October 1744, and the Dauphine, Marie Antoinette, stayed here a few years later. The bedchamber has lavish decorations in gold, mirrors, and tapestries. The railing enclosing the alcove protected the royal slumbers and acted as a barrier against the assembled courtiers during the King’s Rising and Retiring Ceremonies.
The Library
This space closes the suite of rooms in the royal apartments and opens onto the chapel. On grand occasions. The two were combined to form a spacious chapel. The library’s shelves are made of solid mahogany and fitted with gilded bronze sconces. Colorful tapestries decorate the walls, and the room’s center features portraits of Louis XIV and Louis XV in their coronation robes. Here, you’ll find a bust of Armand Gaston de Rohan, created by Bouchardon.
Napoleon’s Bedchamber
This was the last, small room in the Prince-Bishop’s apartment that used to be a closet. Napoleon chose its informal style to be his bedroom. To furnish it, the Emperor chose his official cabinetmaker, F-H-G Jacob Desmalter. He commissioned him to make the furniture for the room that is exhibited in the museum today. Napoleon saw the bed in its chosen place during one of his quick visits, but he has never slept in it.
Bedchamber of the Prince-Bishops
The Prince-Bishops’ Bedchamber later became the Morning Room of the Emperor Napoleon. The furniture arrangement includes a sofa known as a canapé à confidants, six armchairs, and two torchères (candlestands) from the collection of the last Prince in the Château des Rohan in Saverne.
The Recollects’ Monastery
The Recollects (the Franciscans) first came to the city in 1685. The monastery was built between 1746 and 1749 by architects Gaspard-Théodore Rabaliatti (1709-1766) and Charles Hiski. The church took up most of rue des Récollets. Abandoned during the French Revolution, the monastery was used as a storage space for military uniforms. It was demolished in 1904. The monastic buildings are arranged around a small cloister bordered by the Romanesque arcades.
German Imperial Architecture Neustadt style in Strasbourg history
After the Franco-Prussian War (1871-1918), Strasbourg became part of the German Empire. During this period, the “New Town” or “Neustadt” emerged under German administration of Kaiser Wilhelm I and Kaiser Wilhelm II. This area exhibits distinct German imperial architecture Neustadt style in Strasbourg. During this period the city gets upgraded with urban grand avenues, and uniform building heights, incorporating practical Germanic architectural style. The Neustadt district in Strasbourg features wide avenues, imposing neo-Renaissance and neo-Baroque buildings, and lots of green spaces.
This is a closeup view of a beautiful building renovated in neo art nouveau style. The shopping area below includes the MacDonalds’, believe it or not.
Contemporary architecture in Strasbourg
After World War I, Strasbourg returned to France (1918) but not for long as the city was again under German control during World War II, from 1940 until its liberation in 1944.
In the late 19th century, Johann Eduard Jacobsthal designed the original building of the National University Library of Strasbourg, later integrated with a modern glass shell designed by Jean-Marie Duthilleul (completed in 2006).
Today, Strasbourg continues to evolve with modern architectural interventions, such as the International Commission on Civil Status and European Council, the European Parliament building, the European Science Foundation, and so on.
Purpose of tiered gables and roof structure in Strasbourg architecture: La Petite France
The old roofs of Strasbourg, particularly in the charming La Petite France district, are a beautiful and unusual element of the city’s picturesque architecture. Buildings along the Ill River have unique Strasbourg architecture.
History and Function:
The majority of these distinctive roofs date back to the Middle Ages when La Petite France was the domain of tanners, millers, and fishermen. Their trades were closely tied to the Ill River. The steep pitch and the little windows in the roofs served a crucial practical purpose for the tanners. Animal hides were processed along the river and then hung to dry in the attic spaces of these houses. The small windows, often referred to as “sitting dog windows” (due to a loose resemblance to a sitting dog’s ears or silhouette), provided essential ventilation to dry the hides and prevent rot. They also allowed a small amount of light into the attic spaces. Once dried, the attic spaces under these high roofs were also used for storing the processed hides.
Unique Architecture and Shape:
Steeply Pitched Roofs: The roofs are super steep to serve several purposes back in the day:
Snow Shedding: The Alsace region experiences significant snowfall in winter, and the steep pitch allowed snow to slide off easily, preventing the roof from collapsing under the weight.
Maximizing Attic Space: The steep slope created a large, usable attic space that was essential for the tanners’ work.
Half-Timbered Construction: These roofs sit atop the iconic half-timbered houses (Fachwerkhaus). The timber frame provided the structural support, and the infill was typically wattle and daub or brick. The walls often didn’t reach the full height of the roof, creating the attic space directly beneath the steep slopes.
“Sitting Dog” Windows: These dormer windows are a charming and functional feature. They come in various small shapes and sizes and are scattered across the roofline. Their seemingly random placement reflects their individual need for ventilation and light within the attic.
Terracotta Tiles: The roofs are typically covered with terracotta tiles, adding to the warm color palette of the district.
While the tanneries are long gone from La Petite France, their unique houses with the steep roofs and little windows have been preserved to charm the tourists. Today, these buildings house restaurants, shops, and residences overflowing with summer flowers and plants.
Purpose of tiered gables and spired-gables roofs in Strasbourg architecture
I think the most unusual and visually attractive architectural styles of the roofs are tiered gables and spired-gables roofs I saw in Strasbourg. The pink sandstone of the region was often used to construct these gables, giving them a warm color. Example of these roofs can be seen in the buildings of the Museum Oeuvre Notre Dame located across the Cathedral.
La Petite France
The Tiered Gables (also known as Stepped Gables or Corbie Gables) in some regions, stepped gables were thought to offer a slight advantage in directing rainwater away from the building’s facade. However, in Strasbourg, their primary purpose was more likely aesthetic and symbolic. The stepped design created a strong vertical emphasis, making buildings appear taller and more imposing. This was particularly important for civic buildings, guildhalls, and the residences of wealthy merchants, to highlight their wealth and status within the community. Tiered gables were a common feature in Gothic architecture across Northern Europe and continued into the Renaissance period.
The “steps” themselves often provided opportunities for decorative elements, such as finials, sculptures, or contrasting brickwork or stonework, adding visual interest to the roofline. For private residences, elaborate tiered gables could be a way for wealthy individuals to showcase their taste and affluence.
The Spired-Gables (also known as Pointed Gables with Turrets or Pinnacles):
Spired gables, characterized by a sharply pointed gable often adorned with small turrets, pinnacles, or decorative spires at the corners or apex, were largely ornamental. While elements of pointed gables were present in earlier Gothic architecture, the more pronounced spired-gable often saw a revival in later periods, including the Gothic Revival of the 19th century. However, Strasbourg has examples predating this. They contributed to a more romantic and “picturesque” appearance, evoking a sense of medieval charm. Similar to tiered gables, spired-gables added a layer of architectural complexity and visual richness, often indicating a more significant or prestigious building. They often complemented other Gothic features like pointed arch windows and decorative tracery.
The statue of Liberty located close to Strasbourg
9 centuries of History: château du Haut-Koenigsbourg review
D159, 67600 Orschwiller, France, haut-koenigsbourg.fr
The chateau-castle Haut-Kœnigsbourg, Veronica Winters art blogThe chateau-castle Haut-Kœnigsbourg, Veronica Winters art blog
Do you want to see a real castle? Towering almost 800 meters high, the chateau-castle Haut-Kœnigsbourg will give you picture-perfect views of the area. From the Grand Bastion, you can see the Alsace plain, the Vosges, the Black Forest, and even the Alps…
Built in the 12th century, the castle has lived through nine centuries of European conflicts and rivalries between feudal lords, kings, and emperors. This fortress was abandoned after 1633 and then given to the German Emperor Kaiser Wilhelm II von Hohenzollern in 1899 by the town of Sélestat. The former castle had been besieged, destroyed, and finally abandoned during the Thirty Years’ War.
The restoration work took 8 years to complete and the museum opened in 1908. He commissioned the architect Bodo Ebhardt, a specialist in medieval fortifications, to restore it. Its renovation satisfied his passion for the Middle Ages, whilst he dreamed of a return to the old German Empire.
It’s not big, however, it was very crowded there when I visited. Allow for some extra time to go through the castle, which is quite fun and interesting for the kids as well. You can walk inside to see the old everyday life interiors, weapons, dinning areas, etc. You can also walk up to the roof and look down at beautiful scenery in the windows. The gigantic wall that supports the castle from the outside is impressive. I’ve been to several castles in Europe and this one looks authentic and interesting for the entire family.
Charming French Villages near Strasbourg
While my favorite country is Italy for its beautiful art and landscape views, I must say that these French villages are incredibly picturesque. They overflow with flowers in vibrant colors, and charming old houses could be a perfect setting for a movie.
Thank you for stopping by! Please visit my art shop to pick a unique art gift for yourself or spouse.
Heaven, 20x32in art size, Veronica Winters colored pencil. Visit the art shop today!
Are you looking for a fun Earth Day art project that would work for a variety of ages? This one was a hit with my students- with so many creative variations!
Earth Day Art Project for Kids
I wanted to quickly share with you this art lesson for Earth Day that was very successful with my students. I had to be out of school for a couple of days and the other art teacher at my school found this awesome art project to use while I was gone. This art lesson came from Seattle’s Child. Thanks so much for sharing! All of us art teachers are better together, when we share successful art projects.
I loved the results so much, I decided to do it with another grade level. So these were created by 5th graders and 2nd graders. I love how thoughtful and creative each of the pictures turned out.
Materials Needed:
● A large circle to trace – we used coffee can lids
● Pencil
● Sharpies
● Watercolor Paints
Steps to Make Your Earth Day Art Project
First, trace the circle in the center of your page.
Think about 3 or 4 things in nature that you love- animals, trees, plants, flowers, ocean, mountains, stars, moon, planets.. anything in nature!
Include those 3 or more things in your drawing. Use pencil to start.
Next, think about the background, and what you could do in the background to make your picture more interesting.
Outline everything with a black Sharpie or fine tip permanent pen.
Color everything using colored Sharpies, watercolor paints or BOTH!
You could substitute any coloring materials of your choice.
