Breakfast at the Pompidou and Eileen Gray

Every time I go to the Pompidou to catch one of my favorite views over the city, I can’t help but glance at the well-dressed patrons on the terrace and wonder what it must be like to dine at Georges, the sleek modernistic restaurant atop the Pompidou.

Alas, with the prices being what they are and my budget being what it is, I chalked it up as another one of those ‘Paris meals in a restaurant I walk past all the time, but will never actually get the chance to experience’ fantasies (see also: Le Jules Verne in the Eiffel Tower).

But then my old Gaelic football teammate Grace invited me to the Pompidou for an Irish networking event: breakfast at Georges, followed by a private tour of the Eileen Gray exhibit — all before the Pompidou opened to the public. On top of that, Clare and her Irish company let me invite a few of my fellow Paris bloggers along as guests of her company’s blogger, Stella.

Even though it was slightly cloudy that day, the view from Georges was still a sight to behold — with Paris stretched out before us, single-stemmed roses on each table punctuating the panorama, waiters in tuxedos quietly zipping around the silver and pink abstract decor. Not to mention the quiet joy from knowing we had the Pompidou all to ourselves in that moment.

Breathtaking views, charming people, and the extraordinary chance to be in the Pompidou before anyone else: it was one of the most memorable mornings I’ve ever had in Paris.

Unfortunately I had to run out shortly after breakfast to make my flight to Russia (as you do) so I didn’t get to stay long for the second half of the morning’s event, the private exhibit tour.

But I did a little research afterwards, and I learned that Eileen Gray was an Irish artist born in the 1870s who is considered one of the pioneers of modernist design. She’s also heralded for her innovative work in architecture, lacquerwork, and decorative panels, though I haven’t a clue about art or art history so I won’t pretend I understand what that means.

However, I do know she’s especially well known for this table, the E1027 table, as it’s been prominently placed in the exhibit advertisements all over Paris (and of which I did not get a photo, though I did get a shot of this also well-known chair below as I ran out to catch my flight).

So if I don’t understand art, why was I so impressed with Eileen Gray?

It’s the fact that she wasn’t afraid to buck trends of the time: by pursuing a career in art, by changing people’s ideas of what a chair should look like. By wearing trousers and being a self-made woman — all in the 1920s.

But what I really loved was this: She wasn’t afraid to break into — and excel — in a male-dominated industry. She wasn’t afraid to move to Paris in her 20s (where she ended up living for most of her life).

I won’t lie and say I didn’t see some similarities between our lives (do you know how many females work in sports journalism? It’s depressing). But I’m not going to kid myself either, Eileen Gray was far more bold and innovative, with a clearly deserved place in art history. (All I’ve got so far really are some writing samples and a few nice shots on instagram.)

Bottom line: even if you don’t understand modern art or what the big deal is about lacquer, I’d still suggest checking out the exhibit and getting inspired by the innovative, pioneering Eileen Gray.

The Eileen Gray exhibit runs until May 20 at Centre Pompidou. 

Thanks again to Clare and her colleagues for the invite and a memorable morning.