For all the great things about New York, one problem for visitors is that good hotels tend to be painfully expensive. In quest of the holy grail of a nice-but-not-exceedingly-dear hotel, we tried a new one: the Carlton, at Madison and 28th. Perhaps because it’s not in a high-profile neighborhood, the value proposition is strong: charm, good service, and rooms under $200.
The high-ceilinged lobby was an eclectic-but-stimulating mix of styles (modern, beaux arts, art nouveau). Our room was quiet and comfy. The shower pressure and hot water supply met Sally’s exacting standards. The furniture and fittings were attractive and modern, except for the bathroom sink, which was old school (rounded porcelain with no shelf space). The gym was adequate and available 24 hours. The location was a comfortable walk from the theatre district and within 10 cab-minutes of everything we had planned.
Jocelyn was waiting for us at the hotel when we arrived, and she’d already scoped restaurants and made a reservation for that evening. We checked in, unpacked, and walked one block to Lexington Avenue and an area rife with Indian restaurants known as “Curry Hill.”
The one Jocelyn picked was Chote Nawab. We love eating Indian, although there are common shortcomings: the food often isn’t very pretty (lots of brown), or the atmosphere is a little formal and downbeat. But Chote Nawab was really lively, with many cheerful young people, excellent service, and delicious curries well presented. Jocelyn was as cheerful and lively as any. She was very excited about her new life in New York, and had lots to report.
On Saturday we did two very different art exhibits: the Art Spiegelman restrospective at the Jewish Museum (92d and Fifth) and the Dutch masters exhibit at the Frick (70th and Fifth).
I was generally aware of Art Spiegelman as a comics artist, but until this exhibit had no clue as to his wide range and depth. He uses a lot of styles and reference points, with courage, exuberance and also humility. His masterpiece, Maus, is a graphic novel about his father’s experience in the Holocaust, which established the graphic novel as a serious art form. The sections I looked at were intriguing and moving. After the show, I ordered a copy.
The show at the Frick was headlined by Girl with a Pearl Earring by Johannes Vermeer (1632-75). This is a painting generally regarded as a transcendent masterpiece, and one that I’d been wanting to see for many years. Vermeer’s work is extremely subtle, with seemingly ordinary subject matter, and seeming straight-ahead realism, but a mysterious emotional power.
The Girl is, at first sight, a fairly ordinary girl. But with more time, the painting transmits a more complicated message. She looks as though she’s been surprised, but not unpleasantly so. Could something be going on between her and the artist, as Tracey Chevalier imagined in her novel? Maybe. The painting is ambiguous, but the truth seems just barely out of reach.
She gave me big, long-lasting goose bumps. I enjoyed the rest of the show, which included works by Rembrandt, Hals, and several other Dutchmen of the 17th century, but nothing that was as affecting. I also revisited the Frick’s permanent collection, which is one of the finest small collections of European painting in the world. Henry Clay Frick seems to have been a particularly brutal captain of industry in the gilded age, but still, he had very good taste. However good or bad the motivation for his philanthropy, I’m grateful.
More good food and some opera
After we finished at the Frick, Jocelyn, Sally and I walked across Central Park as the sun was setting. It was getting colder, so we stopped for some coffee, and then made our way to an early dinner at the Leopard, an Italian restaurant on west 67th Street.
Jocelyn’s friend Mike joined us, and we had an extraordinarily fine meal. My ravioli with braised artichoke and a tomato marjoram sauce managed to be both hearty and delicate. We shared two desserts, which were delicious, and lost track of time. It was snowing when we got out on the street, and we had to hurry to Lincoln Center to make the 8:00 curtain at the Metropolitan Opera.
We saw Tchaikovsky’s Eugene Onegin, which is a new production for this season and was completely new to me. I thought the music was gorgeous – as fine as anything Tchaikovsky ever wrote. But dramatically the thing is puzzling and for substantial stretches fairly boring. Why does Eugene reject Tatiana? Why does he ultimately desperately long for her? I don’t know, and worse, the drama didn’t really make me care.
It was quite cold and snowing when we finished the opera at about 11:15, and there were many more people looking for cabs than there were cabs. We walked past Columbus Circle and over to Sixth Avenue, and finally found a cab to get us back to the Carlton.
On Sunday we had breakfast at the hotel, and then walked a few blocks up Madison to the Morgan Library. They had an exhibit of Leonardo’s drawings and notebooks, including the famous Codex on the Flight of Birds. Leonardo was, of course, an extraordinary individual – a true Renaissance man, curious about everything in the natural and human world, and constantly innovating, or imagining future innovations.
I didn’t realize how few paintings he made, perhaps because he was so interested in everything. His drawings seem effortless and timeless. But his presumed self portrait in red chalk shows an old, bearded man looking extremely remote and grumpy, if not bitter. It’s hard to reconcile his extreme gifts and imagination, which seem reason for great joy, with this persona.