The Name Bergson Stirs up the Blood of the French, part three
Established painters maintain a rigorous control over the prime spots for peddling canvases to the tourists. Though most often their works are of a laughable "kitsch" quality, some painters have made enough money to buy the very expensive street vending licenses, which allow them to operate legally up in the plaza at Montmarte or along the Seine. Anyone who can't afford to buy such a license is harassed by the Police. The fines are serious enough to put a newcomer out of business. When the police don't move fast enough, the "regulars" can play it rough to drive an intruder away from choice venues.
For many unknown artists, the struggle to earn a place in the established galleries, or a site for an exhibition, Un vernissage, is very difficult. This is the same old story for painters everywhere. But in contemporary Paris, once such a haven for artists, including the poor struggling ones, the competition for a place in the sun is intense. Many artists hold their exhibitions in their studios, or if they're lucky enough, join with friends to form a co-op in some fixed-up warehouse or empty factory. But such buildings are more scarce in crowded Paris (which confines industrial buildings to its outer limits), than in New York or even By this time, Adrian was living in a tiny but comfortable chambre de bonne, a refurbished maid's room, which is common in Paris as the lodging place for students or impoverished foreigners. It was hardly a big enough space for a vernissage.Then his nurse friend introduced him to Madame Vincent who runs the Laboratoire Verseau. The blood-bank-as-gallery idea amused Adrian at first, but he was delighted to at least have a place to exhibit his canvases. Madame La Directrice assured him the display would have a comforting and salubrious effect on patients with serious health problems. Adrian rationalized that even if his paintings didn't sell, they would serve a purpose in cheering up people. He was amazed when Madame's patients began to buy his landscapes from off the walls in this "clinical setting."
Entering the salle d'analyses, a painting of the American Church adorns the wall over the refrigerator housing fresh blood samples and plasma bottles. Adrian greets Madame La Directrice, then shakes hands with his prospective buyer, who's been waiting patiently. Adrian and the buyer begin discussing the painting in question. While this is going on, a distinguished, well dressed, French woman in her late fifties lies prone on the clinic's gurney.
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