Dutch Beer and Tulips

So much to see and do, so little time! I think the highlight of this trip for me was visiting the new Escher museum in Den Haag. Only open since late 2002, many people aren't even aware it exists. Take a day trip from Amsterdam to visit the museum, housed in a former palace. Another first for me this trip was a stop at the Katten Kabinet, a unique homage to cats. If you're a cat fancier, this is a must-see! First-time visitors to Amsterdam won't want to miss the Anne Frank House, the Van Gogh Museum, a canalboat ride, and a visit to one of the many markets around the city. My favorite market is the Albert Cuypmarkt, open Monday-Saturday, 9am to 5pm.

Quick Tips:

I planned my visit in part to coincide with the opening of Keukenhof, the "spring garden of Europe". I spent most of the day looking at the tulips in bloom, walking along the winding paths, and then stopped for a snack in the small cafe. Though you can race quickly through Keukenhof, I prefer a leisurely pace to enjoy its quiet beauty. Another restful spot on a warm spring day is the Museumplein, the city's largest open space. Relax with a beverage and soak up the sun and people-watch. And speaking of beverages, be sure to try some of the Dutch beers or Jenever, a juniper-flavored spirit somewhat like gin.

Best Way To Get Around:

In Amsterdam, I either walk or take a tram. Trams are convenient and cheap, and will take you close to most of the city's major sites and tourist destinations. You can buy tickets, called strippenkaarts, at grocery stores and shops selling cigarettes/tobacco. A ride in one zone is two strips; most of the major attractions are well within one zone. For a week's visit, I generally use up three strippenkaarts. Handily, the strppenkaarts can be used throughout the Netherlands. This trip, though, after splurging on scrumptious chocolate desserts, I needed to walk off all the yummy calories.

Pale yellow walls are graced with modern artwork in pale frames. A light green ledge atop red wainscot holds decorative greenery in a tall, slender glass cube. The light wood floors contrasts the darker wood tables and chairs, which are covered with white table linens. Candles glow softly at end table; the lighting is subdued.

While my dining companion and I perused the wine list, we munched assorted breads presented in a silver dish and accompanied by a creamy garlicky spread. After some deliberation we chose a 2001 Cogmans Kloos Kristal "Wit" from South Africa. I found it fruity and refreshing, yet elegant, and nicely priced at 15 Euros for the bottle or 2.60€ per glass.

We elected to split the special starter for the evening, which was tomato stuffed with couscous and served with a crispy tortilla wedge filled with goat cheese. What a marvelous blend of flavors!

For an entrée, my friend chose the tuna steak, which was pan seared and served with grilled zucchini slices and a side of linguini with pesto. I opted for the baked shrimp in olive oil and garlic. The shrimp were meltingly tender. Salad and home fries are served with the entrées; we absolutely loved the fries, so piping hot and crisp.

Such a repast would not be complete without a dessert of equal merit. I have made it a personal quest to search out the finest and most delectable chocolate desserts wherever I can find them, and Het Zuiden did not disappoint. We agreed to split a piece of chocolate truffle pie that was served with profiteroles. The staff in the kitchen halved our piece for us so that we each had a portion of the truffle pie, garnished with whipped cream and a mint sprig. I feel quite certain that if circumstances demanded we share this marvel of chocolate heaven, an altercation may have ensued, with disgraceful snarling and clawing for the last delectable morsel.

The owner, Cor, was our waiter, a truly delightful person who takes pleasure and pride in his guests’ enjoyment of their dining experience. We arrived sans reservations on a Wednesday evening and were able to get seated in the back room. Both the back and front dining areas are lovely; my preference would be the back as to me it seems slightly more intimate. For weekend evenings and to avoid disappointment, I would suggest reservations.

Credit cards are accepted. Take tram 1, 2 or 5; get off at the Herengracht stop and walk west along the Herengracht to Wolvenstraat. Email: hetzuiden@planet.nl.

Open daily 6pm to 1am; kitchen closes at 10:30pm

Olio’s entrance is down a narrow alleyway next door to the Swisshotel (in fact, the restaurant is on the hotel’s ground floor). Generally I find hotel restaurants overpriced and lacking in quality. Olio was a delightful exception.

Black leather chairs, yellow table linens, and restrained lighting give an air of elegance. The golden tone of the polished wood floor adds a feeling of warmth. Modern artwork adorns the white walls; a tall narrow tube of glass on each table holds a single flower.

The menu offers a select and varied choice of freshly made starters and entrees. On a Friday evening, entree choices included guinea fowl, ostrich, fish and pasta. A fixed price selection of starter, entree, and dessert was available for under 30€.

After prolonged deliberation over a wine choice, I ultimately concurred with the waiter’s suggestion; Rioja El Coto Criaza a robust Spanish wine that was a delight on the tongue. It also paired nicely with the filo pastry wrapped goat cheese I chose as a starter. This was a sublime creation of light filo pastry stuffed with goat cheese done to a melt-in-your-mouth consistency. The pastry topped a small bed of greens subtly enhanced with balsamic vinegar dressing. A basket of assorted breads was brought to the table after my wine was served.

For an entrée, I selected pasta carbonara, and truly relished its delicate creamy flavor. Wide egg noodles cooked to perfection were paired with crisp, thin pieces of pancetta, which had a hint of smokiness. The dish was offered in both a large and small portion; I found the small portion plus my starter just perfect.

When I asked the personable waiter for "something decadent and chocolate", he offered a white and dark chocolate mousse. Mere words are inadequate to describe the ecstasy the palate experiences with this concoction. Served on a large plate with an equal portion of white chocolate mousse, dark chocolate mousse and whipped cream, visual appeal is added by delicate garnishes of fruit slices, mint leaves and a sprinkle of cocoa powder.

Service was well paced: efficient yet non-intrusive. The music level is low enough to allow conversation at a normal level. Note to female travelers: I found Olio a particularly pleasant place for solo dining. Credit cards accepted.

The residence, which houses the museum, was built in 1671-72 for a Flemish merchant. The interior dates from 1754-1771. Purchased by the Van Loon family in 1884, the house was opened in 1974 as the Museum Van Loon.

The Dining Room features fabric wall panels in a golden rust tone, with matching fabric draping the windows. A carved wooden chandelier from the mid-18th century lights the room. 19th-century Limoges table settings and a life-size figure in livery give the impression of awaiting guests’ arrival to dine. The silver candlesticks and centerpiece gracing the table are adorned with the family coat of arms. These date from the early 1800’s and were made in Amsterdam. An ornate gilt-framed mirror and the elegant marble fireplace beneath it are mid-18th century.

Twelve Louis XV period walnut armchairs decorate The Blue Drawing Room; the Louis XV period chests of drawers and sofa add additional elegance. Blue fabric panels accent cream walls; chairs are upholstered in a warm peach tone. The Oriental rug’s hues incorporate both the peach and blue tones. An eightfold lacquer screen from 19th-century China reposes in the corner.

The Red Drawing Room served as the smoking room, or gentlemen’s room, and was a place where the men would gather to talk or smoke pipes and cigars. The magnificent rock crystal and amethyst chandelier is from the 19th century. Red fabric panels contrast with soft green painted walls; chairs are upholstered in gold.

At the rear of the residence, the Garden Room was added in the 18th century. Though laid out in the 1970’s, the design of the garden imitated those of about 1700. Glass enclosed shelves flank each side of the doors. Limoges china rests upon the shelves on the left. The Garden Room holds the genealogical book of Nicolaes Van Loon.

Elegant Toile de Jouy fabric, decorating the walls of the Smaller Bedroom is still printed at Nimes, France using blocks from the 18th century. The bed and chairs of rosewood date from late-18th-century Portugal. The Larger Bedroom was meant to be a library, with bookcases concealed by tall doors. Two directoire-style beds from late 19th century France compliment 18th century chairs from the Netherlands.

The central piece in the Master Bedroom is the bed, a modern rendering of the "à la Polonaise" style bed, popular in the time of Louis XVI. Five Imari vases from 17th century Japan decorate the room. Deep crimson fabric wall panels add brightness to the somber blue-gray walls.

Between 1750-1820 in the Netherlands, it was popular to paint scenes on canvas to adorn the walls of one’s home. An example of this can be seen in the Painted Room. An ivory statuette illustrating David holding Goliath’s head aloft rests on a chest of drawers. Also displayed in the room are documents from the family archives.

Open Friday to Monday, 11am to 5:00pm.
Take tram 16, 24 or 25; get off at the Keizersgracht stop.
Telephone: +31 (0)20 624 5255.

The Cat Cabinet is a collection of artworks whose subject is the cat. The collection shows cats in art and culture through time. This museum is a cat-fancier’s paradise where drawings of Japanese artist Tsugouharu Foujita (1886-1968) go hand in hand (or hand in paw) with the paintings of Russian artist Nicolas Tarkhoff (1871-1930). Of Tarkhoff’s pieces, I particularly liked "Kat op rood Kussen", or "Cat on Red Cushion", which shows a sleepy black cat regally reclining on a plush red cushion. Another favorite of mine was a Picasso piece, "Le Chat"(The Cat), dated 1942.

Katten Kabinet has modern cats, classical cats; cats in every guise from snuff bottles, pipes, and figurines, and in materials from ivory to stone, bronze, textile and ceramic. A life-size female figure wears the costume of Grizabella from the musical, "Cats". My vote for "most cat-astrophic" goes to the cat skin reposing in a glass case. This feline had obviously come to the end of all his nine lives. Nearby a live cat snoozed in a sunny spot on the sofa. I pointed out the unhappy end one of his predecessors had met. With a feline’s usual disdain he ignored me and went back to catnapping.

The building housing this sometimes-kitschy cat collection is a lovely old place on the Herengracht, which dates from 1620. Visitors can buy postcards, posters and other souvenirs in forms feline at the small gift shop/gallery. For more information, check out the website, www.kattenkabinet.nl. To get to the Katten Kabinet, take tram 16, 24 or 25; get off at the Keizersgracht stop.

Hours: Mon-Fri 9am-2pm; Sat and Sun 1-5pm.
Telephone: +31 (0)20 626 5378
Fax:+31 (0)20 626 6764

M. C. Escher was born in Leeuwarden, Netherlands on June 17, 1898, and died in 1972 in Hilversum. He trained as a graphic artist in Haarlem, Netherlands. In 1954, his works were exhibited at the Stedelijk Museum in Amsterdam in conjunction with the International Conference of Mathematics. His unique woodcuts and lithographs illustrate his absorption in recurrence, showing the regular division of planes in his symmetrical drawings. He both observed the world around him and expressed his own fantasies in his art.

Some of my favorite pieces were "Eye", from 1946, in mezzotint, which is a detailed rendering of the human eye with a skull in the pupil: a very powerful piece. "Roofs of Sienna", which is a 1920 woodcut was also a favorite of mine and much less dark and dramatic. I also liked "Palm Tree", another woodcut, this one from 1923.

A virtual reality tour of Escher’s work, offered in both Dutch and English, allows the viewer to step into Escher’s world. Visitors can also step into "Escher’s Room", where two people standing in different corners will appear of disparate size. The person on the left will appear gigantic, whereas the person on the right looks quite small. A souvenir photograph showing the illusion can be had for 5€.

Once the summer palace of the present Dutch queen’s grandmother, the Het palace stands on Lange Voorhout, an elegant tree-lined avenue. Open just since November 16, 2002, the museum has four floors of Escher’s work, as well a cafe, gift shop, and coatroom. Journey time to The Hague from Amsterdam is about 45 minutes; there are at least four trains per hour. Cost is about 15€ roundtrip.

Hours: 11am-5pm daily. For more information, call the museum at +31 (0)70 362 4061, visit their website at www.escherinhetpaleis.nl, or send email to info@escherinhetpaleis.nl.

The museum is housed in what was formerly the Civic Orphanage. In medieval days, there was a cloister here, called St. Lucy’s. After the Dutch Revolt, St. Lucy’s changed its function to an orphanage. In the early 19th century the number of orphans grew to such a number that the building was expanded to its present dimensions. The orphanage moved to a new location in 1960, and in 1975 the museum was opened in this complex of primarily 17th century buildings. I visited the museum to see the exhibit, "Black and White Color, 1000 Photographs of Amsterdam, 1945 to Date".

The photos in this exhibit are in the Gemeentearchief Amsterdam (Municipal Archives), and were selected from both documentary and historical photo assignments. The interactive program has commentary only in Dutch, though explanatory notes for the photographs are in both Dutch and English. In the explanatory notes at the beginning of the exhibit, the following quote caught my eye: ". . . Changes occur slowly in everyday life. Only with hindsight does the picture become clear. You can’t capture time."

Some photographers whose works are displayed are Dirk de Herder, Jan Versnal, Vojta Dukat, and Jos Houweling. Houweling did a wonderful series from 1977 called, "Street Refuse". This was his offering to the 100th anniversary of the Dienst Stadsreinging (Sanitation Department). He used a collage approach, with one piece being articles of clothing, another showing combs, and the most interesting one showing ice cream and ice cream cones, broken, partially melted and discarded. Another photographer, Advan Denderen, spent some time voluntarily incarcerated in prison to get close to detainees and photograph them. Theo Baart did a compelling series on cemeteries. Another favorite of mine in the exhibit was Kees Scherer’s "Stationsplein", a 1955 silver gelatin print of Amsterdamers frantically rushing for trams . . . and this hasn’t changed almost 50 years later.

March 19, 2003. Den Haag, Netherlands. As my friend and I turn into a small square near the Escher museum, we pass the American Embassy. I know that before this day ends, another war may be starting. Metal barricades surround the embassy, with more being brought by trucks as we watch. There are police and armed personnel everywhere; it’s obvious that they are heavily armed and wearing bulletproof vests under their uniform jackets. There is a sea of blue uniforms, with only a few paces separating one person from the next. Faces are serious, eyes watchful: the scene almost surreal amongst the beautiful old buildings and in the warm March sunshine. I hear a noise and look up; a helicopter is circling overhead. One inside the museum, I think I can shut it out, but no: near the open windows, museum workers and visitors crane their necks to look out and see what is happening down the street at the embassy.

March 22, 2003. Den Haag, Netherlands. As my friends and I turn into a small square near the Escher museum, we pass the American Embassy. Fewer people stand guard and today there are no helicopters. There are more metal barricades now, and it seems as though they’ve been moved farther back. Posters advertising an anti-war rally in Amsterdam are hung on the barricades. There is a large, crudely rendered drawing beside the posters; some flowers are strewn on the ground. I want to take a picture, and my friends and I approach the guards to ask permission. They allow me to take a photograph, as long as I don’t show their faces.