“I wouldn’t consider a
program to be serious if it didn’t teach Escoffier, or classic French
techniques” Julia
Child
Nicknamed “King of Chefs and Chef of Kings”, Georges Auguste
Escoffier’s list of loyal followers included royals, writers, movie stars, and
divas. In contrast, his portrait shows a grounded man of distinction. He appears deep in thought, knuckles perched
under his dimpled chin, a grey mustache frowns just above his lips. His other well-manicured hand often times
resting on papers, while his fingers hold a fountain pen, he exudes stoic
confidence. His name is associated with some of Europe’s most legendary hotels
including: the Grand Hotel in Monte Carlo, the Carlton and Savoy in London, and
the Ritz in Paris. And with two culinary
schools in the United States, nearly 80 years after his death his presence and
teachings continue to flourish. I wanted
to know why.
My curiosity brought me to his home, the
Musée Escoffier de l'Art Culinaire. The afternoon I arrived in the sleepy
picturesque village of Villeneuve-Loubet, I was cheerfully greeted by the
assistant curator, Julie Durand - no stranger herself to the culinary world as
her father is a retired chocolatier from Aix-en-Provence.
Her admiration and enthusiasm for Escoffier is
contagious.
Listening to the animated
Ms. Durand was the next best thing to traveling back in time.
Walking through his home, she pointed out
personal relics that included Escoffier’s hand written love letters to his
wife, family photographs and countless notes of accolades from his admirers.
Leather bound books were abundant in his
study, which also happens to be the room where he was born.
Here you will find first editions of his own
work,
Le Guide Culinaire and
Ma Cuisine.
Upstairs the visitor is treated to two exceptional
spaces. One room, located behind a
velvet red drape, is devoted to L’Art Pâtissier. The scent of dozens of edible sculptures will
leave your nose happy and your mouth watering.
This space also houses one of the oldest sugar sculptures in the world,
a beautiful train that sparkled like fresh snow, dating from the 1920’s. The second room is the Salle des Menus. If you appreciate art, poetry, and cuisine,
here you will find happiness.
Escoffier’s brilliance stretched beyond his ingenuity in the
kitchen. He saw the design of menus as
an opportunity to enhance and prolong the dining experience. When creating a menu, he set out for it to
flow like a poem. The words became
intangible elements, foreplay to the meal, creating anticipation among the
diners. The beautiful artwork, fanciful colors, and dainty poetic script were
worthy of the gold gilded frames many now call home. These well-preserved, parchment remnants of
the past are quite telling of the time in which he worked, but their beauty
took a backstage as I noticed another element of the Belle Époque
waiting for my attention. Maxim’s.
Maxim’s in Paris, these three words alone conjure up images
of opulence and excess: rich red walls, gold rimmed mirrors, chandeliers that
dripped with jewels, art deco glass floating overhead, fresh roses on table
tops, and champagne flowing like its neighbor, the Seine. If you’ve wished for a tiny glimpse of life at
the famous restaurant during the height of the Belle Époque, there is a table
reserved at the museum. Granted, it’s
behind glass, but nonetheless, your eyes are rewarded with a true setting from
this bygone era. As I admired the pretty
table lamp, topped with a pale pink fabric shade, my guide was quick to point out
the significance, the color was chosen because of the pink glow it cast upon
diners. Everyone at Maxim’s wanted to
sparkle and dazzle, the rose tinged light from the shades became an accessory
that enhanced the beauty of anyone within its shadow.
While the books and museum were wonderful in enhancing my
understanding of Escoffier, his essence didn’t truly come to life until I
tasted one of his most famous creations, the Peach Melba. Armed with a copy of
his original recipe, I set out to replicate his creation. It is a basic dessert, consisting of vanilla
ice cream topped with ripe poached peaches and a raspberry sugar glaze. My first bite tasted like summer. Refreshing.
It reminded me of the simplicities that accompanied my youth. This dessert, not unlike Escoffier is
memorable, not because of a complicated mixture of ingredients, but the
opposite. They are true to their
origins, not attempting to be anything less and not needing to be more; neither
demanding nor screaming for your affection, but both bring you back longing for
more.
Georges Auguste Escoffier is buried in Villeneuve-Loubet, but his
memory and teachings live…
