CHARLES AND
LLLLLMARIE-LAURE DE NOAILLES LLLLA life as Patrons PERMANENT EXHIBITION VILLA NOAILLES L/ SAINT BERNARD PRESS KIT
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Despite a reputation whose importance never ceases to Charles and Marie-Laure de Noailles grasped that modernity increase, nobody had ever devoted an exhibition to Charles was a combination of numerous influences, a montage of forms, and Marie-Laure de Noailles, the renowned benefactors. Their seemingly unsuited towards coexisting in the same space; as name – which was associated with an impressive list of artists expressed in both the construction of the villa, or its interior and intellectuals – is present in all of the works which discuss design, which in itself arose out of a montage of furnishings that the period. Despite this, no attempt had been made to re- were the product of the most diverse trends. Consequently, they assemble and inventory the countless details and documents freely combined furniture by Jacques-Émile Ruhlmann, Jean- which relate to their involvement. Ever since the inauguration Michel Frank, Charlotte Perriand, and Francis Jourdain, with of the villa Noailles arts centre, the organisation in charge of its industrial fittings, created by Smith & Co and Ronéo, alongside exhibitions had always intended to present this legacy in full view period pieces. of the contemporary exhibitions. At the same time, there was an obligation to introduce people to the history, the architecture, When Charles de Noailles offered his support to the key and the furnishings of the villa Noailles. However, it was never artists behind the periodical Documents (Bataille, Leiris, simply a matter of handing over the the keys to understanding Desnos, Limbour, and the photographer Boiffard), he intuitively this “small, interesting home to live in”, in Hyères. Instead, the grasped that future intellectual and artistic revolutions would key issue was to also show how this building and its contents fit build not only upon the legacy of Surrealism, but even more within a much greater ensemble: the extraordinary patronage so upon the founders of this periodical, which incorporated: that Charles and Marie-Laure de Noailles undertook from 1923 documents, doctrines, archaeology, fine arts, ethnography, to 1970. To unveil how the villa Noailles was the stage for artistic and entertainment. In short, that modernity was an encounter encounters, exchanges, and montages. A montage of images, of influences which, through their intertwining, resulted in the ideas, periods, and legacies. Therefore, exhibiting how Charles emergence of a rhizomatic dialogue, no longer concerned with a and Marie-Laure de Noailles expanded the definition of patronage segregation of disciplines. in exploring all of its myriad forms. If this exhibition serves to place a spotlight upon that which they celebrated publicly, it also A rootstock of which Charles and Marie-Laure were not exposes all that they accomplished with the utmost discretion. just patron-spectators, but central actors instead. Thus, as Its aim is to expose the quality of this patronage and to make its already mentioned, they were in this respect at the very heart of magnitude felt, to put across the importance of the roles they modernity, or more precisely modernities, as their support did not played, in order to at last return them to their rightful position. A stop – as has often been written – on the eve of the Second World position that was central, at the heart of modernity, and that was War, but instead continued long after. These intellectual and the work of a lifetime. artistic roots extended further still as, up until the 1970s, new generations of artists invited into their close network of friends, One might suggest that the distinguishing feature of their continued to explore the paths opened up by their precursors. patronage, was its capacity to be in keeping with the tenets Hence, Mandiargues, Clémenti, and César, illustrate between of their period, their era, or to quote Walter Benjamin, of the the three of them the artistic lineage between the artists of mechanical reproduction of the art work. Charles and Marie- the 1920s, and those of the late 1960s, for whom Charles and Laure de Noailles took an interest in ethnography, music, dance, Marie-Laure de Noailles served as conveyors, always evolving and cinema, photography, and literature, clearly understanding that in pursuit of new trends. In fact, it is not unfitting to think that collage and montage represented modernity itself; that synthesis Charles and Marie-Laure de Noailles chose to live not at the heart creates meaning. Brecht, Vertov, Picasso, Eisenstein, Ernst, of the avant-garde, but within the Avant-gardes themselves. Bataille, Leiris, and Rivière were – as part of their many friends and acquaintances – the artists responsible for granting meaning to the legacies of Baudelaire, Manet, Proust, and Mallarmé – the pioneers who had paved the way for montage on the eve of the 20th Century. Marie-Laure de Noailles combined images and texts in her scrapbooks, accumulated antique sculptures, works by Goya, Dali, and Rubens, snow globes, Spanish dolls, and fifty or so postcards, all on the same wall, like a Wunderkammer. A cabinet of curiosities, an experimental space, where subjects and objects are combined with one another, operating an incessant interlacing of significations. In fact, Marie-Laure de Noailles experimented for herself with this free association – as favoured by the Surrealists – whilst developing her own path too. She more or less consciously produced a quasi-systematic confrontation between high and low culture, thus granting her installations a dimension that was unique in the patronal milieu of the 20th Century; or as Benjamin wrote: freeing the artistic work from its parasitic existence in a ritual.
L 3 Saint-Bernard Exhibition curation A partnership has thus been envisaged Lenders with Sèvres-Cité de la Céramique, resulting in Under the impetus of Jean-Pierre Blanc, The exhibition has been produced with the creation of vases by different designers, director of the villa Noailles, the curation for the exceptional support of the Bibliothèque in which the flowers are displayed. This idea this permanent exhibition was confided to three Nationale of France. A number of other French echoes one of the building’s raison d’être, young researchers: Raphaèle Billé, Alexandre and foreign, public and private institutions have embedded as it is within a horticulturist’s Mare, and Stéphane Boudin- Lestienne also provided their support: the Bibliothèque garden, which was the pride of Charles and du Film (Cinémathèque française), the Marie-Laure de Noailles. Scenography Bibliothèque littéraire Jacques Doucet, the Annette and Alberto Giacometti Foundation, David Dubois was commissioned to The replanting of the space, devised with the Médiathèque Musicale Mahler, the undertake the scenography, taking into account Christophe Ponceau, furthers this process. Centraal Museum (Utrecht), the Nederlands the constraints of recreating “history in its own The designer Adrien Rovero was given the Architectuurinstituut (Rotterdam), the Archives home”. The project aims for the most discrete responsibility of creating a summer bar and d’Architecture Moderne (Bruxelles), the and the most respectful implementation of the musician, Sabisha Friedberg, a soundtrack Médiathèque de l’Architecture et du Patrimoine, each space according to its original coherence. which accompanies the visitor during their visit. the Cité de l’Architecture et du Patrimoine, The volumes and the original installations Conceived of as a permanent presentation of Condé- Nast Publications, as well as numerous must remain distinct and must not enter into a the Villa’s archives, this intervention offers private collectors. conflict with the contemporary interventions a resonant fabric of a phonetic history which which require their own identity. Welcoming coincides with the visual documentation of the The curators would also like to thank creation in all its forms, the villa Noailles period. the art-historian Monique Teunissen, for her thus becomes an example of a recycling scientific assistance. of architectural heritage, not only in its These audio remnants, derived from accessibility towards contemporary artists, but various recordings from the period, are In addition, the Agglomeration Community also in its relationship to its own past. “reanimated” in a series of compositions in the of Toulon Provence Méditerranée, the Ministry form of oral anecdotes, incantations, pauses, of Culture and Communication and the The signage, entrusted to Frédéric and lyrics. In representing that which is not contribution of the Public Commissions Office. Teschner, must accompany this scenography in seen and not written, this aural work offers The Centre National des Arts plastiques, the trying to produce the least amount of bearings a conversation with the visual works that are Conseil Régional Provence Alpes Côte d’Azur, the possible. Certain “references” to the original presented. Conseil général du Var, and the town of Hyères, usage by its inhabitants are revived, almost like have provided the project with their support. introductions to the culture of the location.
L 4 Saint-Bernard LLL A life as Patrons LLLLLL
Marie-Laure Bischoffsheim (1902- arts, architecture, and horticulture. It was Marie-Laure de Noailles, on the other 1970) was only two years old when her upon these shared passions that their hand, stepped out from her usual reserve father, Maurice, passed away, leaving her relationship was to form, and in February and started to write, to paint, and received to inherit a considerable family wealth, of 1923, they married in the Provençal more artists and writers in her home than along with an outstanding collection of town of Grasse. ever before. paintings belonging to her grandparents. They perused through the salons and If the Second World War was to Two individuals in particular had a marked exhibitions of 1925, acquiring furniture mark the end of an era, then Charles and influence on her youth: her grandmother, and paintings, meeting designers, and Marie-Laure de Noailles emerged from Laure de Chevigné, whose modern attitude consequently, re-furnished their private it with their aura intact. The viscount inspired Proust’s Duchess of Guermantes, residence on the place des États-Unis, now seemed more interested in his and a young poet, called Jean Cocteau, Paris. Charles and Marie-Laure de Noailles gardens and in his house in Grasse, who was to be instrumental in introducing rapidly developed their own style and, but he continued to watch over those her to the avant-garde of pictorial, after only a few years, had already made projects which were close to his heart. musical, and literary arts. an impression in both the press and Marie-Laure, however, followed with a Following the Great War, Charles de artistic circles as two of the most active passion the artistic trends of her time and Noailles (1892-1981) regularly attended and interesting benefactors of the second continued to receive her artist and literary the salons of the count de Beaumont, half of the 1920s. The start of the next friends, in both Paris and in Hyères. Marie- as did Marie-Laure. The de Noailles decade was to see even more ambitious Laure de Noailles supported many young lineage, which may be traced back to the projects, but equally a slowing down artists up until her death, in 1970. Crusades, is scattered with well-known of their support, following the scandal figures, throughout the different periods. provoked by the film, L’Âge d’Or (Age of Charles de Noailles was to take particular Gold). The viscount’s patronage continued, interest in the contemporary decorative but was now more discrete in nature.
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1. Charles and 2. Charles et Marie-Laure de Noailles Marie-Laure de Noailles screen capture from the 1929 film “Biceps and Jewellery”, Photomaton 1928. Directed by: Jacques Coll. Particulière Manuel, CNAC-Archives du film
L 5 Saint-Bernard LLL ARCHITECTURE LLLLLL
The villa Noailles, built between If at first the cubic shapes were without a consisting of four bedrooms was added 1924 and 1932, is one of the most décor, the building was still subject to the in 1925, followed by a second annexe in revealing examples of the new techniques relationship between its proportions and 1926, attached to the first by means of developed by modern architects in the rhythms. The interaction between full and a covered staircase. The following year, Interwar period, in France. The project empty spaces, the repetitions of forms, Mallet-Stevens designed a surprising, was entrusted to the architect Robert and the cantilevered awnings, all evoked three dimensional décor for the new Pink Mallet-Stevens, for whom this was to an affinity with the Neoplasticism of the living room. During the same period, the be his first completed commission. Dutch De Stijl group. construction of a sizeable pool room He initially proposed a plan for a vast Despite the architect’s wishes, when was undertaken, this time partially building on two floors, overlooked by a construction began in April of 1924, it was constructed out of reinforced concrete, belvedere. A second plan, more compact, to exclude the reinforced concrete he had comprising of a large pool and a ceiling eventually satisfied the requirements of requested, as the local builders had not made of glass bricks, forming a stunning Charles de Noailles, who wished above yet mastered its use. During construction geometrical composition. The south all for a practical building: “a small, work, the viscount decided to abandon façade of the pool room, with its four, interesting home to live in”. Consisting of the plan for a belvedere – much to the monumental, sliding picture windows, five bedrooms, a living room, and a dining architect’s dismay – , and instead asked granted supremacy to all that was made of room, the project seemed modest for him to design a wall pierced with great glass, over everything else. A gymnasium, clients such as the viscount and his wife. picture windows, to enclose the courtyard followed by a squash court, completed It fulfilled the period’s requirements for facing the villa. the sports facilities. With fifteen master healthy living, as each room had its own Pleased with the result, they bedrooms and guest houses, the villa as terrace and bathroom. All of the living ceaselessly extended and transformed a whole covers almost 1800m2 of living areas faced due South, whilst all of the the building, up until 1932, extensively space. corridors were pushed towards the North. modifying the initial plan. Thus, an annexe
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1. The Pink living room 2010 Photograph: Olivier Amsellem
2. Facade of the original villa 2010 Photograph: Olivier Amsellem
3. General view of the villa Noailles and its extensions circa 1929 Photograph: Unknown, postcard
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L 6 Saint-Bernard LLL Interior Design LLLLLL
The commissioning of a modern the inspiration for the villa’s clocks. The by Jean Prouvé for the open-air bedroom, residence led Charles and Marie-Laure International Exhibition of Decorative, housed the furniture constructed of de Noailles to design an interior in Industrial, and Modern Arts of 1925, was metallic tubes, designed by Marcel Breuer. accordance with this new architecture. to reveal itself as a genuine source of Two particular commissions, The majority of the chosen designers were inspiration, leading to the acquisition of a entrusted to Dutch artists, were notable recommended by the architect Robert “hanging bed” by Pierre Chareau, stools for their radical nature. In 1925, the artist Mallet-Stevens, who was also responsible by Mme Klotz, and “simultaneous” fabrics and theoretician, Théo van Doesburg, for designing the pool room deckchairs. by Sonia Delaunay, which were literally was assigned with the composition of The interior décor consisted of both transposed to their villa in Hyères. a geometric mural for the flower room specific commissions for individual rooms The villa was home to both extremely and the architect Sybold van Ravesteyn – such as the dining room, which was refined designs, such as a rug by Eileen was to create the entire design for the entrusted to Djo-Bourgeois as early as Gray for Marie-Laure’s bedroom, or a guest bedroom on the second floor. The 1924 –, as well as a concerted programme folding games table by Charlotte Perriand, French designer, Djo-Bourgeois, was of acquisitions. as well as more industrial furnishings, often sought, particularly in 1926, with The furnishing of their villa occurred manufactured by firms such as Smith the extension of the dining room and the over a number of stages, as the couple & Co (for the armchairs) and Ronéo (for creation of four further bedrooms with were to accord themselves the time the sheet metal tables and cabinets). fitted furniture. He was also to design an necessary for visiting the exhibitions, in Chareau’s inventiveness consorted with ingenious and colourful bar for the vaulted order to find the designs they wished to the elegance of Dominique. Louis Barillet rooms in the annexe. incorporate. For example, a dial, designed was to create the stained glass ceiling and by Francis Jourdain and discovered at the Martel brothers designed a polyhedral the Autumn Exhibition of 1922, served as mirror. The foldaway ironworks, designed
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1. Guest bedroom 2nd floor Sybold van Ravesteyn 1926, Painting by Mondrian Photograph: Unknown Nederlands Architectuurinstitut, Rotterdam
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2. Open-air bedroom 1928, Furnishings by Jean Prouvé Hanging bed by Pierre Chareau Armchair and coffee tables by Marcel Breuer Photograph: Thérèse Bonney
3. Stairway leading to the Pool room of the villa Noailles, Hyères 2010 Photograph: Olivier Amsellem
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L 7 Saint-Bernard LLL Artists LLLLLL
Charles and Marie-Laure de Noailles as Chagall, Braque, Lipchitz, Gris, Léger, who also placed numerous commissions were patrons with a keen interest in artistic Derain, de Chirico, and Picasso, the arrival from Laurens. They discovered Alberto trends, thanks to the advice they received of Surrealism in the 1930s offered a new Giacometti early on in his career, in 1929, from Cocteau, Zervos, Rivière, and Leiris, direction for both their collection and following one of his very first exhibitions. as well as their attendance at some of their patronage. Charles and Marie-Laure A lengthy series of portraits of Marie- the best galleries and publishers. As both de Noailles acquired numerous works by Laure de Noailles, initiated by a sketch collectors and commissioners, they offered Miro, Tanguy, Masson, Klee, Ernst, and by Picasso in 1921, illustrates her lifelong their support to certain artists through the Dali, as well as works by young emerging personal relationship with artists such as regular acquisition of works, or by offering artists such as Nicholson, Toyen, and Dora Maar, Bérard, Balthus, Giacometti, them a monthly revenue along with other Styrsky. Their attendance at some of the Fenosa, and Valentine Hugo. She also benefactors (such as the Zodiac Group), key exhibitions of the period resulted in posed in front of the lenses of some of as was the case for Dali and Balthus. They a number of major acquisitions. Hence, the greatest photographers of the time: frequently provided support that was not at the exhibition l’Art d’Aujourd’hui (Art Horst, Hoyningen-Huene, Durst, Beaton, only remarkable, but also selfless: the Today) in December of 1925, they bought a Doisneau, Brassaï, Rogi André, Chadourne, viscount was to act as guarantor for the work by Mondrian, making them one of the Maywald, and of course Man Ray, who acquisition of Balthus’s home and Marie- painter’s rare clients in France. Brancusi created at least ten different series with Laure donated a Zil to César, allowing him was exhibiting a Bird in Space at this her portrait as its subject. to undertake his first ‘Compression’ of a exhibition and the couple asked him to motor car. examine creating a monumental example Whilst their taste, at least initially, for their villa. Lipchitz received his first encompassed established artists, Cubists, commission for a monumental cast bronze and members of the Paris school, such sculpture from the viscount and his wife,
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1. Salvador Dali and 2. Head of Marie-Laure Marie-Laure de Noailles de Noailles on a base at Hyères Alberto Giacometti February 1930, Photograph: 1946, Plaster reworked with Unknown Private collection a penknife, Alberto and Annette Giacometti Foundation Collection, FAAG/ADAGP
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L 8 Saint-Bernard LLL LittErature LLLLLL
Charles and Marie-Laure de Noailles frequenting new schools of thought and Bataille (in particular that of Story of had numerous friendships in literary writing. the Eye) for their collection. Embodying circles, amongst which one might This support covered the full gamut a form of resistance to Surrealism – as mention writers such as Jean Cocteau of Surrealism: André Breton, Paul conceived of by Breton –, Documents was – a childhood friend of Marie-Laure’s Eluard, or even René Crevel, who was to play an important role in the evolution –, Marcel Jouhandeau, Aldous Huxley, also a close friend. However, it was their of contemporary thought, positing a François Mauriac, René Char – from whom friendship with the museologist Georges- protean and multi-cultural montage; an they were to acquire the manuscript Henri Rivière which contributed most anthropological project the likes of which for Marteau sans maître (The hammer in surrounding the couple with other had not been seen before. without a master) – Georges Hugnet, intellectuals and alternative philosophies In a similar manner, at the end of and André Pieyre de Mandiargues. Then of thought. Rivière was the kingpin behind the 1920s, Charles de Noailles mandated there were editors, such as André Gide, the projects of the ethnographic Mission Maurice Heine to acquire the manuscript Jean Schlumberger, and Jean Paulhan of Dakar-Djibouti, in 1931, as well as the for 120 Days of Sodom, by the Marquis de – with whom Charles de Noailles was to creation, in 1937, of the Museé de l’Homme Sade, Marie-Laure’s ancestor. This key correspond for over thirty years –, who (Museum of Man), with which Charles de manuscript allowed for Heine to continue were key figures at the NRF (New French Noailles was actively involved. Without his work upon Sade, re-establishing him Review) periodical and the publishers taking sides, the couple also supported within the Age of Enlightenment and Gallimard, as well as Marcel Raval, the intellectual revival which emerged making new inroads in the history of 20th publisher and director of the periodical from the periodical, Documents, created Century thought. Les Feuilles libres. All of these friendships in April of 1929, by acquiring manuscripts resulted in Charles and Marie-Laure de by writers such as Michel Leiris, Robert Noailles making new acquaintances and Desnos, Georges Limbour, and Georges
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1. Robert Desnos, Gaston-Louis Roux, Georges Bataille, Alberto Giacometti, Michel Leiris, Marie-Laure de Noailles, Georges Limbour and Georges Auric, place des États-Unis circa 1930, Photograph: Unknown Private collection
L 9 Saint-Bernard LLL CINeMA LLLLLL
Even though other patrons took an de Spartacus (The Friends of Spartacus). time as that of Jean Cocteau’s début interest in avant-garde cinema, it would Consequently, the viscount was to join film, Le Sang d’un Poète (The Blood of a seem that Charles and Marie-Laure’s with Étienne de Beaumont in financing Poet), which was also financed by the investment in this art form was beyond their first films, Vingt-quatre heures en couple and who had now become genuine compare. trente minutes (Twenty-four hours in “producers”. At the beginning of 1928, they thirty minutes, 1928) and Champs-Élysées However, in 1931, following the public were to commission a film by Jacques (1929). These films are now lost, but one release of l’Âge d’Or, a shameful campaign Manuel called Biceps & Bijoux (Biceps may surmise that they were directed in a resulted in the film being removed from & Jewellery) in which, surrounded by similar vein to the concepts of Cine Eye by distribution for half a century; this their friends on holiday, they amuse Dziga Vertov, Kaufman’s brother. scandal resulted in a sudden end to their themselves by performing a more or less Despite not having commissioned patronage of cinema. Cocteau’s film, on improvised scenario. Strictly intended Salvador Dali and Luis Buñuel’s film Un the other hand, was hailed for its visual for private viewing and despite its formal Chien Andalou (An Andalusian Dog), they and poetic inventiveness when it was awkwardness, this film offers a unique were key to its success by screening it screened in December of 1931. account of their lives. in their own private cinema (the first in At the end of the 1960s, Marie-Laure In November of 1928, Man Ray was France) which they had installed in their de Noailles encouraged the actor, Pierre commissioned to direct an entirely more private residence. It was also screened at Clémenti, to start directing his own films ambitious film. Les Mystères du Château the Théâtre du Vieux-Colombier, alongside which, through their succession of images de Dé (The Mysteries of the Château of the other films which had benefited from and through their montage, were not Dice) staged a bold relationship between the viscount’s influence. entirely without recalling the lost works the architecture and a ceaselessly moving Charles and Marie-Laure de Noailles of Lods and Kaufman, the Surrealist’s camera. The film was screened in June of gave Buñuel carte blanche for his second collages, or even the scrapbooks created 1929 at the Studio des Ursulines. film, L’Âge d’or (Age of Gold), whose by the viscountess herself. They met Jean Lods and Boris screenplay was completed at the villa Kaufman as a result of their belonging in Hyères during the winter of 1930. The to one of the first film clubs, Les Amis shoot was to take place at the same
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1. Georges Auric, 2. Pool scene Luis Buñuel and Charles Screen capture from de Noailles at Hyères the film “Biceps and January 1930 Jewellery”, 1928 Photograph: Unknown Directed by: Jacques Private collection Manuel CNAC-archives du film Pool scene Screen capture from the film “Biceps and Jewellery”, 1928 Directed by: Jacques Manuel CNAC-archives du film
L 10 Saint-Bernard LLL Music, Dance, and Events LLLLLL
During the Interwar years, Thus, the following year, a concert was Though Marie-Laure de Noailles Charles and Marie-Laure de Noailles given in April of 1932 at Hyères, for five keenly followed the career of her friend, organised themed balls. Many of these works they had specially commissioned. In the dancer Serge Lifar, it was after making soirées offered an opportunity for the December of the same year, they financed the acquaintance of Boris Kochno that commissioning of new works from artists, the German composer Kurt Weill’s visit she was to offer her support to some of as well as musicians and dancers, in to Paris, along with his musicians for the great choreographic projects of that order to promote their talents. One the Parisian premières of two works time: the Ballet Russe de Monte Carlo, such example was the ballet, Aubade, written with Brecht, Aufstieg und Fall der under the leadership of Massine, Edward commissioned from Francis Poulenc for Stadt Mahagonny (Rise and Fall of the James’s Les Ballets 1933, and Roland the Bal des Matières (Materials Ball), and City of Mahagonny) and Der Jasager (The Petit’s Ballets des Champs-Élysées. Over performed at their home on the place Affirmer), they also provided him with the course of her life, Marie-Laure de des Etats-Unis, in June of 1929, before accommodation, during his exile, in 1933. Noailles also surrounded herself with the being reprised at the Théâtre des Champs- Charles and Marie-Laure de Noailles, friendship of numerous, internationally Elysées the following year. They also without asking for anything in return, were renowned performers, such as: the commissioned George Auric to compose to provide Markevitch and Sauguet with pianists Jacques Février and Arthur his first cinematic soundtrack for the regular financial support they required Rubinstein, the cellist Maurice Gendron, Cocteau’s debut film; he was subsequently for the completion of important works the flautist Jean-Pierre Rampal, and the to write in excess of one hundred more. such as: the symphonic cantata Le Paradis clarinettist Robert Veyron-Lacroix. In 1931, the viscount and his wife Perdu (Paradise Lost) for the former, participated in the creation of the La written in London, in 1935, and the opera Sérénade group and concert series, la Chartreuse de Parme (The Charterhouse founded by Yvonne de Casa-Fuerte. of Parma) for the latter, completed in Through this series – under the artistic 1936. Darius Milhaud was also to receive a direction of the conductor Roger commission for a cantata, for the opening Desormière – they contributed in both of the Musée de l’Homme (Museum of the production and distribution of works. Man), in 1937.
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1. Francis Poulenc at the villa Noailles in Hyères February 1930, Photograph: Unknown Private collection
2. Marie-Laure de Noailles in costume for the Ball “The Bottom of the Sea” Man Ray 9th June 1928, Paris Private collection Man Ray Trust/ADAGP
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L 11 Saint-Bernard L Visuels haute définition disponible en téléchargement sur l’espace presse www.villanoailles-hyeres.com Images disponibles pour la presse (mot de passe sur demande) architecture aménagemenT et arts décoratifs
5. Rug Djo Bourgeois, 1926 1. guest bedroom 2nd floor 1. General view of the villa 5. Terrace of the Pool room Photograph: Lothaire Hucki Noailles and its extensions at the villa Noailles, Sybold van Ravesteyn circa 1929 Hyères 1926 Painting by Mondrian Photograph: Unknown, 1928 Photograph: Unknown postcard Photograph: Thérèse Bonney Nederlands Architectuurinstitut, Rotterdam
2. Open-air bedroom 1928, Furnishings by Jean Prouvé Hanging bed by Pierre 6. Metallic tube Deckchair Chareau Armchair and coffee 2. Stairway leading to 6. Facade of the original Robert Mallet-Stevens, tables by Marcel Breuer the Pool room of the villa villa 1927, Private Collection Photograph: Thérèse Bonney Noailles, Hyères 2010 Photograph: Lothaire Hucki 1928, Photograph: Thérèse Photograph: Olivier Amsellem Bonney Private collection JARDIN
1. View of the modern garden by Gabriel Guévrekian 1928, bronze sculpture “The Joy of Life” by Jacques 3. Stairway leading to 7. The Pink living room 3. The open-air bedroom Lipchitz Photograph: Thérèse the Pool room of the villa 2010 2010 Bonney Noailles, Hyères Photograph: Olivier Amsellem Photograph: Olivier Amsellem 2010 Photograph: Olivier Amsellem
4. View of the villa 8. View of the villa 4. Stairway leading 2. View of the modern garden Noailles and its extensions 2010 to the hall by Gabriel Guévrekian 2010 1928, Photograph: Thérèse Photograph: Olivier Amsellem 2010 Photograph: Olivier Amsellem Bonney Photograph: Olivier Amsellem
L 12 Saint-Bernard Images disponibles pour la presse
CINÉMA iconographie génèrale
1. Pool scene 3. “The Hundred-Headed Woman” 2. Robert Desnos, 1. Charles and Screen capture from the film Max Ernst Gaston-Louis Roux, Georges Marie-Laure de Noailles “Biceps and Jewellery”, 1928 Original collage, 1929 Bataille, Alberto Giacometti, 1929, Photobooth, private Directed by: Jacques Manuel Photograph: Faujour Private Michel Leiris, Marie-Laure collection CNAC-archives du film Collection / ADAGP de Noailles, Georges Limbour and Georges Auric, place des États-Unis circa 1930, Photograph: Unknown Private collection
musique, danse et fêtes
2. A gym session at the Villa 2. Georges Auric, 4. Salvador Dali and Screen capture from the film Luis Buñuel and Charles Marie-Laure de Noailles “Biceps and Jewellery”, 1928 de Noailles at Hyères at Hyères Directed by: Jacques Manuel January 1930 February 1930, Photograph: CNAC-Archives du film Photograph: Unknown Unknown Private collection Private collection 1. Marie-Laure de Noailles in costume for the Ball “The Bottom of the Sea” ART Man Ray 9th June 1928, Paris Private collection Man Ray Trust/ADAGP
3. Charles and 1. Head of Marie-Laure de Marie-Laure de Noailles Noailles on a double base 5. “Portrait of Marie-Laure screen capture from the film Alberto Giacometti de Noailles and her daughter” “Biceps and Jewellery”, 1928 1946, Bronze, Alberto Christian Bérard Directed by: Jacques Manuel, and Annette Giacometti CNAC-Archives du film 1932, oil on canvas 2. Emilio Terry, Princess Foundation Collection, Photograph: Faujour “Baba” by Faucigny-Lucinge FAAG/ADAGP Private collection and Jean Rouvier, in costume for the Materials Ball 18th June 1928, Photograph: LittératurE Studio Manuel Frères Private collection
1. Paul Éluard, Nusch Éluard and André Breton at the villa Noailles 2. Head of Marie-Laure Hyères March 1932 3. Francis Poulenc at the 4. Marie-Laure de Noailles de Noailles on a base Photograph: Unknown Private villa Noailles in Hyères Page from a scrapbook Alberto Giacometti Collection February 1930, Photograph: 1954, Private collection 1946, Plaster reworked with Unknown Private collection a penknife, Alberto and Annette Giacometti Foundation Collection, FAAG/ADAGP L 13 Saint-Bernard équipe
Team Curators Scenography Revegetation Raphaèle Bille: independent David Dubois, assisted by David de Christophe Ponceau, landscaper- exhibition curator, art historian, Moutis. Designer, graduate of the ENSCI- scenographer, graduate of the École specialising in interior design of the Les Ateliers (2003). His work was first Boulle (1988) and a DPLG (State Interwar period, she has co-created exhibited at the villa Noailles (Débuts), in registered) architect under the exhibitions for the Documents series at 2004. Since then he has created several supervision of Jean-Pierre Le Dantec the villa Noailles, in 2006 and 2009, and scenographies at the villa, along with (1995). He has collaborated with the has collaborated with several publications a commission for one of its residential landscaper Gilles Clément since 1997, at on the history of metal furniture. bedrooms (2007-2008). He is represented which time he also adopted the profession and published by the gallery Kreo, FR66 of scenography. He was responsible for Alexandre Mare: editor, critic, and has self-produced some of his the garden and plant side of the exhibition exhibition curator and also former director designs. He teaches at the ESAD, Reims. le Jardin planétaire (in the Grande Halle of the Galérie Marion Meye, in Paris, His work features in the collection of the of the Villette, Paris) in 2000. He is also he has published several essays and Mudam (Luxembourg). responsible for organising the programme collaborates predominantly with Artpress for contemporary interventions at the and Revue des Deux Mondes. Visual Identity and signage Parc de la Ferté-Vidame, since 2006. Stéphane Boudin-Lestienne: art Frederic Teschner and his team: Music historian, project manager for the villa Clémence Michon and Philippe Karrer. Noailles, he is the curator for the series Graphic designer, graduate of the ENSAD, Sabisha Friedbery studied fine arts Documents, exhibited at the villa Noailles in Paris (1997), he opened his studio in at the San Francisco Art Institute where since 2003. 2002 and has collaborated with architects, she obtained her BFA in the domain of designers, young choreographers, “sound installations” in the New Genres galleries and even the Théâtre de department. At the Institute, she studied Gennevilliers. Starting in 2003, he has experimental cinema with Ernie Gehr, designed visual identities for exhibitions and composition in Musique Concrète, (Centre Pompidou, Mémorial de la Shoah, as well as electro-acoustic techniques MAC/VAL, musée d’Art moderne de la Ville with Don Lloyd, Paul de Marinis and Chris de Paris, and the villa Noailles). He has Brown, from the Mills College Center for also worked with cultural institutions. Contemporary Music. She has created numerous sound installations in France, Austria, Japan, and the United States. She currently lives in Paris.
Bar Design Adrien Rovero holds a CFC diploma in interior design as well as a diploma in industrial design. He obtained his Master’s in industrial design in 2006 at the ECAL, where he now teaches. The same year he created his self-titled studio. He combines the activities of research with industrial production. His work is exhibited in numerous galleries in Europe (Kreo, Paris; Libby Sellers, London; galerie Ormond, Geneva). He also works with institutions such as le Grand Hornu (Belgium) and the villa Noailles, as well as brands such as Hermès. International design companies such as Droog Design (Netherlands), Dim (Germany) and Campeggi (Italy) have employed his services. He was awarded the Prix Spécial du jury in the 2006 edition of Design Parade.
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