Negresco n°5 2016
Negresco n°5 2016
  • Prix facial : gratuit

  • Parution : n°5 de 2016

  • Périodicité : annuel

  • Editeur : Les Editions COTE

  • Format : (295 x 400) mm

  • Nombre de pages : 56

  • Taille du fichier PDF : 11,5 Mo

  • Dans ce numéro : fondation Maeght.

  • Prix de vente (PDF) : gratuit

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1 2 The Sixties  : modernity takes hold of the Côte d’Azur and the Negresco. The Sixties saw modernity take hold on the Côte d’Azur, evidenced by many a bold architectural concept such as Antti Lovag’s Palais Bulles built for Pierre Cardin in the hills above Théoule-sur-Mer, and the Fondation Maeght, a veritable « architectural artwork » set amidst Saint-Paul’s pine trees. As a new consumer society emerged, the image of a French Riviera energised by the cultural, sexual and artistic revolution crystallised around iconic artists and muses. Jeanne Augier captured that energy and made her Negresco a favourite with the dynamic arts scene. Driven by a determination to position her palatial hotel as a testimony to French genius, its owner built strong connections with the creatives of the day, welcoming artists, actors, musicians and all whom today we refer to as « celebrities ». Movie and music stars were flocking to the Riviera and feeding into the generalised effervescence, among them The Beatles who composed The Fool on The Hill on the hotel’s headed notepaper in 1967. Nice and its region were very much a part of pop culture. Here contemporary art movements such as the Nouveaux Réalistes (the French equivalent of America’s Pop Art), Fluxus and Supports/Surfaces grewup around the Ecole de Nice nucleus, with the goal of using their « collective singularity » to denounce the message inherent in the artwork idea. S W I N G I N G R I V I E R A In the early Sixties, Chubac produced his modifiable sculptures in bright colours, Ben published roneos of his « Manifesto on the New », Arman created his first accumulations and his Colères, Raysse his Objets de Prisunic and Mannequin-Type, César his Compression Ricard sculpture made from the shells of cars. Over the same period, Victor Vasarély popularised Op Art through his colourful geometries that Madame Augier so appreciated. Saint-Paul-de-Vence opened its unpretentious arms to movie stars seeking a sense of peaceful authenticity ; friendships were formedover well-wined meals and interminable games of pétanque beneath the plane trees. It was here that Simone Signoret and Yves Montand met and married. Over in Saint-Tropez, a legend was building around muses and mentors such as Françoise Sagan and Brigitte Bardot, the latter’s La Madrague villa hosting great names in the film world from Delon and Belmondo to Sacha Distel and Gunter Sachs, Bardot’s partner at that time. In Cannes, a star’s popularity was measured in paparazzi flashes, Fellini’s recent invention in La Dolce Vita. In those days the great and good of this world were stillaccessible to the public, at their hotel door or on the Croisette. That Sixties insouciance may be gone but the legend lives on, and the Negresco retains a magnificent reminder in its unique collection of modern art. À Saint-Paul-de-Vence défilent dans la plus grande simplicité des stars du 7 e art comme Simone Signoret et Yves Montand. Saint-Paul-de-Vence drew film stars seeking a relaxed lifestyle, among them Simone Signoret and Yves Montand. Office de Tourisme de Saint-Paul-de-Vence – Photographe  : Jacques Gomot
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