Jean Cocteau 一些資料
科克托的日記寫著：我先要做的是填製一張適合靈魂而非身體休憩的座椅。
Décor Inspiration from Surrealist Jean Cocteau
An avowed maximalist finds affirmation in a visit to the super-eclectic home of surrealist Jean Cocteau an hour outside Paris
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The medieval town of Milly-la-Forêt, France, was home to Cocteau from 1947 until his death at 74, in 1963. FRANCIS HAMMOND FOR THE WALL STR
The salon at Maison Cocteau, the house museum in Milly-la-Forêt, France, where the surrealist poet and director of 1946’s ‘La Belle ...
The star-burst ornament over the fireplace was a gift from Coco Chanel.FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
A rass palm tree, including stylized coconuts, grace a window of the salon. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
A gold-metal cast of Cocteau’s hands qualify as the “unexpected or ugly” element that friend and decorator Madeleine Castaing insisted every room include. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
Cheetah-print cotton envelopes Cocteau’s study. New York designer Harry Heissman, who similarly papered his tiny living room, said, ‘It adds an aura of inspiration and fantasy. It also masks the lack of a crown molding and enlarges a room.’ FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
Personal bibelots on Coctaeu’s desk appear to include a harmonica. A collection of jazz records is among the artist’s belongings in the house.FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
A table and blackboard in his study illustrate Cocteau’s many métiers: poet, novelist, dramatist, designer, librettist, painter and film director.FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
The bed in Cocteau’s room was angled so that his view of the gardens he designed remained unobstructed by the foot board. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
The mural is believed to be painted by Cocteau’s partner, Jean Marais, who bought the house with him. Marais starred as Beast in Cocteau’s ‘La Belle et la Bête,’ and appears in the bottom right corner of the mural.FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
Drapes that have faded from red to a deep pink frame the view to the garden. Decorator Madeleine Castaing believed that framing windows in red complements and highlights the green of the outdoors. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
Furniture within Maison Cocteau was arranged for maximum appreciation of the gardens. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
An allée of espaliered apple trees leads to the 17th-century former bailiff’s house an hour’s train ride from Paris. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
Just outside a courtyard door sits a sculpture of a sphinx that is half 18th-century woman. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
Cocteau painted frescos in the 17th-century Chapelle Saint-Blaise-des-Simples, also in Milly la Forêt, as part of its restoration in the 1950s. He is buried there. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
The frescos, which Cocteau called tattoos, were based upon the theme of Christ’s resurrection. The artist is buried here with his later partner, Edouard Dermit. The inscription on the tomb, in Cocteau’s hand, reads, ‘I remain with you.’ FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
The frescos include depictions of medicinal plants, many of which grow on the chapel grounds. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
The medieval town of Milly-la-Forêt, France, was home to Cocteau from 1947 until his death at 74, in 1963. FRANCIS HAMMOND FOR THE WALL STR
The salon at Maison Cocteau, the house museum in Milly-la-Forêt, France, where the surrealist poet and director of 1946’s ‘La Belle et la Bête’ lived until his death at 74, in 1963. FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
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EMILY EVANS EERDMANSAug. 4, 2016 3:28 p.m. ET
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Surrealist writer, artist and filmmaker Jean Cocteau first showed up on my radar in 2009 while I was researching a book about eccentric French decorator and antiquaire Madeleine Castaing. Her radical eclecticism—think leopard-patterned carpeting, aqua walls and neoclassical antiques—captivated the It Crowd in post-WWII Paris, including Nina Ricci, Pablo Picasso, Coco Chanel and Cocteau.
ENLARGESURREAL ESTATE | A cast of Jean Cocteau’s hands in his salon PHOTO: FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
After discovering that Cocteau borrowed pieces from Castaing’s shop as set props, I watched his 1946 film, “La Belle et La Bête,” in which tears morph into diamonds and disembodied hands lift a candelabra. He collaborated with her, too, on Maison Cocteau, his home in the French medieval town of Milly-la-Forêt. And since it opened to the public in 2010, I’ve wondered what someone of relatively little means like Cocteau, a rarity among Castaing’s decorating clients, had managed to create with her. So while in Paris this spring, I made the hour train ride to see.
From the front of the 17th-century house, which Cocteau and then-lover Jean Marais bought in 1947, I glimpsed the renaissance turrets of the Château de la Bonde, to which Cocteau’s cottage originally belonged. Then I went inside his home to explore the three rooms that remain as they were when Cocteau died, at 74, in 1963.
The first, the salon, is outfitted mostly in modest 19th-century mahogany furniture; atop every surface sit shells, books, sculpture fragments and ceramics. A favorite trick of Castaing’s lends cohesion to the clutter: All walls are upholstered in a graphic brown print, and a large patterned rug answers in brown and cream. Splashes of red keep the room vibrant as do flashes of brass and gilding—the sunburst ornament over the fireplace, for example, a gift of Coco Chanel.
Cocteau’s cheetah-cloaked study, including a high-relief painting PHOTO: FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
The salon embraces another Castaing tenet: Every room should include something ugly or unexpected. A carousel horse prances alongside the mahogany table. A gold-metal cast of Cocteau’s hands lopped at the wrist subverts a fairly conventional tableau of paperbacks, colored pencils and a bronze lamp on a butler’s tray table. The juxtaposition strikes me as contemporary, albeit eerie.
Upstairs, in Cocteau’s small study, I found more pieces with a flea-market air—an apothecary cabinet, a gothic-revival desk chair—and the poetic detritus of a highly creative mind. Here, cheetah-print cotton covers the ceiling as well as the walls. It is electrifying. You just don’t see people doing this.
Well, maybe one. New York interior designer Harry Heissman, an admirer of Cocteau and Castaing, enveloped his own tiny living room in leopard-print. “It adds an aura of inspiration and fantasy,” he said. “It also masks the lack of a crown molding and enlarges the room.”
‘Every room should include something ugly or unexpected.’
I dream of creating such a room. I work in a quirkily laid out studio in Greenwich Village. I’ve used leopard carpeting to unify the office, hall and bathroom of the space. But I’m an art and design adviser, and my office must have neutral walls. However, the bold, green banana-leaf pattern of Martinique paper, created for the Beverly Hills Hotel, covers the walls and ceiling of my office bathroom, and a matching curtain hides my shower.
Many would regard Cocteau’s study as kitsch, and some would find it draining to occupy, but I think it’s a good example of working amid things that stimulate you. Lots of them.
The bed, angled for a view of the gardens he designed. PHOTO: FRANCIS HAMMOND FOR THE WALL STREET JOURNAL
Next door, his bedroom walls feature dentil molding and a chair rail, so no need for the all-surface pattern treatment. A chair made of animal horn sits unexpectedly amid mostly simple furniture. A mural believed to be painted by Marais and featuring himself in the bottom right corner covers one wall. But the big draw here is the view of the Cocteau-designed grounds. He angled the canopy bed so the footboard didn’t obscure his sight line to the red-draped window. I recall that Castaing hung crimson curtains in her country house to complement and highlight the green outdoors. In Cocteau’s home, too, the purposefully framed views function as an element of the room.
Although mixing styles has been the interior-design ideal for years now, Cocteau’s décor is so personal and bizarre it seems to mix states of consciousness, too. Mr. Heissman said he took another lesson away from the admitted opium addict’s home. “It helped me listen to a client’s collection, to mix an expensive painting with a starfish,” he said. “Maison Cocteau has what many interiors today lack—a soul.”
From Cocteau’s work in fashion and photography to his formal experimentation to his extensive collaborations with male friends and lovers, the book charts the ...
让·科克托
詹姆斯·S. 威廉姆斯（James S. Williams），英国伦敦大学皇家霍洛威学院教授，主要研究领域为20世纪法国文学与电影。编著有《同性恋书写在法国：理论、小说与电影，1945— 1995》（Gay Signatures: Gay and Lesbian Theory, Fiction and Film in France,1945-1995，1998）、《重写杜拉斯：电影、种族与性别》（Revisioning Duras: Film, Race, Sex，2000）与《让-吕克·戈达尔》（Jean-Luc Godard，2006）等。
目录 · · · · · ·
导 言 不朽的艺术家，传世的艺术品第一章 失落的天堂
第二章 天才的传奇
第三章 被放逐的王子
第四章 俄罗斯的经验
第五章 科克托的“一战”
第六章 最伟大的战役
第七章 欢乐的家庭
第八章 法兰西的精灵
第九章 拄拐杖的少年
第十章 奇迹之年/悲伤之年
第十一章 迷失在荒野
第十二章 驮着主子的蠢驴
第十三章 奇迹，还是假象？
第十四章 身体与诗人之血
第十五章 周游世界
第十六章 走进阿波罗
第十七章 卷土重来的世界大战
第十八章 无人的土地
第十九章 桑托-索斯比俱乐部
第二十章 长途跋涉
第二十一章 科克托死了，科克托不朽！
原注
著作提要
原著致谢
图片致谢
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科克托JeanCocteau之譯本：《存在之難》、《美女與野獸電影日記》《陌生人日記》《科克托訪談錄》（ COCTEAU PAR COCTEAU - 28 AUTOPORTRAITS ECRITS ET DESSINES，相當精彩，這是編制的，原文……）等五本由華東師範大學出版社 , 2005【版權頁的中國打成china…….】
我談過-提過兩本。
看它們，我覺得應該有人介紹、介紹 「中法文化年傅雷計畫（ 2004-2005）」 ---這計劃是法國外交部獎勵翻譯法國書，最早知道這盛會應是約 30年的藝術書：
In 1917, Picasso did the set and costume design for Serge Diaghilev's ballet "Parade."
現在資訊發達，在 wikipedia的第一段說明，似乎還漏了法國詩人G. Apollinaire 寫program note.
Parade is a ballet with music by Erik Satie and a one-act scenario by Jean Cocteau. 【注意這篇文末一直強調他急著要想和『春之祭』般轟動：succes de scandale：與（最血腥之戰）凡爾登戰役同時……..後方出色表現則是一條
這些人物介紹頗費功夫，請利用聯結……
了解其一景之外，還可以從中文版『薩蒂畫傳』（ BIOGRAPHIE ILLUSTREE DE SATIE—中國人民大學）了解些（ pp.77-89），其中還收入 David Hockney（T & H 之World of ART叢書所沒有的1980年之作品。可惜它們都為黑白…..）
全曲： http://www.dlib.indiana.edu/