JEAN COCTEAU * French Surrealist Artist Painter Poet* ICONIC VINTAGE 1957 photo For Sale

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JEAN COCTEAU * French Surrealist Artist Painter Poet* ICONIC VINTAGE 1957 photo :
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Jean Maurice Eugène Clément Cocteau(French:[ʒɑ̃ kɔkto]; 5 July 1889 – 11 October 1963) was a French writer, designer, playwright, artist and filmmaker. Cocteau is best known for his novelLes Enfants Terribles(1929), and the filmsThe Blood of a Poet(1930),Les Parents Terribles(1948),Beauty and the Beast(1946) andOrpheus(1949). His circle of associates, friends and lovers includedKenneth Anger,Pablo Picasso,Gertrude Stein,Jean Hugo,Jean Marais,Henri Bernstein,Yul Brynner,Marlene Dietrich,Coco Chanel,Erik Satie,Albert Gleizes,Igor Stravinsky,Marie Laurencin,María Félix,Édith Piaf,Panama Al Brown,Colette,Jean Genet, andRaymond Radiguet.

Cocteau was born inMaisons-Laffitte,Yvelines, a town nearParis, to Georges Cocteau and his wife, Eugénie Lecomte; a socially prominent Parisian family. His father was a lawyer and amateur painter who committed suicide when Cocteau was nine. From 1900–1904, Cocteau attended theLycée Condorcetwhere he met and began a physical relationship with schoolmate Pierre Dargelos who would later reappear throughout Cocteau\'s oeuvre.[1]He left home at fifteen. He published his first volume of poems,Aladdin\'s Lamp, at nineteen. Cocteau soon became known inBohemianartistic circles asThe Frivolous Prince, the title of a volume he published at twenty-two.Edith Whartondescribed him as a man \"to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City...\"[2]

In his early twenties, Cocteau became associated with the writersMarcel Proust,André Gide, andMaurice Barrès. In 1912, he collaborated withLéon BakstonLe Dieu bleufor theBallets Russes; the principal dancers beingTamara KarsavinaandVaslav Nijinsky. DuringWorld War ICocteau served in theRed Crossas an ambulance driver. This was the period in which he met the poetGuillaume Apollinaire, artistsPablo PicassoandAmedeo Modigliani, and numerous other writers and artists with whom he later collaborated. Russian impresarioSergei Diaghilevpersuaded Cocteau to write a scenario for a ballet, which resulted inParadein 1917. It was produced byDiaghilev, with sets by Picasso, thelibrettoby Apollinaire and the music byErik Satie. The piece was later expanded into a full opera, with music by Satie,Francis PoulencandMaurice Ravel. \"If it had not been for Apollinaire in uniform,\" wrote Cocteau, \"with his skull shaved, the scar on his temple and the bandage around his head, women would have gouged our eyes out with hairpins.\"[citation needed]He denied being a Surrealist or being in any way attached to the movement.[citation needed]Cocteau wrote the libretto forIgor Stravinsky\'s opera-oratorioOedipus rex, which had its original performance in theThéâtre Sarah Bernhardtin Paris on 30 May 1927.

An important exponent ofavant-garde art, Cocteau had great influence on the work of others, including a group of composers known asLes six. In the early twenties, he and other members of Les six frequented a wildly popular bar namedLe Boeuf sur le Toit, a name that Cocteau himself had a hand in picking. The popularity was due in no small measure to the presence of Cocteau and his friends.[3]

In 1918 he met the French poetRaymond Radiguet. They collaborated extensively, socialized, and undertook many journeys and vacations together. Cocteau also got Radiguet exempted from military service. Admiring of Radiguet\'s great literary talent, Cocteau promoted his friend\'s works in his artistic circle and arranged for the publication by Grasset ofLe Diable au corps(a largely autobiographical story of an adulterous relationship between a married woman and a younger man), exerting his influence to have the novel awarded the \"Nouveau Monde\" literary prize. Some contemporaries and later commentators thought there might have been a romantic component to their friendship.[4]Cocteau himself was aware of this perception, and worked earnestly to dispel the notion that their relationship was sexual in nature.[5]

There is disagreement over Cocteau\'s reaction to Radiguet\'s sudden death in 1923, with some claiming that it left him stunned, despondent and prey toopiumaddiction. Opponents of that interpretation point out that he did not attend the funeral (he generally did not attend funerals) and immediately left Paris with Diaghilev for a performance ofLes noces(The Wedding) by theBallets RussesatMonte Carlo. Cocteau himself much later characterised his reaction as one of \"stupor and disgust.\"[citation needed]His opium addiction at the time,[6]Cocteau said, was only coincidental, due to a chance meeting with Louis Laloy, the administrator of theMonte Carlo Opera. Cocteau\'s opium use and his efforts to stop profoundly changed his literary style. His most notable book,Les Enfants Terribles, was written in a week during a strenuousopiumweaning. InOpium: Journal of drug rehabilitation(fr), he recounts the experience of his recovery from opium addiction in 1929. His account, which includes vivid pen-and-ink illustrations, alternates between his moment-to-moment experiences of drug withdrawal and his current thoughts about people and events in his world. Cocteau was supported throughout his recovery by his friend and correspondent, Catholic philosopherJacques Maritain. Under Maritain\'s influence Cocteau made a temporary return to the sacraments of the Catholic Church. He again returned to the Church later in life and undertook a number of religious art projects.

Cocteau\'s experiments with the human voice peaked with his playLa Voix humaine. The story involves one woman on stage speaking on the telephone with her (invisible and inaudible) departing lover, who is leaving her to marry another woman. The telephone proved to be the perfect prop for Cocteau to explore his ideas, feelings, and \"algebra\" concerning human needs and realities in communication.

Cocteau acknowledged in the introduction to the script that the play was motivated, in part, by complaints from his actresses that his works were too writer/director-dominated and gave the players little opportunity to show off their full range of talents.La Voix humainewas written, in effect, as an extravagant aria for MadameBerthe Bovy. Before cameOrphée, later turned into one of his more successful films; after cameLa Machine infernale, arguably his most fully realized work of art.La Voix humaineis deceptively simple — a woman alone on stage for almost one hour of non-stop theatre speaking on the telephone with her departing lover. It is full of theatrical codes harking back to the Dadaists\' Vox Humana experiments afterWorld War One, Alphonse de Lamartine\'s \"La Voix humaine\", part of his larger workHarmonies poétiques et religieusesand the effect of the creation of the Vox Humana (\"voix humaine\"), anorgan stopof the Regal Class by Church organ masters (late 16th century) that attempted to imitate the human voice but never succeeded in doing better than the sound of a male chorus at a distance.

Reviews varied at the time and since but whatever the critique, the play represents Cocteau\'s state of mind and feelings towards his actors at the time: on the one hand, he wanted to spoil and please them; on the other, he was fed up with their diva antics and was ready for revenge. It is also true that none of Cocteau\'s works has inspired as much imitation:Francis Poulenc\'s operaLa voix humaine,Gian Carlo Menotti\'s \"opera buffa\"The TelephoneandRoberto Rossellini\'s film version in Italian withAnna MagnaniL\'Amore(1948). There has also been a long line of interpreters includingSimone Signoret,Ingrid BergmanandLiv Ullmann(in the play) andJulia Migenes,Denise Duval,Renata Scotto,Anja SiljaandFelicity Lott(in the opera).

According to one theory about how Cocteau was inspired to writeLa Voix humaine, he was experimenting with an idea by fellow French playwrightHenri Bernstein.[7]

In the 1930s, Cocteau had an affair with PrincessNatalie Paley, the daughter of aRomanovGrand Dukeand herself a sometime actress, model, and former wife of couturierLucien Lelong.[8]Cocteau\'s longest-lasting relationships were with the French actorsJean MaraisandÉdouard Dermit(fr), whom Cocteau formally adopted. Cocteau cast Marais inThe Eternal Return(1943),Beauty and the Beast(1946),Ruy Blas(1947), andOrpheus(1949).

BiographerJames S. Williamsdescribes Cocteau\'s politics as \"naturally Right-leaning.\"[9]During theNazioccupation of France, Cocteau\'s friendArno Brekerconvinced him thatAdolf Hitlerwas a pacifist and patron of the arts with France\'s best interests in mind. In his diary, Cocteau accused France of disrespect towards Hitler and speculated on the Führer\'s sexuality. Cocteau effusively praised Breker\'s sculptures in an article entitled \'Salut à Breker\' published in 1942. This piece caused him to be arraigned on charges of collaboration after the war, though he was cleared of any wrongdoing and had used his contacts to his failed attempt to save friends such asMax Jacob.[10]

In 1940,Le Bel Indifférent, Cocteau\'s play written for and starringÉdith Piaf, was enormously successful. He also worked withPablo Picassoon several projects and was a friend of most of the European art community. Cocteau\'s films, most of which he both wrote and directed, were particularly important in introducing the avant-garde intoFrench cinemaand influenced to a certain degree the upcomingFrench New Wavegenre.

Cocteau is best known for his novelLes Enfants Terribles(1929), and the filmsThe Blood of a Poet(1930),Beauty and the Beast(1946),Les Parents terribles(1948), andOrpheus(1949). His final film,Le Testament d\'Orphée(The Testament of Orpheus) (1960), featured appearances by Picasso and matadorLuis Miguel Dominguín, along withYul Brynner, who also helped finance the film.

In 1945 Cocteau was one of several designers who created sets for theThéâtre de la Mode. He drew inspiration from filmmakerRené Clairwhile makingTribute to René Clair: I Married a Witch. Themaquetteis described in his \"Journal 1942–1945,\" in his entry for 12 February 1945:

I saw the model of my set. Fashion bores me, but I am amused by the set and fashion placed together. It is a smoldering maid\'s room. One discovers an aerial view of Paris through the wall and ceiling holes. It creates vertigo. On the iron bed lies a fainted bride. Behind her stand several dismayed ladies. On the right, a very elegant lady washes her hands in a flophouse basin. Through the unhinged door on the left, a lady enters with raised arms. Others are pushed against the walls. The vision provoking this catastrophe is a bride-witch astride a broom, flying through the ceiling, her hair and train streaming.

Cocteau was openly bisexual. Hismuseand lover for over 25 years was actorJean Marais.[11]

Cocteau died of a heart attack at hischateauinMilly-la-Forêt, Essonne, France, on 11 October 1963 at the age of 74. His friend, French singerÉdith Piaf, died the day before but that was announced on the morning of Cocteau\'s day of death; it has been said that his heart failed upon hearing of Piaf\'s death. According to his wishes Cocteau is buried beneath the floor of the Chapelle Saint-Blaise des Simples in Milly-la-Forêt.[12]The epitaph on his gravestone set in the floor of the chapel reads: \"I stay with you\" (\"Je reste avec vous\").

In 1955, Cocteau was made a member of theAcadémie françaiseandThe Royal Academy of Belgium.

During his life, Cocteau was commander of theLegion of Honor, Member of the Mallarmé Academy, German Academy (Berlin), American Academy,Mark Twain(U.S.A) Academy, Honorary President of theCannes film festival, Honorary President of the France-Hungary Association and President of the Jazz Academy and of the Academy of the Disc.

Le Sang d\'un poète(The Blood of a Poet) (1930)
• L\'Éternel retour(The Eternal Return) (1943)
• La Belle et la Bête(Beauty and the Beast) (1946)
• L\'Aigle à deux têtes(The Eagle with Two Heads) (1948)
• Les Parents terribles(English title,The Storm Within) (1948)
• Coriolan(1950) never released
• Orphée(Orpheus) (1950)
• La Villa Santo-Sospir(1952)
• 8 × 8: A Chess Sonata in 8 Movements(1957) co-director,experimental film
• Le Testament d\'Orphée(The Testament of Orpheus) (1960)

1909La Lampe d\'Aladin
• 1910Le Prince frivole
• 1912La Danse de Sophocle
• 1919Ode à Picasso–Le Cap de Bonne-Espérance
• 1922Vocabulaire
• 1923La Rose de François–Plain-Chant
• 1925Cri écrit
• 1926L\'Ange Heurtebise
• 1927Opéra
• 1934Mythologie
• 1939Énigmes
• 1941Allégories
• 1945Léone
• 1946La Crucifixion
• 1948Poèmes
• 1952Le Chiffre sept–La Nappe du Catalan(in collaboration withGeorges Hugnet)
• 1953Dentelles d\'éternité–Appoggiatures
• 1954Clair-obscur
• 1958Paraprosodies
• 1961Cérémonial espagnol du Phénix–La Partie d\'échecs
• 1962Le Requiem
• 1919:Le Potomak(definitive edition: 1924)
• 1923:Le Grand Écart–Thomas l\'imposteur
• 1928:Le Livre blanc
• 1929:Les Enfants terribles
• 1940:La Fin du Potomak

1917:Parade, ballet (music byErik Satie, choreography byLéonide Massine)
• 1921:Les mariés de la tour Eiffel(music byGeorges Auric,Arthur Honegger,Darius Milhaud,Francis PoulencandGermaine Tailleferre)
• 1922:Antigone
• 1924:Roméo et Juliette
• 1925:Orphée
• 1927:Oedipus Rex(music byIgor Stravinsky)
• 1930:La Voix humaine
• 1934:La Machine infernale
• 1936:L\'École des veuves
• 1937:Œdipe-roi.Les Chevaliers de la Table ronde, premiere at theThéâtre Antoine
• 1938:Les Parents terribles, premiere at theThéâtre Antoine
• 1940:Les Monstres sacrés
• 1941:La Machine à écrire
• 1943:Renaud et Armide.L\'Épouse injustement soupçonnée
• 1944:L\'Aigle à deux têtes
• 1946:Le Jeune Homme et la Mort, ballet byRoland Petit
• 1948:ThéâtreI and II
• 1951:Bacchus
• 1960: Nouveau théâtre de poche
• 1962:L\'Impromptu du Palais-Royal
• 1971:Le Gendarme incompris(in collaboration withRaymond RadiguetandFrancis Poulenc)

1918Le Coq et l\'Arlequin
• 1920Carte blanche
• 1922Le Secret professionnel
• 1926Le Rappel à l\'ordre–Lettre à Jacques Maritain–Le NuméroBarbette
• 1930Opium
• 1932Essai de critique indirecte
• 1935Portraits-Souvenir
• 1937Mon premier voyage(Around the World in 80 Days)
• 1943Le Greco
• 1947Le Foyer des artistes–La Difficulté d\'être
• 1949Lettres aux Américains–Reines de la France
• 1951Jean Marais– A Discussion about Cinematography (with André Fraigneau)
• 1952Gidevivant
• 1953Journal d\'un inconnu.Démarche d\'un poète
• 1955Colette(Discourse on the reception at the Royal Academy of Belgium) – Discourse on the reception at theAcadémie française
• 1956 Discours d\'Oxford
• 1957Entretiens sur le musée de Dresde(with Louis Aragon) –La Corrida du 1er mai
• 1950:Poésie critique I
• 1960:Poésie critique II
• 1962Le Cordon ombilical
• 1963La Comtesse de Noailles, oui et non
• 1965Entretiensavec André Fraigneau (posthumous)
• 1973Jean Cocteau par Jean Cocteau(posthumous; A discussion with William Fielfield)
• 1973Du cinématographe(posthumous).Entretiens sur le poetry
  1935–1938 style=\"margin: 0.3em 0px 0px 1.6em; padding: 0px; list-style-image: style=\"margin-bottom: 0.1em;\">1925:Jean Cocteau fait du cinéma
  • 1930:Le Sang d\'un poète
  • 1946:La Belle et la Bête
  • 1948:L\'Aigle à deux têtes
  • 1948:Les Parents terribles
  • 1950:Orphée
  • 1950:Coriolan
  • 1952:La Villa Santo-Sospir
  • 1955:L\'Amour sous l\'électrode
  • 1957:8 × 8: A Chess Sonata in 8 Movements
  • 1960:Le Testament d\'Orphée
  Scriptwriter
  1943:L\'Éternel Retourdirected byJean Delannoy
  • 1944: \"Les Dames du Bois de Boulogne\" directed byRobert Bresson
  • 1948:Ruy Blasdirected byPierre Billon
  • 1950:Les Enfants terriblesdirected byJean-Pierre Melville, script by Jean Cocteau based on his novel
  • 1951:La Couronne Noiredirected byLuis Saslavsky
  • 1961:La Princesse de Clèvesdirected byJean Delannoy
  • 1965:Thomas l\'imposteurdirected byGeorges Franju, script by Jean Cocteau based on his novel
  Dialogue writer
  1943:Le Baron fantôme(+ actor) directed bySerge de Poligny
  • 1961:La Princesse de Clèvesdirected byJean Delannoy
  • 1965:Thomas l\'imposteurdirected byGeorges Franju
  Director of Photography
  1950:Un chant d\'amourréalisé parJean Genet
  Poetry illustrator[edit]
  1924: Dessins
  • 1925:Le Mystère de Jean l\'oiseleur
  • 1926:Maison de santé
  • 1929:25 dessins d\'un dormeur
  • 1935: 60 designs forLes Enfants Terribles
  • 1941: Drawings in the margins ofChevaliers de la Table ronde
  • 1948:Drôle de ménage
  • 1957:La Chapelle style=\"margin-bottom: 0.1em;\">1958:La Salle des mariages, City Hall ofMenton–La Chapelle Saint-Pierre(lithographies)
  • 1959:Gondol des morts
  • 1960: style=\"margin-bottom: 0.1em;\">1960: Windows of theÉglise Saint-Maximin de Metz
  
  

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  Jean Cocteau + Jean Marais at the beach, 1939 - reprint

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  Jean Cocteau Collector Plate 21.5cm Fine SEYEI Japan

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  Jean Cocteau (1960) ❤ Vintage Hollywood Collectable Photo K 537

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  POSTCARD / Jean COCTEAU / Homme nu, 1943

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  LELIEVRE Jean Cocteau Pensee Bleu Geometric Cotton Remnant New

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  Jean Cocteau Triple Level Server Signed

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  Jean Cocteau (1960) ❤ Vintage Hollywood Collectable Photo K 537

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  Jean Cocteau (1960) ❤ Vintage Hollywood Collectable Photo K 537

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