Gabrielle Chanel's Idyllic Villa on the French Riviera Has Been Restored to Exactly the Way She Left It. Vogue Took A Look Inside
Dusk is settling over Roquebrune-Cap-Martin, and little puffs of red dust are flying into the jasmine-scented air as acclaimed dancers Boris Charmatz and Johanna Lenke move fluidly around the clay tennis court at La Pausa, the idyllic villa Gabrielle Chanel had designed according to her exacting specifications in 1929. It's hard to know what her paramour the Duke of Westminster would have made of the cinematic—and supremely physical—duet that unfolded in front of a crowd of artists, curators, collectors, and patrons on Friday evening, but he doubtless observed some more traditional athletic confrontations during his summers spent with Chanel on the French Riviera.
The grand hall at La Pausa, Gabrielle Chanel's clifftop retreat overlooking the Bay of Monaco.
Courtesy of Chanel
The designer made her clifftop retreat La Pausa (meaning 'the pause'), a haven for artists and intellectuals in the 1930s and '40s, inviting the likes of Jean Cocteau, Pierre Reverdy and Luchino Visconti to while away summer evenings among the ancient olive trees and beds of fragrant lavender sloping gently towards the Bay of Monaco. 'After dinner,' reads a Vogue report of a night at La Pausa in the late 1930s, 'the rugs are suddenly rolled up… Salvador Dalí amuses himself with a large borrowed black hat, mimicking a character from the Inquisition. The Duchess of Gramont, draped in brocade, jingles her Indian jewels, while painter Christian Bérard sports an Easter egg on top of his head, and Coco ties wide whimsical ribbons in her hair.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Geek Tyrant
2 hours ago
- Geek Tyrant
THE WALKING DEAD: DARYL DIXON Season 3 Promo Spot Announces September Premiere Date — GeekTyrant
AMC has officially set the return date for The Walking Dead: Daryl Dixon , and if you've been following the post-apocalyptic adventures of Daryl and Carol, Season 3 is set to premiere Sunday, September 7th. This season brings back Norman Reedus and Melissa McBride front and center, continuing the story of two longtime survivors now navigating a very different kind of wasteland. While Season 2 reintroduced Carol to the fold, Season 3 doubles down on their dynamic as they attempt to make their way back home, though, of course, the road is anything but clear. The new season is packed with familiar faces and fresh threats. Returning cast includes Candela Saitta, Gonzalo Bouza, Hada Nieto, Yassmine Othman, Cuco Usín, Stephen Merchant, Hugo Arbués, and Greta Fernández. Joining the crew as series regulars are Eduardo Noriega, Óscar Jaenada, and Alexandra Masangkay. Daryl actor and executive producer Norman Reedus previously teased how special this chapter has been for him, saying: 'I couldn't be more thrilled to announce a third season and to be working side by side with the brilliant Melissa McBride. Season 2 is some of my favorite storytelling of this series. Watching Melissa shine along with our brilliant cast and crew has been one of my fondest memories playing this character.' That storytelling has come with some added international flair, thanks to the series' location shift. Showrunner David Zabel explained it well in an earlier interview: 'It's one of the things that distinguishes us from the other 'Walking Dead' shows — that we get to show how different parts of the world have responded to the walker apocalypse and the different impact it has had in different places and come up with some cool, new things that you don't see in the American versions.' Have you been watching and enjoying this series?
Condé Nast Traveler
2 hours ago
- Condé Nast Traveler
The Best Things to Do in Nice, the Jewel of the Côte d'Azur
If you're heading to the South of France, chances are that you're looking for some lovely beaches on which to park your blanket and soak up some sun. The long stretch of pebble beach along Nice's scenic Promenade des Anglais is split into smaller named sections like Plage de l'Opera, which sits right in front of the Opéra de Nice, naturally. Among the public beaches, Haslett of French Promise says, 'Plage de Castel is just outside the old town of Nice and always popular.' (It's named after the nearest landmark, the château atop the old towns hill). He also recommends Coco Beach 'for a quieter, more local feel, but it's more of a rock than a beach.' Of the latter, it's a good option to get away from the beaches near the Promenade, and there are bathrooms and parking along the street. Keep in mind, Davidson of Red Savannah says, that beaches in Nice distinguish between the private and free-to-the-public options. Choose free public beaches for the no-frills approach; they have no loungers, umbrellas, or restaurants. If you want those options, Davidson suggests paying to spend the day at a beach club: 'All of the beach clubs will charge admission with fees scaled according to the best to worst locations—front-row on the sand or jetty positions are the most coveted and thus charged accordingly. Alongside loungers and towels, clubs will usually offer a restaurant or bar, with music playing and perhaps a DJ in-house with waiter service to your lounger throughout the day.' Many of the best hotels in Nice along the Promenade will have a beach club and offer complimentary access or reduced rates to guests. Of the private clubs, Haslett recommends Plage du Negresco: 'It's all-new and has become the place to be in town.' 'If you're just in Nice for the day and don't have a hotel to lean on, Blue Beach and Ruhl Plage are both lovely options,' Davidson says. 'They have great seafood menus and amazing views of the Baie des Anges.'
Forbes
5 hours ago
- Forbes
Ezrom Legae And Art Under Apartheid At High Museum Of Art In Atlanta
"Ezrom Legae: Beasts" installation view at the High Museum of Art in Atlanta. Mike Jensen They're animals. They're people. Stand-ins. Code. Black artists working under apartheid in South African didn't have the luxury of being literal. Artists living under or observing extreme cruelty have always used animals to represent people. Francisco Goya in Spain in the late 18th century. Picasso with the bombing of Guernica. Ezrom Legae (1938–1999). Not even the nerdiest of art nerds will know that name. The High Museum of Art in Atlanta hopes to change that, staging the South African's first major museum exhibition in the United States, 'Ezrom Legae: Beasts' through November 16, 2025. After apartheid was established in 1948, many artists in South Africa contended with its corresponding oppression and bodily violence by presenting the human figure in animal form or abstracting it. For them, animals traditionally sacrificed, such as goats and chickens, served as allegorical figures for activists who endured sacrificial violence and suffering under apartheid. South Africa's Indemnity Act of 1961 made it legal for police officers to commit acts of violence, to torture, or to kill in line of duty. Larger animals, such as bulls and contorted horse-like creatures, represented the autocratic government and agents of said violence. The High's exhibition focuses on Legae's own bestial compositions, with each work an imaginative study articulating the artist's political consciousness of his surroundings while living in South Africa's apartheid era. Legae was just 10 years old when he witnessed the National Party win federal elections and instill the system of racial and ethnic segregation that later became a centerpiece of his career's subject matter. 'For Legae in particular, there's obviously an interest in being subversive and encoding your messages for safety and to protect yourself,' Lauren Tate Baeza, the High's Fred and Rita Richman curator of African art and exhibition curator, told 'Using animals or observations of animals as a way to better understand the human condition is as old as human consciousness. You see cave drawings of animals and you can infer there's a way of trying to understand being taking place in those renderings. Religious allegory, sci-fi, satirical things like 'Animal Farm,' metamorphosis in literature. We're so used to animals meaning something else it's familiar to us that it is a code. Even if you don't intrinsically understand what that code is, it encourages the viewer to seek what that code might be.' Ezrom Legae (South African, b. 1938), 'Horse, four stages of dying,' 1967, pencil and charcoal on paper. Dr. Gavin Watkins, Private Collection, Sydney, Australia. Legae's work is outstanding. His story important. But why is the High Museum in Atlanta the one telling it? 'My charge is to seek out opportunities, gaps and omissions, and I try to do that until they become redundant, and they become more mainstream, and other scholars are responding to it, and then I move on to other gaps and omissions,' Tate Baeza said. Legae individually–and African modernism generally–represent a significant gap in the canon of 20th century art. Additionally, the High already possesses as a collection strength other examples South African art. It also owns a significant drawings collection. 'He's one of the most important artists in South Africa–full stop–of the 20th century, but also a particularly impressive draftsman, and speaks very different languages, if you will, in his line making,' Tate Baeza said. 'I thought presenting a sample of his different modalities of drawing, his approaches to drawing, would be a wonderful way to introduce him to a new audience.' 'Beasts' presents 38 drawings from 1967 to 1996 and two small sculptures by Legae, his other specialty. The 1970s, amid mounting unrest and anti-apartheid protests such as the Soweto Uprising, are considered the artist's most prolific period. He produced pencil, ink, and charcoal depictions of animals as covert representations of apartheid's players and impact–activists and civilians enduring increased violence, exile, and imprisonment, often without trial and including solitary confinement. His production dropped off until the 1990s when he reemerged during South Africa's political transition out of apartheid. 'He was concerned and warning about intra-South African tensions of a different kind,' Tate Baeza explained. 'When an authoritarian government ends, people who are very different from one another, who were previously unified under one enemy, now don't have that enemy, and there's a power vacuum, and often that creates tension with respect to control for that power. There was a concern about people becoming vicious to each other now that they had their relative freedom, and were trying to sort out a new way of governing the growing pains of that.' Legae was also conscious of events around the continent in the 90s and motivated to comment on them. He visited Rwanda when his passport was returned to him following the demise of apartheid. He documented the aftermath of the 1994 Rwandan genocide through his drawings, again incorporating his bestial, animal-for-people representations. Exhibition loans come almost exclusively from South African institutions, including Johannesburg's Goodman Gallery which represented the artist in life and handles his estate today. Throughout their relationship, the gallery helped protect and defend Legae when he was arrested by the apartheid government, had Legae shows shut down by officials, and was targeted as being an enemy of the state itself for showing his work and hosting mixed-race gatherings. Kim Chong Hak Kim Chong Hak (Korean, born 1937),' Snowy Mountain,' 2008, acrylic on canvas, courtesy of the artist and the Kim Chong Hak Foundation. Kim Tang-Sae. © Kim Chong Hak. Along with South Africa, visitors at the High can also travel to South Korea this summer through the paintings of Kim Chong Hak (b. 1937; Sinuiju, Korea). 'Kim Chong Hak, Painter of Seoraksan,' through Oct. 26, 2025, features more than 70 works, including new acquisitions from the High's collection spanning the arc of Kim's mature career while presenting an aspect of Korean art in the late 20th century little known outside of South Korea. Like Legae, Kim is virtually unknown in the United States despite being a prominent voice in his home country where he's popularly known as 'the painter of Mount Seorak,' the highest peak in South Korea's Taebaek mountain range. This represents his first American museum exhibition. Starting as an abstract painter in the 1960s, Kim ultimately rejected the adoption of Western-style abstraction which he viewed as a response to national melancholy brought on by previous decades of hardship and deprivation. In the late 1970s, he settled in Gangwon Province, eastern South Korea, home of Mount Seorak. There, he moved away from the monochromatic painting popular in Korea at that time toward his unabashedly expressive style. He has since dedicated his life and work to interpreting the environs of Mount Seorak, developing an artistic and emotional attunement to the natural world during decades of self-imposed isolation in the mountains. The turning of the seasons, cycles of life, death, regeneration and ever-changing atmospheric conditions, have provided Kim with a subject of endless scrutiny and spiritual rapport. His work reasserts the expressive potency of mountain imagery in traditional East Asian art while demonstrating the influence of international movements of the 1970s and 1980s. Faith Ringgold Faith Ringgold (American, 1930 – 2024), 'And as dreams go,' from the book 'My Dream of Martin Luther King,' 1995, acrylic on canvas paper, Faith Ringgold Revocable Trust. © Anyone Can Fly Foundation. Photo by Paul Mutino. Faith Ringgold (1930–2024), on the other hand, is famous in America. About as famous as a visual artist can get, anyway. Her paintings and narrative quilts are featured in the nation's most prestigious art museums. Her award-winning accomplishments as a children's book creator are less acknowledged. Beginning June 27 and running through October 12, 2025, The High presents 'Faith Ringgold: Seeing Children,' the most comprehensive exhibition to date of Ringgold's original paintings and drawings made for her children's books, including several artworks that have never previously been exhibited. The exhibition will be the latest in the High's popular series celebrating children's book art and authors. The exhibition will feature more than 100 works from a dozen of Ringgold's books, including original paintings from 'If a Bus Could Talk: The Story of Rosa Parks' (1999), 'Dinner at Aunt Connie's House' (1993) and 'Tar Beach' (1991), in which Cassie, a Black child in 1930s Harlem, imagines a future where she can go anywhere that she dreams of from her apartment's rooftop. Also on view will be complete artwork from the fable 'The Invisible Princess' (1999) and 'We Came to America' (2016), which examines the history of immigration in America. Together, the artworks in the exhibition illuminate critical aspects of Ringgold's practice and convey how Ringgold, a lifelong educator, presents children as creative, purposeful art makers. 'Faith Ringgold started her career as a teacher and believed that all children are artists and should seriously consume art,' Andrew Westover, exhibition curator and the High's Eleanor McDonald Storza deputy director of learning and civic engagement, said. 'Often a child will first encounter visual art on the pages of picture books, and they can help children feel valued and empowered. Through this exhibition, we will underscore the importance of those discoveries while at the same time giving due recognition to a lesser-known facet of Ringgold's art.' In conjunction with the exhibition, the Alliance Theatre at the Woodruff Arts Center presents 'Rhythm & Thread' through August, a theatrical show for young audiences inspired by Faith Ringgold's quilts that will celebrate family, imagination, and the beauty of storytelling through the art of quilting. More From Forbes Forbes Contemporary West African Masquerade Comes To New Orleans By Chadd Scott Forbes Cincinnati's Taft Museum Shares First Generation Of Modern African Art To Reach America By Chadd Scott Forbes Jacob Lawrence 'Nigeria' Series Together Again For First Time Since 1965 By Chadd Scott
