Inside the Petit Trianon at the Palace of Versailles

Stairwell, Petite Trianon, Versailles, Photo Romi Cortier
Stairwell, Petit Trianon, Versailles, Photo Romi Cortier
Petite Trianon Interior, Versailles, Photo Romi Cortier
Petit Trianon Interior, Versailles, Photo Romi Cortier
Fireplace at Petite Trianon, Versailles, Photo Romi Cortier
Fireplace at Petit Trianon, Versailles, Photo Romi Cortier
Petite Trianon, Versailles, Photo Romi Cortier
Public Salon, Petit Trianon, Versailles, Photo Romi Cortier
Marie Antoinette Portrait, Grand Trianon, Versailles, Photo Romi Cortier
Marie Antoinette Portrait, Petit Trianon,  Versailles, Photo Romi Cortier
Petite Trianon, Versailles, Photo Romi Cortier
Petit Trianon, Versailles, Photo Romi Cortier
Petite Trianon, Versailles, Photo Romi Cortier
Petit Trianon, Versailles, Photo Romi Cortier
Uniforms for Petite Trianon, Versailles, Photo Romi Cortier
Servant Uniform,  Petit Trianon, Versailles, Photo Romi Cortier

 

I was thrilled to go Inside the Petit Trianon at the Palace of Versailles while visiting France in 2011. It seems to be hit or miss on whether or not the ‘casual’ residences of the Palace will be open to the public based on previous visits, but happily this was one of those days. Looking back, I’m a bit stunned at the amount of photos I took on this trip, but now they’re becoming a great resource for my blog.

The Petit Trianon was built between 1762 and 1768 during the reign of Louis XV. It’s considered a small Chateau and is located on the grounds of the Palace of Versailles, in Versailles, France. Originally built for Madame de Pompadour by Ange-Jacques Gabriel, it ultimately became 19 year old Marie Antoinette’s exclusive residence. The residence became her refuge from the demands of formal ‘court life’ and her royal responsibilities. Known as a Neoclassical residence, each side of the home has a different facade based on how it will be viewed from that part of the estate.

This residence transitions from the Rococo Style into the Neoclassical Style. Some hallmarks of that design period include the thin fluted legs of the Harpsichord  seen in the Public Salon, as well as the elegant round table in the sitting room that appears to have sevre porcelain inlays as well as a delicate gold tea rail. If you look closely at the sitting room photo, you’ll see what appears to be hidden panels in the wall. You’ll also notice there’s  a decorative garland on the wall at the top of the staircase and a gilt garland over the mirror in the public salon. Garlands like this help define the Neoclassical Period.

As I’ve mentioned in previous posts, it’s the repetition of a design element that help define a space. And it appears nothing ties a place together better than gold! Even in the beautifully pastel colored room, the gilt mirrors and candelabra tie that room into the rest of the residence. And don’t you just love those gilt fireplace andirons. I especially love the design of the servants uniforms. Until I reviewed my photos, I didn’t realize how beautifully they tie in with the color palette of the residence. I think they’re so spectacular, and yet they were on display in a lower level hallway that most tourists might have missed. I wonder if the competitors on Project Runway have ever seen these, it might give them a bit of inspiration.

Surrealist Inspired Wall Mural

Room Prior to Surrealist Wall Mural
Room Prior to Surrealist Wall Mural
Surrealist Mural, Creating the composition
Surrealist Mural, Creating the composition
Tracing the Branch before Painting the Surrealist Wall Mural
Tracing the Branch before Painting the Surrealist Wall Mural
Painting the Branches of the Surrealist Mural
Painting the Branches of the Surrealist Mural
Painting the Clouds of the Surrealist Wall Mural
Painting the Clouds of the Surrealist Wall Mural
Surrealist Wall Mural, Concept and Completion by Romi Cortier
Surrealist Wall Mural, Entry Hall Landing, Concept and Completion by Romi Cortier

This is the Surrealist Inspired Wall Mural that I painted in 2008, Inspired by LACMA’s 2006 Rene Magritte exhibit: Magritte and Contemporary Art: The Treachery of Images. 

Surrealism can be defined as Contradictions of Dream and Reality, including the element of Surprise, Unexpected Juxtapositions and Non Sequitur. My objective with this mural was to turn a second floor indoor entry landing, into an area that felt like it might be outdoors, complete with tree branches and floating clouds. However, based on a few of the previous Youtube comments regarding this mural, some viewers felt that the mural wasn’t Surrealism at all, at least not in the way that they know it. Think Salvador Dali’s Melting Clocks, or Max Ernst‘s Les Hommes n’en Sauront, known as the first Surrealist Painting. Yes, those images are classic Surrealism. I simply wanted this little landing to feel like it might be floating in the palest of blue skies, with a few clouds and tree branches surrounding it. I believe that meets the definition of Surrealism.  It’s so easy for people to be ‘armchair activists’ or ‘arm chair art critics’ then to actually go out into the world and create something. To quote a friend of mine:  sometimes you have to consider which horses ass it’s coming from, and take it with a grain of salt. 

Therefore, let me tell you how I created this Surrealist Inspired Wall Mural. Notice how saturated the ecru or burnt carmel color is. Before I could traverse the color wheel and go to a pale blue based color for the wall, it was very important to prime the wall with two coats of primer. If I didn’t, the wall could look green. Color wheel basics that we hopefully learned in school: when you mix blue and yellow, you get green. So starting with a pure palette of white was key to making this mural successful. After the wall was primed, I used one of my favorite colors: Brains Song by Dunn Edwards. It has just enough violet in it to give the pale blue more life, with out looking lavender. I then traced a tree branch with a basic number 2 pencil, in various arrangements on the wall. I took another color by Dunn Edwards, Cavern, and diluted it with water to make it easier to paint within the lines of the pencil. I used a small tipped brush from the art store that was more firm than a paint brush you’d find at a traditional house paint store such as Dunn Edwards or Home Depot. Once that was finished, I started on the clouds at the top of the room. Again I took traditional white house paint and diluted it with water. Then I used one of those cheap ‘chip’ brushes from home depot (I like how airy and light the density of the bristols are) and used that to apply the paint in a very thin and diffused manner. Blending was key to make the clouds look soft.

After I finished the mural, I set the table with some of my favorite China by Bernardaud. Fine French porcelain always has a place in my home, and makes the simplest of meals look great… yes, I’ve even served my friends Pizza on my Fine China. They laugh, but they love it.  As far as I’m concerned, anytime a friend is over for dinner, it’s a special event.

Follow this link to learn more about Bernardaud‘s 150 year history and see more of their exquisite Fine China.

 

Inside John Lautner’s Tyler Residence

Tyler Residence, John Lautner, Photo Romi Cortier
Tyler Residence by  John Lautner, Photo Romi Cortier
Skylight, Tyler Residence by John Lautner, Photo Romi Cortier
Skylight, Tyler Residence by John Lautner, Photo Romi Cortier
Kitchern, Tyler Residence by John Lautner, Photo Romi Cortier
Kitchen, Tyler Residence by John Lautner, Photo Romi Cortier
Roofline Detail, Tyler Residence by John Lautner, Photo Romi Cortier
Roofline Detail, Tyler Residence by John Lautner, Photo Romi Cortier
Roofline Detail, Tyler Residence by John Lautner, Photo Romi Cortier
Roofline Detail, Tyler Residence by John Lautner, Photo Romi Cortier
Stairwell, Tyler Residence by John Lautner, Photo Romi Cortier
Stairwell, Tyler Residence by John Lautner, Photo Romi Cortier
Shower, Tyler Residence by John Lautner, Photo Romi Cortier
Shower, Tyler Residence by John Lautner, Photo Romi Cortier

In 2008 I was fortunate to be able to go inside John Lautner’s Tyler Residence, thanks to a limited tour organized by the Mak Center in Conjunction with The Hammer Museum‘s exhibit ‘Between Earth and Heaven: The Architecture of John Lautner. The home owners graciously open up their home to bus loads of architectural enthusiasts like myself, and let us meander through their residence snapping photos of whatever appealed to us. There are several images online of this homes exteriors, but not many of its interiors. Therefore, I’m thrilled that I can contribute to the online dialogue of this valuable architectural treasure.

Located in Studio City California, this two-bedroom, two bath home  was built in 1950 and is often referred to as a Triangular Modernist Home, and sometimes even a tree house. It could safely be said that many of Lautner’s homes feel like tree houses since they’re built site specific to work with the natural environment. This is one the hallmarks of his design, a total environment that takes into account the existing assets of the land where the home will be built.

The homes living room is triangular in shape and appears to float out into the trees, as you can see by the first image. Lautner’s works were always complete works of art, not cookie cutter homes, therefore, he continued the use of the triangle as a design element throughout the home.  Look at that great skylight, have you ever seen one like it before? And check out that roof overhang with the triangular shape enhanced by the lack of an actual roof.  Even the shower is triangular in shape.

The other design element that makes this home so exceptional, is the use of the wide wood planks, both inside and out. Repetition is key in creating a design vocabulary, which is exactly what Lautner has done here.  With these types of homes, lets call them Homes as Art,  there’s an even greater responsibility to the community at large. Maintaining the home, while still yielding to the architects intent, can be a fine line to walk. Some neighborhoods, like Los Angeles’s Hancock Park, impose an HPOZ (historic preservation overlay zone) to help raise awareness in regards to the historic value of the homes in their neighborhoods.  I’m not sure if there’s an HPOZ in place for Studio City, but this home appears to be in remarkably great shape. Just look at the luster of those wood planks.  Owning a home built by one of California’s most noteworthy architects only adds to the scrutiny of those ‘prying eyes’ usually limited to nosey neighbors. The architectural community at large always has something to say, especially now that there’s so much awareness regarding our local treasures. We now know that we have a greater responsibility to future generations who at some point will also learn to value our remarkable history. I’m so thrilled that the home owners of the Tyler Residence continue to support the legacy of architects such as John Lautner.  Bravo!!

Expressionism, From Van Gogh to Kandinsky at LACMA – Love it!

LACMA, Photo Romi Cortier
‘Beach at Low Tide’, 1900, Theo van Rysselberghe, LACMA, Photo Romi Cortier
LACMA, Photo Romi Cortier
‘The Farmer’, 1905, Maurice de Vlaminck, LACMA, Photo Romi Cortier
LACMA, Photo Romi Cortier
‘Boats in Chatou’ 1904/5, Andre Derain, LACMA, Photo Romi Cortier
LACMA, Photo Romi Corrtier
‘Arabian Cemetery’, 1909, Wassily Kandinsky, LACMA, Photo Romi Corrtier
LACMA, Photo Romi Cortier
‘Woman in a Striped Dress’, 1895, Edouard Vuillard, LACMA, Photo Romi Cortier
LACMA, Photo Romi Cortier
‘The House of Pan-Du’, 1890,  Paul Gauguin, LACMA, Photo Romi Cortier
LACMA, Romi Cortier
‘Young Girl’ , 1908, Max Pechstein  & ‘Modjesko, Soprano Singer’, 1908, Kees van Dongen, LACMA, Romi Cortier

I recently returned to LACMA for my second viewing of the  Expressionism Show, From Van Gogh to Kandinsky in Germany and France and I loved it even more the second time.

There are many scholarly reviews online about this exhibit, however, this isn’t one of them. That said, I simply can’t say enough good things about this show. It made me feel something, and I found myself standing in front of several paintings, drinking them in, luxuriating in their use of color and their bold brush strokes. I’ve traveled the world and seen many great shows, and many great paintings. Therefore, I yield to my eyes better judgement, and trust my instincts. Great art is great art, and when you see it you know. If a curator or scholar tells me it’s brilliant and I don’t get it, then so be it. The bottom line I ask myself is, would I want to live with it? And with this exhibit, I offer a resounding yes!! Please Please Please give me that Kandinsky in the black frame!! (Fourth image down) Some scholars are saying this show isn’t meant to be a blockbuster exhibit, but rather a bridge from Post Impressionism into Expressionism, spanning the periods from 1900 – 1914.  All I know, is that this show resonates with me in a very profound way and is  one of my favorite exhibits I’ve seen at the Los Angeles County Museum of Art during the last decade. My other other fave was the block buster  2006 Magritte exhibit: Magritte and Contemporary Art: The Treachery of Images, which included carpets of clouds on the floor, and wall paper on the ceiling of Los Angeles Freeways.  Both of these shows have created total environments, which totally appeals to the interior designer in me.  

One of the elements that I LOVED was the use of black walls with navy blue insets, that made the paintings jump off the wall. And I also loved how intimate works on paper were juxtaposed next to oil paintings from different periods. It’s the same way a sophisticated home owner would create groupings in their home if they had this caliber of work. While I know there’s an intellectual order to the way this show was hung, I simply have to say that this layout makes the entire exhibit warmer and easier to absorb. This show is also much more varied than the title suggests. I was surprised to learn that there are more than 40 artists in this exhibit, and works from different periods, such a Post-Impressionism, Fauvism, and Cubism.  In total there are 90 paintings, and 45 works on paper.

Don’t be intimidated if you don’t know a thing about art. You don’t need to, all you simply need to do is show up, and start educating your eye. I guarantee you’ll find something that excites you here, which in return, may teach you a little something about yourself.

LACMA: Expressionism: From Van Gogh to Kandinsky – Germany and France. Closes September 14, 2014

John Tessier aka Jack McCullough: Photographer, Roommate, Killer? Part 2

Model Ana, Photo John Tessier, Hair, Make Up & Concept by Romi Cortier
Model Ana, Photo John Tessier, Hair, Make Up & Concept by Romi Cortier
Model Ana, Photo John Tessier, Hair & Make Up by Romi Cortier
Model Ana, Photo John Tessier, Hair & Make Up  Romi Cortier (Used for Washington Stylist Magazine Cover)
Model Ana, Photo John Tessier, Hair, Make Up & Concept by Romi Cortier
Model Ana, Photo John Tessier, Hair, Make Up & Concept by Romi Cortier
Model Ana, Photo John Tessier, Hair & Make Up by Romi Cortier
Model Ana, Photo John Tessier, Hair & Make Up  Romi Cortier
Model Ana, Photo John Tessier, Hair & Make Up Romi Cortier
Model Ana, Photo John Tessier, Hair & Make Up Romi Cortier

This is part 2 of my previous post about my former roommate photographer John Tessier, aka Jack McCullough, who’s been convicted for the murder of Maria Ridulph.

Ana, the model above, was John’s Muse. She was a ballerina with a remarkably thin strong body. She was a tad short for the modeling world at 5’6″, but pursued it along with her acting career. Her dance background gave her an elegance and poise that made her remarkable in front of the camera. She knew where her body was, and how to give John the curves and movement he needed to create  his compositions. The three of us created images off and on for nearly a decade. Images that I’ve always been very proud of… until now. Now I see things with a different perspective, a perspective that clearly disturbs me.

When I first met Ana, her hair color was light brown with golden highlights.  However, John felt she would look better with darker hair, and to this day, that’s how she wears it. When I’d found the images online of John’s victim, Maria Ridulph, I gasped. Even at age 7 she bore a striking resemblance to Ana, with her porcelain skin and dark eyes and hair. I now see Ana as the grown up version of Maria.

Maria Ridulph
Maria Ridulph

Is this why John was obsessed with photographing Ana over and over again through out the years? Was it truly art we were making, or was it something much deeper and darker. Once I became aware of Maria’s story, and that John had been convicted for her murder, I contacted Ana via facebook and brought it to her attention. Unfortunately, we’ve never actually talked about it, and it makes me wonder if there was a dark side to their relationship that I know nothing about. For Ana’s sake, I hope not. It’s hard to know where I stand in the bigger narrative of John’s life. Did I unknowingly participate in his obsession?

As artistic director of Lewis Fox Salon, I brought many teenage girls from the salon to his studio to be photographed. The models were never left alone with John as a matter of professionalism. Everything was on the up and up, at least on my end.  I don’t ever recall any type of inappropriate behavior, but now I’m questioning everything. Even the first image above, with Ana’s hands framing her neck, takes on a whole new meaning. That was the image that John chose from the proof sheet at the very top, not me, not Ana, but John.  There were plenty of great images to print… were we unknowingly seeing into the psyche of a killer? I also recall John talking about how much he loved the saturated black against the bright white in his black and white photos. He wasn’t much good with color, but truly excelled in this medium. Maybe the starkness of black and white was how he saw the world, a world with no room for the nuances of grey.

After reading the articles online about his conviction, I contacted the detectives who were responsible for prosecuting John Tessier, aka John McCullough, and gave them my contact information. Reports indicate that they’re still looking at cases of missing women from the areas that John lived in, with hopes of tying him to their disappearances. To answer my own question in the previous post, can monsters also be artists, I simply have to remind myself of Adolf Hitler. It’s so tragic to discover that someone I held in such high esteem, could turn out to be such a flawed and horrible human being.

July 6, 2016…

I just learned that Jack McCullough, aka John Tessier, has been exonerated of all charges in the murder of Maria Ridulph in April of this year. 

 

A Design Diary by Romi Cortier