[10] They bought more than two hundred pieces from Klejman's New York Gallery. In 1930 she met the banker Jean de Mnil (who later anglicized his name to John de Menil), and they were married the next year. The minute the cops arrive, they form ranks. Hewing to the European tradition of millionaire radicals, they came to be Houston's most rewardingly subversive citizens, bringing maverick ideas to the provinces about art, politics and what to do with money. The two youngest children are Francois, 41, and Philippa, 39. [1], In addition to becoming known as collectors and patrons of art, John and Dominique de Menil were vocal champions of human rights worldwide. ''John's feeling for the underdog really started in his childhood,'' says Dominique. What they do should be balanced against what's possible.''. To supple-ment the scanty family income, John dropped out of school to work in a bank. When the de Menils acquired the sculpture in 1968, the year the Rev. ''If only my father could see him now,'' his sister Adelaide has remarked proudly. Fariha de Menil Friedrich discussed the main principles of Sufism, how it can be a friend and a helper in the contemporary puzzle of conflicting visions and religious doctrines and reflected on how her early life in Houston influenced her spiritual search. She badly needed a religion.''. Meanwhile, grandiosity and the Schlumberger stock slide have caused the serious foundering of the Dia Foundation, established by Philippa and Heiner Friedrich, to support the ambitious projects of several hand-picked artists. In 1974, the two formed the Dia Foundation - the name is Greek for catalyst - subsidized solely by Philippa's shares in Schlumberger Ltd. Dia soon became one of the largest and most venturesome nonprofit funding sources in the field of contemporary art, buying up the works of certain artists -more than 125 of John Chamberlain's sculptures of crushed auto parts, for example - and sponsoring projects that range from Walter de Maria's permanent ''earth sculpture,'' comprising 280,000 pounds of dirt that fill a gallery in a SoHo building, to the vast ''Art Museum of the Pecos,'' in Marfa, Tex., a compound of more than 340 acres which has deployed an array of indoor and outdoor works by Donald Judd and other artists. Schlumberger, Dominique. (A question mark next to a word above means that we couldn't find it, but clicking the word might provide spelling suggestions.) For years, she has quietly but wholeheartedly backed the work of such performance artists, dancers and musicians as Robert Whitman, La Monte Young, Robert Wilson, Twyla Tharp, Philip Glass, Trisha Brown and Terry Riley. The German art dealer Heiner Friedrich; his wife, Philippa de Menil (daughter of the noted philanthropist Dominique de Menil); and art historian Helen Winkler founded Dia Art Foundation in 1974. ''It's Dominique's museum and it's important to her,'' Francois says. Woe Follows the Obelisk., Hobdy, D. J. There, surreal-looking dress dummies and women assistants with pins in their mouths share space with art by Cy Twombly, Yves Klein, Ralph Humphrey and John Chamberlain as well as furniture by the late Charles James, Dominique's favorite dress designer. ''He made us greedy,'' Dominique says, remembering that the priest once appeared for lunch with a Rouault painting under his arm. After his death, he lay in state, wrapped in a sheet in his own bed. In 1974, Friedrich and his future wife, Philippa de Menil, the youngest child of Dominique and John de Menil of the Schlumberger oil fortune, created the Dia Art Foundation. ''The things I've collected resemble the sort of works my parents acquired, but maybe less broad in range and less expensive,'' he says, pointing out, on a hall wall, a favorite Braque painting of his father's given him by Dominique. ''I'm extreme and I have strong tastes,'' says Christophe, who is also an excellent though unexhibited photographer. They hated the result, and hid it away. They began to concentrate on the more established Museum of Fine Arts. Both born in Houston - their three elders were born in France - they grew up in the rebellious 60's and seem to have come to terms more uneasily than the others with the Schlumberger aura. [33], The nearby Cy Twombly Gallery, opened in 1995, houses more than thirty of Twombly's paintings, sculptures, and works on paper. You can look up the words in the phrase individually using these links: philippa? When de Menil learned that a group of 13th-century Byzantine frescoes had been stolen from a chapel in Lysi, Cyprus, and cut up by smugglers, she paid the ransom and funded their restoration. Sweeney, the de Menils' man, was eventually dismissed, partly because he questioned the attributions of works the Blaffer family proposed to donate. ''Each of the children,'' says Adelaide now, ''would have preferred his or her own choice of architects, but after all, it is my mother's museum. (Such involvements were not confined to Houston, however; among other affiliations, John was a trustee of the Museum of Modern Art and the Museum of Primitive Art in New York.) Ibish, Yusuf, and Peter Lamborn Wilson, eds. .''. John's assertiveness made itself felt even as he lay dying of cancer, when he prepared a scenario for his funeral. That same year they provided the University of St. Thomas, a small Catholic institution in Houston, with funding to build Strake Hall and Jones Hall, designed by Philip Johnson per their recommendation. A local citizen once called John up and railed against him as a ''red'' for his support of King. Like the other children, he realizes fully that his parents are a difficult act to follow. After moving to Houston, the de Menils quickly became key figures in the city's developing cultural life as advocates of modern art and architecture. Designed by the architect Charles Gwathmey and built at a reported cost of $6 million, the house - called ''Toad Hall'' by its owner - is a fantasy version of a luxury ocean liner, with a three-story greenhouse, screening room, game room, exercise salon, wine cellar and the obligatory swimming pool. Small wonder that in Houston, a city where, as a local gadfly once observed, ''it's easier to be rich than interesting,'' the de Menils are something of a legend. (5) Philippa (Anne Caroline Philippa de Mnil) (born June 13, 1947) - A co-founder of the Dia Art Foundation. Their Georgian town house of brick and marble, while more for-mally ordered than the digs of the others, serves as a setting for high-caliber contemporary art, and is one of the Upper East Side's more elegant private dwellings. [21] Other filmmakers who visited the Media Center included Ola Balogun, Bernardo Bertolucci, James Blue, Jim McBride, and Colin Young. The project, not universally appreciated by black scholars who tend to feel the emphasis should be placed on what blacks themselves have created, has so far published two books on the subject. For the marriage, Dominique converted to John's Catholicism, a move that at first shocked her clannish family. Hopps, a well known presence in the field of contemporary art, comes from California and made a reputation early on as director of the esteemed Pasadena Museum of Art. 1974 by art dealer Heiner Friedrich and his wife, art patron Philippa de Menil. In return for her efforts, the Holy Bishopric of Cyprus allowed the works to remain in Houston on a 20-year loan. Like the Rockefellers, the de Menils are distinguished by the variety and scope of their art interests. The de Menils' Catholic faith, especially their interest in Father Yves Marie Joseph Congar's teachings on ecumenism, would become crucial to the development of their collecting ethos in the coming decades. ''She feels a museum is all about interior spaces. While the two had mutual feelings for art and social problems, Dominique was reticent and understated, John was ebullient, opinionated, action-oriented. The children and their mother also occasionally drop in on Val-Richer, the vast estate in Normandy passed down by Schlumberger ancestors. His interest in architecture, he says, comes from his father and from working with Charles Gwathmey, who designed his East Hampton house. Heiner has helped me step out into life.''. THE DE MENILS' civil-rights activities earned them epithets ranging from '''radical chic'' to ''Communist.'' She spoke at the Byzantine Fresco Chapel, inaugurating the Passionate Voices series, celebrating the 10th anniversary. [7], The de Menils were particularly interested in modern European art, and a core strength of the collection was the many Cubist, Surrealist, and other Modernist works they acquired. ''If it hadn't been for them, we wouldn't be here,'' says Father Frank H. Bredeweg, now president of the college. Fariha Friedrichwhich is the name Philippa de Menil assumed after she and Heiner Friedrich embraced Sufi Islam and married in 1979was talking about the beginning of their foundation. Guided by her longtime companion, the anthropologist Edmund Carpenter, she has acquired a formidable collection of objects from tribal cultures - Peruvian feather hangings, Polynesian sculptures, Eskimo carvings, masks by Northwest Coast Indians. (Spookily enough, another dwelling she had built on the same site about 20 years ago met the same end.) They were the first Americans to influence Europeans. John and Dominique de Menil also shared an interest in photography, inviting photographers to come to Houston to document events in the city and exhibit their work. Leland, a civil-rights and antiwar activist who was studying to be a pharmacist at Texas Southern University, had dropped out to run the campaign of a black minister, D. Leon Everett, who sought a seat on the then-all-white board. Of the siblings, she has also undertaken the most wildly ambitious involvement with the arts, as patron of the financially troubled Dia Foundation, whose aim is to support venturesome artists' projects of a nature or scale that make it difficult to obtain other backing. A big show of the family's art collections was held at the Grand Palais in Paris two years ago. Also on display in Richmond Hall are four examples of Flavin's "monuments" to V. Tatlin, created between 1964 and 1969.[1][36]. ''', Dominique's craving found expression during the couple's frequent visits to New York in the 40's and 50's, where they met Father Marie-Alain Couturier, a French Dominican priest who spent the war years there. As modernists, they recognized the profound formal and spiritual connections between contemporary works of art and the arts of ancient and indigenous cultures, broadening their collection to include works from classical Mediterranean and Byzantine cultures, as well as objects from Africa, Oceania, and the Pacific Northwest. The Menil Collection's discreet, low-key architecture befits its site in Montrose, a modest, socially mixed residential area of Houston. Ever since, Dia's mission has been to commission, support, and present site-specific long-term installations and single-artists exhibitions to the public. Dominique Isaline Zelia Henriette Clarisse Schlumberger. Dominique's way of not always paying full attention to this world has been transmitted to some of her offspring. The enigmatic Friedrich quit New York, disappeared into a wandering, art-mad exile; Philippa de Menil, the embattled heiress, had long since ceased to exist. ''We even borrowed money to buy art. Explains William Camfield, whom the de Menils brought over as professor of art history from St. Thomas, ''At Rice, the de Menils said, 'Let's see if it works and if you like it. After being met with increasing resistance by the more traditional Basilian clergy at the University of St. Thomas, in 1969 the de Menils moved the art departmentincluding the art history facultyand Media Center to Rice University, where they founded the Institute for the Arts to manage the exhibition program at Rice Museum. John shot from the hip. 2003), the world's largest contemporary art museum, located in Beacon, N.Y. A converted factory, it contains unusually large unbroken spaces, ideal for exhibiting the frequently monumental and often minimalist (see minimalism) art and large-scale installations Dia favors. So serious, in fact, was the recent plight of Dia that Dominique asked her son Georges, a trustee of Philippa's inheritance, to help. Kahn did produce some preliminary drawings, but the project was suspended in 1973 after John de Menil's and Kahn's deaths less than a year apart. There was a moral obligation to get involved with their involvements. Looking back, I suppose we were too ambitious, and they felt overwhelmed.'' At that point, the de Menils began to drift away from the museum. Soon the couple was on a collecting spree, venturing from Cezanne to Braque to Picasso, then - under the influence of the dealer Alexander Iolas - heavily into Surrealism. Heiner Friedrich is an art dealer and collector of minimal art and conceptual art. So hooked were they that, ''We went crazy,'' says Dominique. Described by another friend as a ''warm, impulsive, kind person who is something of a mark,'' Christophe, in designing costumes for Wilson's theater pieces, discovered a talent for inventing clothes, and has recently set up as a couturier. But Heiner lives in a dream. And Adelaide herself now has a home or two not like everyone else's, in which the art is at least as ''weird'' as that owned by her parents. She is not a ''go-getter,'' she insists in her French-tinged English. They have been adventurous patrons, perhaps less concerned than many with the kudos and the cash that go with art patronage in American society. Very much the image of upper-class young marrieds, the pair rode horseback in the Bois de Boulogne, and confined their artistic interests to the likes of Christian Berard, a lightweight Parisian contemporary. Friedrich has exhibited works by Blinky Palermo, Walter De Maria, Donald Judd, La Monte Young, Andy Warhol, Michael Heizer, and Joseph Beuys, among others in his galleries in Germany, but became less interested in short term gallery installations and through Dia began to collect, and support majo Christophe, who at 53 is the oldest (and a grandmother of three, by her daughter Taya) has always been attuned to the avant-garde. I never really wanted to collect, but the idea of a foundation that would help artists build excited me. Collector-watchers point out, however, that - starting later and with less money - the de Menils have not yet managed to give us the equivalent of the Cloisters, the Museum of Modern art and Colonial Williamsburg. Unlike the normal superwealthy, their pursuits do not run to clubs, yachts or horseracing. De Menil's largesse had created a kind of refuge from the speculative market in art then taking shape in New York, and a new canon of monumental, spiritually charged epics: a SoHo gallery floor buried, permanently, wi th black ear th; a hollowed-out volcano, transformed into a science-fictional archaeo-astronomical laboratory for perceptual flight; a Promethean bed of nails poking dangerously into the desert sky, awaiting some gargantuan penitent. [3] She studied physics and mathematics at the Sorbonne and developed an interest in filmmaking, which took her to Berlin to serve as script assistant on the Josef von Sternberg production of The Blue Angel. Indeed, shuttling among residences in Houston, New York and Paris, Dominique has a heavy agenda. [27], The de Menils also organized exhibitions that promoted human and civil rights, including The De Luxe Show, a 1971 exhibition of contemporary art held in Houston's Fifth Ward, a historically African-American neighborhood. Initially the stated aim as written in its first report was to "plan, realise and maintain public projects of artists. BUT, AS DOMINIQUE likes to point out, she and John didn't start out rich. [2][3][4][5] Sheikh Muzaffer also gave direct transmission to fellow American dervish Sheikh Nur al-Anwar al-Jerrahi, who envisioned a radical and illumined path of the heart which he called Universal Islam. Believing in art education and - though committed Catholics -religious ecumenism, they saw in St. Thomas, run by the Basilian Fathers, a chance to further the school and their causes. Today, while Dominique still administers the Institute for the Arts, and contributes to such programs as fellowships for graduate students in art history, the de Menil presence there has shrunk considerably. Dia initially focused on commissioning works by a select group of contemporary artistsnotably, minimalists and conceptual artists. The building was designed by architect Francois de Menil and mimics the original Lysi chapel. A former film maker, short-time magazine publisher, pilot and hell-raiser who never finished college, Fran,cois - who has his father's baby face - is now a hard-working architectural student at The Cooper Union. The building, primly sheathed in what one Houstonian calls ''Protestant gray clapboard'' (probably a first for a museum in this country), has on the ground floor exhibition spaces set in a landscaped garden. De Menil, who lived in Houston until she was 12 and was raised Catholic, has been a practicing Muslim for more than 30 years, and is now known as Sheikha Fariha al-Jerrahi, having been officially . Although family members say that the decline has affected them ''minimally,'' Dominique de Menil notes, ''A lot has been eroded. The founders of the Dia Art Foundation have filed suit to stop the foundation from selling artworks in Dia's collection. she subsidized a lobbying effort on their behalf. '', Because Dominique saw ''collecting'' as pretentious, she was reluctant until recently to use the term. This in turn enabled the inventors to determine the location of an oil deposit. The two met at a ball in Versailles, and were married in 1931, when Dominique was 22 and John was 27 and working in a Paris bank. "Les divers procds du film parlant". Before, I did things for others, and now I'm doing something for myself. [1] After Jermayne MacAgy's death in 1964, de Menil took over her classes and became the chairperson of the art department at the University of St. Thomas, curating several exhibitions over the next few years. I could have worked with Dominique.''. Dominique de Menil (ne Schlumberger; March 23, 1908 December 31, 1997) was a French-American art collector, philanthropist, founder of the Menil Collection and an heiress to the Schlumberger Limited oil-equipment fortune. Philippa de Menil (now Fariha Fatima al-Jerrahi) ominously reflected on the passing of her spiritual guide saying, "His death seemed to herald many new changes." [5] The new board began slashing at Dia contracts and real estate to get the budget under control with projects being dropped and dismantled at a fast rate. Over the course of nearly 20 years, beginning in the late 1940's, they set up a full-fledged art and art history department, hiring -and paying for - teachers, researchers and what one of the former de-scribes as ''others with whom they have loose and flexible arrangements.'' ''Wasn't I there?'' Most of the land and houses within a six-block radius, quietly assembled by John, are under de Menil ownership. Says Dominique, ''The idea of the foundation was marvelous, and they've done great things. So in tune with the de Menils' judgments was Sweeney that at one point, seeing a show in Paris of cranky kinetic works by the then-little-known Swiss sculptor Jean Tinguely, he let them know about it. Raised a Protestant, Dominique converted to Roman Catholicism in 1932. The gray clapboard of the museum is in keeping with the small, traditional timber-frame homes -some used as foundation offices, others rented to friends, associates and various locals - that surround it. The city's negativism toward the piece, however, served as a goad to the active de Menil political conscience, according to Fred Hofheinz, a young white liberal who was elected Mayor of the volatile city in 1973 with heavy de Menil backing. [1] Contents 1 Biography 2 See also 3 References 4 External links Biography [ edit] She was born in 1947 into a socially committed, eclectic French Catholic family in Houston, Texas. They have also come to the aid of liberal-left politicians and Islamic religious groups, avant-garde music and counterculture films, archeological digs and art education, Long Island fishermen and anti-Vietnam activists. Schlumberger ancestors this in turn enabled the inventors to determine the location of an oil deposit Paris two years met... 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