Bâtiment initial

Charles and Marie-Laure de Noailles, a life of patronage
furniture, photography

Despite the calendar disruptions provoked by the current circumstances, it seemed important to celebrate — as best we might — this tenth anniversary of the permanent exhibition “Charles and Marie-Laure de Noailles, a life as patrons.” It is also a means to thank the public for the positive welcome they have shown this exhibition at the Villa, and thus to imagine a renewed exhibit, with previously unseen and rarely seen works.

It is therefore a question of highlighting, through a new scenography created by Kim Haddou and Florent Dufourcq, key works in the collection which will be joined by a few little gems from private collections. In anticipation of the exhibition by François-Marie Banier which will take place in October, two large prints painted by the artists, portraits of patrons, will take their places in the Salon Rose. Original prints of the portraits of Marie-Laure de Noailles by Dora Mar will be added to those taken by Man Ray, Horst and Willy Maywald. Exceptional items of furniture by Pierre Chareau and Eileen Gray will brush up against those by Breuer, Mallet-Stevens, and Djo-Bourgeois. Other surprises will make this an unmissable event for all those who love this site and its history.

This Summer 2020 exhibition marks a welcome pause before returning to our normal programme of temporary exhibitions. It allows for a questioning on the nature of this endeavour and above all to measure its growth. Ten years after the inauguration of the permanent exhibition “Charles and Marie-Laure de Noailles, a life as patrons”, it is normal to evaluate what has been achieved. The Association Villa Noalles has managed to unite the first elements of a collection to be accommodated in the rooms of the main building, and which have been staged by David Dubois. The question is not so much to take stock, but rather to question the years to come: how to grant a coherence, a greater visibility to a collection which has grown and been enhanced by objects and documents of all kinds, but not only. It is also the accumulation of knowledge on this location and its history — or rather, its histories — which it is necessary to share with an ever increasing public.

The Noailles wanted a “small house that must first be interesting to live in.” Many have commented ironically on the inconsistency of this desire, as the Villa grew in size well beyond its modest origins. Despite this increase in stature, it has maintained its initial philosophy of being interesting and has never taken on an air of pretentiousness. Much more than this, it has evolved with consistency. Since the building and its history serve as the initial paradigm behind our approach, why not adopt this as a roadmap for the future.

Stéphane Boudin-Lestienne and Alexandre Mare
Researchers and curators

With the support of CHANEL, main sponsor of the exhibition