Called ''well logging,'' the process became the basic asset of the company, eventually proving indispensable to oil companies around the world. Website http://www.diaart.org Industries. 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. TimesMachine is an exclusive benefit for home delivery and digital subscribers. [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. The foundation's extravagant expenditures have necessitated a family rescue effort. Raised a Protestant, Dominique converted to Roman Catholicism in 1932. Married to Susan Silver, a Barnard graduate (their son was born in January), he collects contemporary art, furniture, craft objects of the turn-of-the-century Vienna Secessionist school and rare books on art and architecture. And the approaching actuality still surprises her: ''It's a long way from my early days as a young wife and mother. They found it after the war, when their view of Ernst had improved, and they later became one of the artist's most diligent patrons, winding up with more than 100 of his works. You might try using the wildcards * and ? 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. I could have worked with Dominique.''. Philippa de Menil. Easily the most spectacular residence is Francois's, built a few years ago on seven acres of expensive East Hampton beachfront as a vacation retreat from his handsome Manhattan apartment. Dominique and John de Menil, circa 1967. Before, I did things for others, and now I'm doing something for myself. The de Menils often personally recruited faculty members for the departments and brought many renowned artists and art historians to Houston, including Marcel Duchamp, Roberto Matta, and James Johnson Sweeney, whom they convinced to serve as museum director for the Museum of Fine Arts, Houston from 1961 to 1967. For starters, in a locale where the ideal home was a formal white-pillared mansion, the de Menils got Philip Johnson to do them a sprawling, one-level house. Dominique, who maintains three homes herself, shakes her head indulgently over their ''extravagance.''. Although family members say that the decline has affected them ''minimally,'' Dominique de Menil notes, ''A lot has been eroded. His accomplished wife, Lois, a political historian with a Ph.D. from Harvard, is writing a book on a prominent 19th-century Schlumberger ancestor, Francois Guizot, Premier of France under Louis Philippe. Christophe, a tall, graceful woman, who has a long history of supporting ''difficult'' art projects, began designing costumes for Robert Wilson in 1981. It serves the vi-sion of a place ''for people in search of peace, meditation and a more intense consciousness of our time.'' You were sharing in the great adventure of making a work of art that was maybe too crazy to realize in any other way.'' ''John's feeling for the underdog really started in his childhood,'' says Dominique. Though John was born to a titled military family, he grew up poor, thanks to the efforts of his father to pay off a relative's debt. Ironically, planned in a time of boom for Houston, the museum will be finished in a time of bust, due to falling oil prices. In fact, she is referred to by her oldest son, Georges, as ''the Reverend Mother Superior.'' A big show of the family's art collections was held at the Grand Palais in Paris two years ago. An 11th-century abbey revamped during the 18th century, the chateau has perhaps 100 rooms. It was inescapable. The two youngest children are Francois, 41, and Philippa, 39. Sheikh Muzaffer Ozak's most prominent disciples and successors in North America were Tosun Bayrak, Lex Hixon, and Philippa de Menil. For example, use She badly needed a religion.''. (Brought up a Protestant, she converted to Catholicism to marry John.) Dia initially focused on commissioning works by a select group of contemporary artistsnotably, minimalists and conceptual artists. When the de Menils acquired the sculpture in 1968, the year the Rev. The family has done everything as dedicated amateurs, but they helped the right people at the right time. THE DE MENIL FAMILY: THE MEDICI OF MODERN ART, https://www.nytimes.com/1986/05/18/magazine/the-de-menil-family-the-medici-of-modern-art.html. He took the the couple around to galleries, singing the praises of the modernists. Casey Lesser. battle of omdurman order of battle. Designed by the Italian architect Renzo Piano, co-creator of the high-tech Pompidou Center in Paris, the museum is so favorably looked upon by Houston bigwigs that more than half of its building costs are being met by local money. In 1949 they commissioned the architect Philip Johnson to design their home in the River Oaks neighborhood in Houston. Like the other children, he realizes fully that his parents are a difficult act to follow. Expansive main-floor displays will be made up of works in the storage areas, with space set aside for the spectacular theme shows that Dominique and the museum's director, Walter Hopps, have been doing together for years. The artists previously collaborated with the Dia Art Foundation, which was founded by Philippa de Menil (Dominique and John's daughter), to realise their monumental immersive light installation. But one family member suggests that the figure ''could easily be twice that amount.'' John's assertiveness made itself felt even as he lay dying of cancer, when he prepared a scenario for his funeral. ''Dominique and John were entirely separate people who worked not so much together but in parallel ways,'' suggests Fred Hofheinz. (A question mark next to a word above means that we couldn't find it, but clicking the word might provide spelling suggestions.) Though the building is not loved by some of Dominique's children, it is hoped that eventually the varied holdings of all of them will repose there, too. At that point, the de Menils began to drift away from the museum. [18] The de Menils supported Rice University astrophysics professor Donald D. Clayton for a two-week residence in Rome in JuneJuly 1970 for daily work with Rossellini,[19][20] conceiving a film about cosmology that did not advance to filming but that was published in 1975 as a personal memoir of a life discovering the universe. . What they do should be balanced against what's possible.''. They have been adventurous patrons, perhaps less concerned than many with the kudos and the cash that go with art patronage in American society. In the dining room, 18 rare chairs by the Viennese architect Josef Hoffman surround a pair of tables designed by Gwathmey. Dominique de Menil, Quoted in Browning 1983, 37. It is named for the late Abstract Expressionist painter Mark Rothko, whom the de Menils commissioned to do 14 dark, meditative paintings that are the only adornment of the octagonal building. Dominique, who from childhood had an impulse toward collecting, acquiring such objects as ''shells, cut-out images, exotic seeds,'' attributes her interest in art -late-blooming as it was - to her mother, who would have collected, save for her husband's disapproval. Her second husband is is a German-born former art dealer, Heiner Friedrich, with whom she is deeply engaged in Sufism. Eventually - despite their contributions of time and art - their ambitious projects brought them into conflict with budget-minded trustees. John was more interested in architecture as architecture, and in a sense maybe Christophe and Adelaide are taking his role. At the suggestion of the Houston designer Howard Barnstone, who might be called the de Menils' architect-in-residence, the houses have mostly been painted a uniform gray, so that the museum and the bungalows together have the aspect of a small, but by no means unpleasant, company town. [1], The Menil campus also includes the Byzantine Fresco Chapel. He remembers a rainy night in Paris, when he was ill with a cold but had a manuscipt to deliver to the noted anthropologist Claude Levi-Strauss. The bulk of the vast collection - reportedly worth between $150 milllion and $175 million - will be kept on the second floor in open storage, visible to anyone who wants to see it. In 1983, the foundation listed assets of approximately $30 million in art and real estate. And she goes on collecting - though at a much slower pace, she says, because prices have risen so high. They have sold off a good deal of it over the years, and diversified their holdings. Plans called for Bob Dylan to sing at the service, but he was unavailable, and a tape was played of John's Dylan favorites. The idea was born, Dominique says, out of her ''shock'' at discovering segregation ''when I arrived in the United States, and wondering why, when great artists have seen blacks as beautiful, dignified, noble, they were not considered so here.''. Dia Art Foundation, American foundation that supports contemporary art and artists, est. 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. 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. This is a digitized version of an article from The Timess print archive, before the start of online publication in 1996. The Menil Collection's discreet, low-key architecture befits its site in Montrose, a modest, socially mixed residential area of Houston. Following the outbreak of World War II and the Nazi occupation of France, the de Menils emigrated from Paris to the United States of America. She says now that she never imagined their acquisitions would someday fill a museum. 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. Their fervor spilled over into us. She grew up, the middle sister of three, watching her physicist father, Conrad Schlumberger, struggle to perfect his invention, an electric measuring device that disclosed the location of oil deposits. Thus, the 657,829 shares owned by Georges de Menil and his wife and children, now worth about $20 million, have shrunk in value from the $57 million they were worth at the stock's high. The day and hour were set, with Dominique's agreement. [1] American Sufi leader The big, Orientally carpeted chambers, including a prayer room, are accented by Dan Flavin's sculptures of fluorescent light, among other works, and on one wall hangs a portrait of the Friedrichs' late Sufi guru, Sheik Muzaffer Ozak. ALTHOUGH DOMI-nique's children function in somewhat lower gear, they also have made ambitious forays into - and even careers in - the arts. They ultimately amassed more than 17,000 paintings, sculptures, decorative objects, prints, drawings, photographs, and rare books. At the age of 29, she met her mentor and guide on the path of Sufism upon his first visit to the Americas, Sheikh Muzaffer zak k al-Jerrahi of Istanbul. she asked, in genuine surprise. You can look up the words in the phrase individually using these links: philippa? "Defying prejudice, Islam's mystical, musical strain appeals to New Yorkers", Menil Foundation - Handbook of Texas Online, "A Special Prize of the Carter-Menil Human Rights Foundation", https://en.wikipedia.org/w/index.php?title=Dominique_de_Menil&oldid=1127825718, This page was last edited on 16 December 2022, at 21:42. ''You support artists by buying their work, not by making shrines to them.''. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions. 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. 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. ''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. His interest in architecture, he says, comes from his father and from working with Charles Gwathmey, who designed his East Hampton house. [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. She received direct transmission from him in 1980. She has now turned her East Side carriage house into a fashion atelier. A local citizen once called John up and railed against him as a ''red'' for his support of King. [1], John and Dominique de Menil began collecting art intensively in the 1940s, beginning with a purchase of Paul Czanne's 1895 painting Montagne (Mountain) in 1945. '', ''I wanted a functional museum and they wanted great architecture,'' comments Dominique. 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. At one of them he met and influenced Philippa de Menil, a member of a famous Franco-American family of art patrons, and her German-born husband. Her ideas are defended by her son-the-architectural-student. THE COUPLE'S MOST INTENSE Houston involvement was with St. Thomas University, a small Catholic college. The Menil Foundation is contributing not only the art but about $8 million. 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. You can't just expand and expand. 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. WHERE THE DE MENIL MONEY COMES FROM. In an effort to provide a strong art history curriculum in Houston for students and adults, they founded the art department at the University of St. Thomas in 1959, inviting Jermayne MacAgy to teach courses and curate exhibitions held at Jones Hall. For several artists besides Judd, houses with studio or living arrangements were provided along with annual stipends, and museums were set up for the work of others. Coordinated by civil rights activist and later U.S. And next month, Dominique de Menil, the family matriarch (her husband John, ne Jean, died in 1973), will see the completion in Houston of a new $21 million museum known as the Menil Collection, minus the de, in the interest of simplicity. Each is not only glamorously housed in Manhattan, most of them on the Upper East Side, but also has one or two lavish residences elsewhere -Paris, Texas, the Hamptons. A new board was appointed. 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. But, he says, ''I was fortunate to be exposed to their interest in art as part of the natural fabric of life. There are some who think they're crazy. She spoke at the Byzantine Fresco Chapel, inaugurating the Passionate Voices series, celebrating the 10th anniversary. ''We changed the basic political structure of Houston,'' says Hofheinz -now chairman of Tangent Oil and Gas - whose four-year mayoral stint corresponded with Houston's ''go-go'' period of growth. But the falling price of Schlumberger stock and serious administrative problems brought big financial troubles. 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. Hugetz, Edward, and Brian Huberman. Friedrich and his then wife Philippa de Menil, together with Helen Winkler, established the Dia Art Foundation in 1973. 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. Ibish, Yusuf, and Peter Lamborn Wilson, eds. To supple-ment the scanty family income, John dropped out of school to work in a bank. And there is no question that Houston's cultural establishment takes the new museum quite seriously. THE DE MENILS' IN-volvement in the Houston art world began in the 1940's - an inevitable consequence of Father Couturier's evangelism. Indeed, shuttling among residences in Houston, New York and Paris, Dominique has a heavy agenda. More than 1,000 mourners, an international assemblage including a local contingent of Black Panthers - to whom John had given money for setting up a free children's breakfast program - turned out in a heavy rainstorm. Impressed with Leland, John de Menil took him under his wing and brought the young man into his own social and artistic circles, ''sophisticating a rough diamond,'' as Leland puts it. Dominique de Menil appears regularly in Forbes magazine's annual listing of the 400 richest people in America, with an estimated worth of ''at least'' $200 million in Schlumberger stock and art alone. Adelaide wished that the starkly modern house, designed by the then-Mies-disciple Philip Johnson, could be like everyone else's. Dominique emphasizes that it's a very ''personal'' assemblage, ''idiosyncratic,'' with major gaps. Philippa De Menil Bio Details Full name Philippa De Menil Gender Female Age 71 (approx.) De Menil died in Houston on December 31, 1997. 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. The caller hung up. The rest of John's and Dominique's estates would go to their own causes. The chapel, opened in 1971, is an all-faith center, a ''no man's land of God,'' Dominique says. And she was surrounded by accomplished relatives. [1], The de Menils, however, did not limit their acquisitions to modern art, and their eclectic tastes became a hallmark of their collecting practices. ''We didn't really buy art, because we didn't have the money and we didn't think of it,'' says Dominique, whose scientist father considered spending money on art frivolous. In a stronghold of segregation, they not only backed civil rights and Martin Luther King, but entertained blacks at dinner. ''I went to breakfast, lunch and dinner at their house and met every important person they knew. In 1960 they launched the ambitious scholarly research project "The Image of the Black in Western Art," directed by art historian Ladislas Bugner. Plans to create a museum to house and exhibit John and Dominique de Menil's collection began as early as 1972 when they asked the architect Louis I. Kahn to design a museum campus on Menil Foundation property in the Montrose neighborhood of Houston near the Rothko Chapel. The building was designed by architect Francois de Menil and mimics the original Lysi chapel. 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. 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. ''The funny thing is, how it came out in me after my parents' collecting,'' says Philippa, a fresh-faced blonde who has her mother's unpretentious manner and good looks. She spoke at the Byzantine Fresco Chapel, inaugurating the Passionate Voices series, celebrating the 10th anniversary. ''They came as intellectuals to an intellectual void,'' says Isaac Arnold Jr., chairman of Houston's Museum of Fine Arts and also of Quintana Petroleum. [8] Over the years the family enjoyed close personal friendships with many of the artists whose work they collected, including Victor Brauner, Max Ernst, Jasper Johns, Yves Klein, Ren Magritte, Robert Rauschenberg, Dorothea Tanning, and Andy Warhol. The reunited family went to Houston, then the American headquarters for the company. [30], In the 1980s de Menil again began looking for an architect to design the museum, eventually commissioning Renzo Piano, a renowned Italian architect known for his provocative Centre Georges Pompidou building in Paris, to come up with a design that would fit her vision for the museum. I think they're inspired.'' 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.'' Early in 1969, the de Menils transferred their patronage from St. Thomas to Rice University, a secular, science-oriented school then beginning to branch out into the liberal arts. ''Dominque said, 'I'll take it,' and she bundled herself in a tacky fur coat and went trudging through the rain, arriving at Levi-Strauss's looking like a drowned rat. Inheritance (oil) 20th-century art Icon Link Plus Icon; Icon Link Plus Icon; Icon Link Plus Icon; Icon Link Plus Icon; Overview Newswire RobbReport Naturally, the artists involved - two of whom, Robert Whitman and La Monte Young, lost elaborate performance and living quarters - were hugely disappointed. 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. The conflict, as is the case with most de Menil disagreements, actually reveals the strength of the family's ties, according to Ted Carpenter: ''It's like an Italian family arguing over the pasta. 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