Jean Marais :: Georges Reich

Header Photo Credit: Promo still of Jean Marais & Josette Day in 'La Belle et la Bete' (1946). © Estate of Jean Cocteau

English >> French

Essential Viewing: La Belle et la Bête. View cover. 2014 'remake' (though the makers will quibble with that description, I have no doubt). Can one 'remake' or even use the same title as the greatest film ever made? Why don't the rights holder of the title retire it as hommage to Cocteau's film? View cover

Portrait of Georges Reich par Jean Marais painting
Jean Marais Signature

Jean Marais :: Georges Reich (French)

Above Painting: Georges Reich, Huile sur toile. Coll. Estate of Jean Marais

"L'ami de plus de dix ans...Contraint de ne plus bouger par une forte fievre, il restera a la Peniche puis sera la vedatte de l'Apprenti Fakir."
Jean Nous raconte qu'il travaille sur plusieurs toiles, c'est-a-dire qu'il se repose sur l'une en travaillant sur l'autre: "Je ne peux decider qu'une toile est terminee; je la reprends sans cesse; c'est un defaut qui ne va pas sans avantage, par exemple cela me permet de me promencer, si j'ose dire, tous les jours sur le visage de mes meilleurs amis, Jean et Georges.
Au portrait de Georges, j'ai ajoute sa delicieuse chienne Curanne qu'il m'a laisse. Je lui fais poser sa main sur le col de Curanne. Sa main, c'est la mienne."

Source: Jean Marais - L'Oeuvre Plastique, © Edisud

Beauty and the Beast

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Jean Marais :: Georges Reich (English)

Georges Reich had been a close friend of Jean's for ten years when he came to execute this canvas.

He had a habit of working on several canvases at the same time. From my rough (and very bad) translation, Marais said: "I can't decide that a painting is completed; I repeat it constantly; this is a defect that is not without advantage. For example, it allows me, dare I say it, to gaze at the faces of my best friends, Jean and Georges.

The beautiful dog was Curanne. "I put his hand on the neck of Curanne. His hand is mine."

An absolutely stunning picture that is filled with calm and serenity. It has a beautiful stillness to it - it is bathed in the golden lights of a heavenly kingdom. A bit the colour the cinematographer, Jack Cardiff used in his classic films of the late 1940s/early 1950s for Powell/Pressburger and Pandora and the Flying Dutchman.

Art that takes you somewhere else. Just hover and click on the detail below to see what I mean.

Paul Page, 2014

Beauty and the Beast

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Jean Marais and Jean Cocteau :: Gallery

Jean Marais - Jean Cocteau
Photo Credit: Jean Marais - L'Oeuvre Plastique, © Edisud

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Jean Marais: Site Map
01/ Biography (English)
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