Courtyard Murals of Hollywood’s Egyptian Theater

Egyptian Theaters Ticket Office, Hollywood, Photo Romi Cortier
Egyptian Theaters Ticket Office, Hollywood, Photo Romi Cortier
Egyptian Theater Mural, Hollywood, Photo Romi Cortier
Egyptian Theater Mural, Hollywood, Photo Romi Cortier
Egyptian Mural at Hollywood's Egyptian Theater, Photo Romi Cortier
Egyptian Theater Mural, Hollywood,  Photo Romi Cortier
Egyptian Theater Mural, Hollywood, Photo Romi Cortier
Egyptian Theater Mural, Hollywood, Photo Romi Cortier
Egyptian Theater Mural, Hollywood, Photo Romi Cortier
Egyptian Theater Mural with Pharaohonic head detail, Hollywood, Photo Romi Cortier

Have you ever seen the Courtyard Murals of Hollywood’s Egyptian Theater? They’re pretty amazing and worth a visit.

Grauman’s Egyptian Theater (yes the same guy who built Hollywood’s Chinese Theater) opened in 1922   just 2 weeks before the discovery of King Tut’s Tomb.  The original theater plans called for a Spanish Decor,  with an Oriental influence, which proved to costly to build. So the developer turned to something less expensive that also capitalized on the euphoria surrounding the multiple expeditions searching for Tut’s Tomb.

As many of you know, Egyptophilia is a term used to describe the obsession or fascination with all things Egyptian. Structures built in the Egyptian style are referred to as Egyptian Revival. However, because of the association with Art Deco, many Egyptian structures are also referred to as Art Deco.  The ziggurat, or terraced steps of the pyramidal structure, also influenced skyscraper designs in the 1920’s. The stair step feature allowed for less canyonization of the streets below, by allowing more light onto the street. That concept has all but disappeared in high rise construction today, however, that design element is also referred to as an Art Deco defining feature.

Other design features that I’d like to point out in the images above, include the zig-zag patterns on the wall mounted light fixtures, as well as the trapezoid shape of the ticket office windows,  waterfall and wooden door. Zig zag patterning is a hallmark of art deco, and is often referred to as zig-zag moderne and can be seen on several building facades on Hollywood boulevard.  It exemplified the exuberance of the jazz-age 20’s prior to the stock market crash of ’29. After that, art deco styles shifted to streamline moderne, with low slung horizontal lines… sometimes referred to as depression era deco.

During the 80’s and 90’s Hollywood was suffering an economic decline.  The theater fell into disrepair and was given to the American Cinematheque in 1996 for $1, yes one dollar, with the provision that the landmark building be restored  to its original grandeur and re-open as a movie theater. The theater reopened on December 4, 1998 after a $12.8 million renovation. One of the benefits of that restoration, was the completion of the large scale mural (2nd from the bottom), that had never been completed. All of these murals are inspired by actual Egyptian gods, pharaohs and hieroglyphs. They’re not simply made up for the sake of entertainment.

During my recent visit to the Egyptian Theater to take these photos, I was saddened at how few tourists actually noticed the building or stopped for photos. Hollywood boulevard was crammed with hot sweaty people checking out the trashy stores and the stars embedded in the sidewalk, but the Egyptians courtyard was empty.  Therefore, I feel like there’s a missed opportunity with this wide open courtyard, that is sadly starting to look very shoddy. (I will admit I did a little photoshopping to clean up my images for this post). What about a relaxing garden cafe or seating area attached to the Pig & Whistle next door? Or the restoration of the water fountain with a some public seating areas and a  few tall Palm Trees as one vintage post card shows?  So much could still be done to capitalize on the history of this grand movie theater that predates the Chinese Theater just down the street, and bring in more tourism. Maybe that’s not the objective of the American Cinematheque. I will say that I’m very grateful that the murals have not been graffiti tagged and are in such excellent shape.

Stay tuned for my next blog post, which will include an Egyptian Revival home in the Hollywood Hills. It’s one of Hollywoods best kept secrets and is currently for sale.

If you’d like to read more about this theater, the Coincidental Dandy has an extraordinary blog post from 2011 that’s truly informative.

Palm Springs Pool Series Paintings

Under Drawing, Photo Romi Cortier
Under Drawing, Photo Romi Cortier
'Bigger Towel', Oil on Canvas, 24 x 30, Romi Cortier
‘Bigger Towel’, Oil on Canvas, 24 x 30, Romi Cortier
'Towel' Oil on Canvas, 24 x 30, Romi Cortier
‘Towel’, Oil on Canvas, 24 x 30, Romi Cortier
'Curved Towel' Oil on Canvas, 24 x 30, Romi Cortier
‘Curved Towel’, Oil on Canvas, 24 x 30, Romi Cortier
'Pink Striped Towel', Oil on Canvas, 24 x 30, Romi Cortier
‘Pink Striped Towel’, Oil on Canvas, 24 x 30, Romi Cortier

This is my Palm Springs Pool Series of Paintings, inspired by photos that I took around the pool of my mid-century home in Palm Springs. It’s amazing how something as simple as a Barbie Towel from Target can take on a whole new life when draped over the edge of the pool. Faded after years of use, the old towel’s tones became richer and more saturated in the water, which made for great photos and even greater paintings.

I painted this sequential series of paintings (the top three) all at the same time. This was a new approach for my work, as I’d never had the required studio space to work on so many paintings at one time.

These paintings are larger in size than their actual environment, and they’re also very tight compositions of moments that most people don’t notice. Therefore, when they’re viewed in person, people have a difficult time understanding what they are. They often see the geometry in the images, but not ‘what they are’. Once they finally see it, there’s a big ‘ah hah’ moment.

I’m a big fan of the artist Francoise Gilot.  I had the pleasure of meeting her about 8 years ago at a spectacular gallery opening of her works on the upper east side in Manhattan. I was so captivated by the large scale geometry of her work, that it challenged me to see images in a different way.  At the time of the show, she was about 85, and I found the  boldness and modernness of her work remarkable for someone of her age. But why should age have anything to do with the quality or tone of your work? It was my perception of how I thought an older woman should paint. But this is a woman who has been painting for over 70 years, and who spent a decade with Pablo Picasso. In her book,  Life with Picasso, she talked about how Pablo challenged her to distill her work, and say more with fewer strokes of the brush. Reduce. Reduce. Reduce. Paint the image, then take some of it away.

Over the years, I’ve continued to let this concept resonate with me. In the above paintings, I also focused on texture. Francoise will often use her fingers to create surface texture in her paintings,  so I gave that a try with the different colors of the towels. I used a stippling brush technique with the concrete pool coping, and chose an uber smooth finish for  the pool tile. The water brushstrokes are very horizontal and blended, creating a mirroring effect of the surrounding tones.  These elements combined together, create a true richness to the overall finished product. Interestingly enough, I haven’t sold a single one of these paintings. So lets hope the test of time works in my favor and some savvy and sophisticated collector falls in love with these works and simply has to have them. If not.. I’m happy to enjoy them myself.

 

John Lautner’s Silvertop Residence

John Lautner's Silvertop Residence, Photo Romi Cortier
John Lautner’s Silvertop Residence, Photo Romi Cortier
John Lautner's Silvertop Residence, Photo Romi Cortier
John Lautner’s Silvertop Residence, Photo Romi Cortier
John Lautner's Silvertop Residence, Bedroom Firelplace, Photo Romi Cortier
John Lautner’s Silvertop Residence, Bedroom Firelplace, Photo Romi Cortier
John Lautner's Silvertop Residence, Bedroom Window Detail, Photo Romi Cortier
John Lautner’s Silvertop Residence, Bedroom Window Detail, Photo Romi Cortier
John Lautner's Silvertop, Interior Atrium, Photo Romi Cortier
John Lautner’s Silvertop, Interior Atrium, Photo Romi Cortier
John Lautner's Silvertop Residence, Entrance, Photo Romi Cortier
John Lautner’s Silvertop Residence, Entrance, Photo Romi Cortier
John Lautner's Silvertop Residence, Lower Level Studio, Photo Romi Cortier
John Lautner’s Silvertop Residence, Lower Level Studio/Guest House, Photo Romi Cortier
John Lautner's Silvertop Residence, Carport, Photo Romi Cortier
John Lautner’s Silvertop Residence, Carport, Photo Romi Cortier
John Lautner's Silvertop Residence, Infinity Pool, Photo Romi Cortier
John Lautner’s Silvertop Residence, Infinity Pool, Photo Romi Cortier

John Lautner’s Silvertop Residence, also known at the Reiner-Burchill Residence, has just been listed for sale. Asking price: 7.5 Million.

I visited this legendary residence during the 2008 Mak Center Tour organized in conjunction with The Hammer Museum‘s exhibit Between Earth and Heaven: The Architecture of John Lautner.  This home was next on my list for the  blog,  so I was thrilled when I discovered via  Curbed LA that the home was now up for sale. I wondered how much had changed since I’d toured the home. Namely, were those cork ceilings still there? Interestingly enough,  the images on their web site,  aren’t much different than the ones I took 6 years earlier. Obviously they’re better quality images  than mine, with proper lighting etc. (I’m sure the hired photographer wasn’t madly jumping off a tour bus first, and climbing back on last, frantically snapping away while moving through the space ahead of the others). However, judging from what I see on their website, not much has changed, in fact, even the chairs and sofa in front of the fireplace  are the same. The cactus framing the window appears to have been replaced with a smaller one,  so as to not obstruct the magnificent view, and the gardens have been cleaned up, but for all practical purposes the home looks pretty much spot on as it did during the home tour.

Silvertop took seven years to construct, and was completed in 1963 for Kenneth Reiner (ladies hair clip baron) at a cost of  nearly $1 million, a tad over the $75,000 estimated cost.  Sadly, Reiner ran into financials problems and was forced to sell the home.  In 1974  the current owners bought the home and hired Lautner to finish the job. I’m not clear by the timeline I’ve found online if there was another owner from ’63 – ’74, or if the home sat vacant for those years.

The home’s construction was groundbreaking for many reasons: It’s concrete dome, which was a first for Lautner, the cantilevered driveway that has no support columns,  faucet-less sinks that automatically fill with water, controls for lights and appliances that were set into walls and door jambs, and lights that pivot into the ceiling.

One observation that I’ll point out, is the cylindrical use of beams in the guest house. It reminds me of Lautner’s 1950 Harvey Residence , which I’ve written about in a previous post. I’m guessing he found this system successful, which is why he used it again in this residence.  Additionally, the guest home is surrounded by that circular cantilevered driveway, thus the circular room construction makes perfect sense.  So. Those cork ceilings… they’re still there.  If Lautner were alive today, I have to wonder if he’d opt to have them removed. They do look cleaner than when I toured the home… maybe they’ve been carefully replaced. I know, I know, it’s best not to mess with such an iconic Los Angeles Jewel such as Silvertop.

ALESSI is Artful Luxury for Daily Living

Alessi, Photo Romi Cortier
Citrus Basket by Mario Trimarchi for Alessi, Photo Romi Cortier
Alessi, Photo Romi Cortier
Anna G. Bottle Openers by Alessandro Mendini for Alessi, Photo Romi Cortier
Teapot by Michael Graves, Alessi, Photo Romi Cortier
Teapot by Michael Graves for  Alessi, Photo Romi Cortier
Alessi, Photo Romi Cortier
Assorted Fruit Holders by Pierre Charpin for Alessi, Photo Romi Cortier
Alessi, Photo Romi Cortier
Les Ministries, Stand/centre-piece by Phillippe  Starck for Alessi, Photo Romi Cortier
Alessi, Photo Romi Cortier
Queens Guard Bottle Opener (Left) and  additional Bottle Openers by Alessandro Mendini for Alessi, Photo Romi Cortier
Alessi, Photo Romi Cortier
Ottagonale Teapot Set by Carlo Alessi, 1935,  Photo Romi Cortier
Alessi, Photo Romi Cortier
Cactus Citrus Basket by LPWK  – Marta Sansoni for Alessi, Photo Romi Cortier
Alessi, Photo Romi Cortier
Basket Assortment: Girotondo by King-Kong for Alessi, Photo Romi Cortier

 

I’ve been a fan of Alessi and their Artful Luxury for Daily Living since the 1980’s.  Why? Because lets be honest, the Italians do it best when it comes to high quality design. They’re always on the forefront of cutting edge design,  from exquisite furniture to expensive sports cars, setting the trend for others to follow. Lamborghini, Ferrari, Maserati, you’ve heard of those cars, right? And what about the  furniture of  Roche Bobois,  B&B Italia and Kartell… Italian is synonyms with passion.

Alessi began almost 100 years ago in 1921 when Giovanni Alessi, along with his brother,  founded FAO.  Giovanni’s eldest son Carlo joined the already highly regarded company in 1932. From the mid 1930’s to 1945, Carlo designed the majority of their collections.  In 1970 the founders grandson Alberto  joined the company and laid the foundation for ‘Alessi’ as we know it today, becoming one of the ‘Factories of Italian Design’.

So why is all of this history important? Because this is part of what you’re paying for when you purchase one of their products. I began collecting their  pieces over 25 years ago in the post-modern era of the 1980’s. My pieces still look as amazing today as the day I bought them,  which is why I’m such a huge fan of their work. They were ahead of there time then, therefore, they never look dated. Simple. Stunning. Modern.  And to keep their company on the forefront of design, they partner with established  designers and architects from around the world to create new artful fashion forward lines. There’s an old saying, you get what you pay for, and nothing could be truer when it comes to Alessi. They’re not a company of knock-offs, they’re the real deal, setting the bar for others to reach.

As some of you know, I’m a relatively new blogger.  Therefore, I was a bit apprehensive about walking into their store  unannounced at 313 N. Robertson with hopes of taking photos. Fortunately, the staff their was very cool and very kind and let me have at it with my little iphone. While I have some established favorites, it was very exciting to see some of their new merchandise. I’d rather have fewer things of high quality, than lots of cheap stuff. In a world where less is more… I can never have to much Alessi. To quote Arnold… I’ll be back. 

 

 

 

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.

A Design Diary by Romi Cortier