Program

In 1958, Jean Cocteau agreed, at the request of the elected representatives of Milly-la-Forêt, to decorate the small chapel of Saint Blaise, located on the outskirts of the village. For this former leper chapel, Cocteau drew inspiration from the medicinal plants, known as Simples, grown in Milly: marshmallow, belladonna, valerian, buttercup, colchicum, henbane, gentian and mint. These large colourful stems, stretching from the floor to the roof along the walls, surround a scene depicting the Resurrection of Christ.

Paying homage to Milly's specialities, the artist repeated a monumental work, following on from those brilliantly executed in the south of France. The scene of the Resurrection of Christ is particularly striking, with its idea of souls ascending to heaven, while Cocteau suggests, through the epitaph engraved on the poet's tombstone, ‘I remain with you’, that this is not the case for his work. Stained glass windows with anthropomorphic geometric motifs, designed by Cocteau and created by a German master glassmaker, complete the ensemble.

The chapel will open its doors to the public in June, after a complete restoration of the paintings.

Curators: GIP Maison Jean Cocteau, Muriel Genthon and Céline Delamotte

Scenography: Frédéric Beauclair

From the early 1900s until Colette's death in 1954, Jean Cocteau and Colette shared a friendship of singular artistic and intellectual complicity. Between the earth-bound woman and the tightrope walker, how could such an unlikely bond have ever taken root?

Colette, an Elder Sister is an invitation to discover its many layers. It begins with their first encounter at the Palais de Glace on the Champs-Élysées in 1903, when a teenage Cocteau came across Colette dressed in cycling clothes — a devotee of Belle Époque pleasures and Parisian haunts. Before he became her friend and accomplice, Cocteau was captivated by a young woman who shed social conventions and claimed her freedom, even at the risk of scandal. Then, in the 1930s, their closeness deepened. As Colette's literary reputation came into its own, their neighbouring apartments at the Palais-Royal in Paris drew them together — through frequent visits, walks in that garden "for grown-ups," and affectionate letters. Watching his elder's decline, Cocteau became, in Colette's final years, a tender and attentive presence, while she recognised in him the poet who dares everything.

A catalogue accompanies the exhibition, with contributions from two scholars, Nicole Ferrier-Caverivière and David Gullentops, offering deeper insight into what drew these two towering figures together — and what kept them fascinated by each other.

The exhibition brings together drawings, photographs, letters and quotations that trace this friendship across the years. At its heart: Cocteau's Portrait of Colette in Charcoal and Flour, on exceptional loan from the Musée national d'art moderne (Centre Pompidou), and an excerpt from Yannick Bellon's documentary in which the two companions talk, freely and warmly, about everything and nothing.

Exhibition on view from 18 April to 1 November. Open Thursday to Sunday, 11am to 6pm. The exhibition is included in the visit to the Maison, led by a guide.

Booking recommended.

Curators: GIP Maison Jean Cocteau, Muriel Genthon and Céline Delamotte

Scenography: Frédéric Beauclair

rom May 3, 2025, two sculptures by Michel Charpentier (1927-2023), from the collection of FRAC (Regional Fund for Contemporary Art) of Ile-de-France, will be presented in the garden of the Maison Jean Cocteau in Milly-la-Forêt.

In response to the exhibition proposed by FRAC, Berserk and Pyrrhia, on the connections between contemporary art and mediaeval art, which will be presented in both FRAC venues and in twelve off-site locations, the Maison Jean Cocteau is installing the two Virgins of Ile-de-France, works by Michel Charpentier, in the garden facing the entrance.

At first glance, these two Virgin and Child sculptures may surprise viewers with their grotesque and somewhat decrepit appearance. For Michel Charpentier, a devotee of these life-sized outdoor sculptures in gray cement, they reflect suffering humanity, as do his Cantatrices with their wide-open mouths. Referencing the statues of the cathedrals of Ile-de-France, these Virgin and Child sculptures - south and north, as if they had been placed before each of the church portals - are part of the Region's history, a history that the sculptor tints with humor and derision. They will be set against the backdrop of the walls of the old castle adjoining the garden, thus creating a link between the cathedral statues and the medieval origins of the castle. But this Middle Ages is indeed reinvented. Charpentier and Cocteau knew each other: it was in Rome, when Michel Charpentier was a resident at the Villa Medici, that Jean Cocteau noticed his strange sculptures. "It's wonderful! We must help this young man!" said the poet, moved by this vision of suffering humanity, imbued with the sacred. A vision that undoubtedly brings them together.

At the far end of the orchard, a quiet guardian at the gate — Michel Charpentier's Chienne assise seems to keep a gentle watch over the entrance. Worked by hand in cement over a metal armature, this figure — part of a larger series — carries a benevolent air, despite a prominent snout that calls a pig, rather than a dog, to mind.

Biography of Michel CHARPENTIER (September 6, 1927 in Auvers-sur-Oise - July 2, 2023 in Cavaillon)

First Grand Prix de Rome in medal making

Resident at the French Academy, Villa Medici from 1951 to 1955. It was in Rome that he met Jean Cocteau.

Malraux Prize at the Paris Biennale 1963.

Exhibition at the Museum of Modern Art in Paris in 1965

From 1967, member of the steering committee of the Salon de Mai

Professor, head of sculpture workshop at the École des Beaux-Arts in Paris, from 1973 to 1991

Retrospective exhibition in 1991 at the École des Beaux-Arts

Development of his Wood of Sculptures, a landscape space and initiatory garden, in Vallangoujard, in Val d'Oise, from 1994 to 2002

Grand Prix Simone and Cino Del Duca, in 2007

Opening to the public in 2019 of the Michel CHARPENTIER Sculpture Garden, a permanent installation of 25 works, in Valmondois, Val d'Oise

Opening to the public in 2022 of the Michel CHARPENTIER Space, a permanent installation of about twenty works, outdoors, at the chevet of the Saint-Yved abbey church, in Braine, Aisne.

Being born in Auvers-sur-Oise must likely constitute what one calls favorable auspices. But many people were born in Auvers-sur-Oise without becoming painters or sculptors. Having a grandfather who met Van Gogh can be considered a higher sign of destiny. But, again, not all those whose grandfather knew Van Gogh necessarily became painters or sculptors. One must therefore consider that Michel Charpentier, who meets both previous criteria, had other good reasons that drove him to become a sculptor.

The man speaks of his work with great simplicity, with a kind of permanent astonishment in the face of this mystery. "What is sculpture, really? It's solidified dreams!" he confides with a smile. For him, sculpture is what cannot be said or written, it's ultimately quite secret. Michel Charpentier, like an actor, believes he must "get into the character's skin." This skin takes on decisive importance in his sculptures. Wrinkled, swollen, twisted skins and deformed forms participate in a grotesque vision that is nonetheless not devoid of humanity.

His technique of cement worked on a metal framework offers a flexible, living field of work from which humor is not absent. One need only see his cantatrices to be immediately convinced. Michel Charpentier offers us a humanity that swings between tragedy and comedy, and the discourse he maintains appears to me more indulgent than the image he reflects back to us of this world.