You can discover the old house of Robert De Niro in Manhattan, NYC. A luxury place.
Leonardo DiCaprio’s mid-century modern home is available for rent. Sadly, the star won’t be home when you rent the house, since he is away filming his latest project. But he doesn’t want the Mad Men-style mid-century modern to go vacant.
Originally built in 1965 for chart-topping singer and television personality Dinah Shore, the Palm Beach house is perfectly situated for lounging between movie gigs. Or, as the case may be, paying $4,500 a night to live like Leonardo DiCaprio.
The house is located in the Old Las Palmas neighborhood, a hive of Hollywood activity for decades. Marilyn Monroe, Frank Sinatra, Dean Martin and Elizabeth Taylor used to spend time in the neighborhood.
DiCaprio purchased the home in 2014 for $5.2 million after finishing filming for the 2013 film “The Wolf of Wall Street.”
He wanted to take a long break and Palm Beach was his landing pad. He found a large mid-century home with plenty of upscale renovations.
With 6 bedrooms and 7.5 fireplaces, it’s one of the larger mid-century homes in the area, situated on 1.3 acres. There is a separate guest house, a pool and a tennis court, along with plenty of outdoor entertaining space to soak up the sun.
While mid-century modern reigns outside, the inside is all modern. While a few throwbacks, such as the rock wall behind the bar and the wood ceilings, hint at the original design, much of the interior is sleek and open. Just what you’d expect from a star of DiCaprio’s level, and for the nightly price tag, too.
The home is certainly more luxe than his previous abode in Malibu. He parted ways with the beachside home in 2013 for $17.35 million.
First monographic exhibition devoted to designer Benjamin Graindorge in an institutional cultural place , "Living " presents fifteen pieces edited by YMER & MALTA , between 2009 and 2016 , two new creations unveiled on the occasion of the exhibition, and intended to integrate collections of the City of Beauvais.
"Habiter" at the National Gallery of tapestry Beauvais, 30 January to 30 April 2016.
The mineralogy museum, unique place with decorations dating from the nineteenth century and overlooking the garden of Luxembourg, has one of the largest collections in the world of minerals.
Today it is the scene of an unprecedented dialogue between them and creations concrete Milène Guermont . Thirty works by historical connections , scientists parallel , formal or poetic affinities reconciliations , interact with minerals and so intersect the sensible and rational.
Opening January 19 to 18h in the presence of the artist,
Exhibition from January 19 to March 19, 2016 proposed by Synaesthesia (Culture Factory Art & digital) in Mineralogy Museum MINES ParisTech , Paris 75006 through Nemo (International Arts Biennial digital).
Apparently celebrities pass along homes as much as they pass along significant others these days. Reportedly, Jennifer Lawrence paid more than $7 million for a Beverly Hills, CA, mansion that has quite the reputation. Let’s rewind back to the Hunger Games: Mockingjay — Part 1 premiere, where Jennifer had a lot to say about the home she had just purchased.
“I just moved into a house. I am in the middle of [decorating it]. It’s Ellen DeGeneres‘s old house. It was Jessica Simpson’s old house. It’s like the neighborhood whore,” she said. “I was outside and some girl was like ‘I grew up in this house.’ Beat it, kid. Everybody’s lived in this house.”
What’s so special about Jennifer’s 5,550-square-foot pad? Let’s find out!
New celebrity home on the market, Julia Roberts is ready to sell her New York penthouse. let’s look inside this celebrity home.
Julia Roberts may be on her way to becoming a one-home kind of woman. The beloved actress is looking to sell her Greenwich Village apartment for $4.5 million, according to 6sqft.com, and her Hawaiian home is currently on the market for $30 million as well.
This is the house the most expensive in San Francisco. A beautiful house with an amazing view on San Francisco. Price of the house : 26.3 million euros.
Stylish and a tad reserved, Benoît Lemercier isn't an artist in the classic sense of the term… In fact, he doesn't even like the word! His work is highly conceptual. When he turned thirty and decided at last to embrace being an "artist", he was supported by François and Danielle Morellet, Aurélie Nemours, Véra Molnar and Julije Knifer. Gottfried Honegger would encourage him later to move into sculpture. To put together his plastic art, he turned to science, particularly today's fundamental research. To get to the heart of the matter, he's organized and divided his production into two series called "Hypercubes" (towards the infinitely big) and "Superstrings" (towards the infinitely small)… Which is his way of going to infinity and beyond…
You say that being an artist is a big commitment, really?
Benoît Lemercier: Yes that's right, I really think so and to tell you the truth I realized that over the fifteen years before I became an artist and especially when I dared to say that I was an artist, even though I never use that word. I like to say that I'm a sculptor, but describing myself as an artist would be tantamount to saying that I'm certain that what I do is art and I'm much too modest to be so pretentious and sure of myself. Why a commitment? Just because I don't think that it's an artist's role to take a political position or the like… I think other people, such as politicians, journalists or writers, can do that. For me an artist's role is to keep talking about essential, timeless things that affect everyone for as long as possible and for that to try to move as far away as possible from everyday reality in your form of expression. Camus spoke about it brilliantly in his Nobel Prize acceptance speech and said as a conclusion: "Should an artist be solitary or in solidarity?" So alone in his studio as I often am or together with the people around him? Personally I want to say that I'm both, very solitary, focused, very hardworking and there's real conviction in what I do, but also in solidarity, not by joining a political party, but in trying to bring society a little beauty and hope. Art can shine light in times of darkness, when you have doubts over the human condition... and show the way! So yes, being an artist is a big commitment!
Unlike other people who are inspired by the world around them, you draw inspiration from science.
B.L.: Yes, absolutely. I've had the shapes I sculpt in my head for a very long time, but there were a few too many, so I thought that I needed some order to it all. When I was teaching myself, I found fundamental science quite fascinating. Reading an advanced science book is much more interesting than a whodunit. I thought my work could give shapes that the world doesn't see.
We can see four reoccurring themes in your work: infinitely big, infinitely small, impalpability and color… what can you tell us about that?
B.L.: All artists aim to create the finest, most complete work there is. If that's not an artist's ambition then I think he should change jobs. With my interest in the infinitely big and the infinitely small, I'm embracing the world insofar as possible. Plus that corresponds to the perfectionist, obsessive side of my personality in wanting to go as far as possible and sometimes beyond. And then we need duality in all things… even in the pursuit of the unique, because after achieving the unique comes death.
Your work is both intellectual and sensual. Why is that important to you?
B.L.: For me, creating equals understanding, so yes in my work there's an intellectual process. Producing is an act of alchemy, you take materials and transform them forever and that means being responsible. The sensuality is in the materials and shapes.
In 2000, you founded a movement: "Mathematism"… what is that?
B.L.: It's an art movement that I created in 2001 with a lot of seriousness and a little humor to add an "ism" to the long list of twentieth-century art movements.
With this art movement, which must be one of the first in the new century, I wanted to highlight the importance of math in the organization of the universe. Math is information and this information contributes to ordering matter. That's what our senses perceive.
For example, what we call chance is our brain's insufficient capacity to comprehend an event in full.
The question is also whether math is a human invention to understand the world or would math exist without the reality of the human brain?
By Carla de Wendel
In six dates…
1981: First conceptual drawing "La classification périodique des eléments"
1999: Installation of the sculpture studio in Gers
2000: Creation of "Mathematism"
2004: Unveiling of the sculpture "Hypercube" by the Culture Minister in the grounds of L'Espace de l'Art Concret
2010: First exhibition at Galerie RX, Paris
2014: Publication of the monograph "Benoît Lemercier - D'a infini à l'autre" by SOMOGY
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