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Orphee cocteau online dating

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He was the only non-musician in les Six, a group of composers that included Milhaud, Poulenc and Honegger, who inspired by Satie, were dedicated to the renaissance of French music.He was the first French critic to champion Modernist writer Gertrude Stein and among the first to recognise the literary talents of Jean Genet, testifying in 1942 that the young thief "was the greatest writer in France".

Cocteau was, claims artist and curator Marc Camille Chaimowicz, in many ways the antecedent of Warhol.The onslaught of so many self-portraits, so many objects, so many films whirring away, has the subtlety of an argument prosecuted by a sledgehammer.(Even when the curators go the risqué route - there is one section, coloured a coy red, where drawings depicting inventive ambisexual couplings are housed - you expect them to giggle at their own naughtiness.) And yet the Pompidou, very much the embodiment of state-sanctioned contemporary art in France, is determined that the show should begin a re-evaluation of Cocteau's work."Cocteau recognised the multiplicity of conversations that could be had between various media," he says, drawing attention to the collaborative nature of much of Cocteau's work.It is this tranversalisme that informed "Jean Cocteau", Chaimowicz's recent group show in Norwich, which featured work from 12 artists, including Cerith Wyn Evans, Enrico David, Warhol and Tom of Finland.Jean Cocteau is remembered for his experimental films and exquisite drawings.

So why does a dark cloud hang over his reputation, asks Louise Gray.

Born in 1889 to an upper-middle-class family (his lawyer father committed suicide when Jean was 10), Cocteau - an indifferent pupil whose main achievement during those years seems to have been his meeting with Dargelos, the brawny, schoolboy hunk who would serve as the template for many of his future erotic images - gained early attention as a teenage poet. He was presented to Empress Eugénie, the widow of Napoleon III, and secured the lifelong patronage of the formidable de Noailles family.

Cocteau saw Sarah Bernhardt on stage and visited Marcel Proust in his cork-lined study where, he recalled, "dust covered the furniture like grey fur"; he knew the Dadaists, fought with the Surrealists and worked with Diaghilev's Ballets Russes.

While the Pompidou Centre points out the enormous success of the show since it opened in September - not so much bums on seats, as bodies through mirrors (or something dangerously close: the dimly lit maze is littered with full-length mirrors and the show resounds to the muffled thud of bodies encountering unyielding surfaces) - Cocteau retains, even in death, the power to divide.

Of the French daily broadsheets, Le Monde approved it, Le Figaro praised its variety and Libération loathed it.

In fact, the first thing you see as you enter the labyrinth constructed for the show is a projection from 1930's Le Sang d'un Poète: the poet, played by Enrique Rivero, hesitates before a large mirror.