Daniel Filipacchi

Daniel Filipacchi (born 12 January 1928) is the Chairman Emeritus of Hachette Filipacchi Médias and a French collector of surrealist art.

Daniel Filipacchi
Filipacchi in New York in 1988 with many of his magazines
Born	(1928-01-12) 12 January 1928 (age 96) Paris, France
Spouse	Sondra Peterson
Children	3, including Amanda

Career

Filipacchi in 1958

Filipacchi wrote and worked as a photographer^[1] for Paris Match from its founding in 1949 by Jean Prouvost.^[2] Filipacchi later claimed never to have enjoyed taking photographs, despite earning early notoriety as a "well-mannered paparazzo".^[3] While working at Paris Match and as a photographer for another of Prouvost's titles, Marie Claire, Filipacchi promoted jazz concerts and ran a record label.^[4] In the early 1960s, at a time when jazz was not played on government-owned French radio stations, Filipacchi (a widely acknowledged jazz expert^[3]) and Frank Ténot hosted an immensely popular show on Europe 1 called Pour ceux qui aiment le jazz ("For those who love jazz").^[5]

In the 1960s, he presented a rock and roll radio show modeled after Dick Clark's American Bandstand and called Salut les copains, which launched the musical genre of yé-yé. The show's success led to his creation of a magazine of the same name.^[6] The latter was eventually renamed as Salut! and built a circulation of one million copies. Filipacchi played American and French rock music on this radio show^[7] beginning in the early 1960s. Both he and this show are credited with playing important roles in the formation of the 1960s youth culture in France.^[8]

Filipacchi acquired the venerable Cahiers du cinéma in 1964.^[9] Cahiers was in serious financial trouble and its owners appealed to Filipacchi to buy a majority share in order to save it from ruin. He hired a number of new people and redesigned the journal to look more modern, zippy, and youth-appealing.^[10] The revolutionary May 1968 events in France affected the subsequent evolution of Cahiers into a more political forum,^[11] under the influence of Maoist director Jean-Luc Godard^[11] and others. Filipacchi lost interest in the magazine and sold his share in 1969.^[11]

But he remained involved in that world, starting more magazines and acquiring others, such as Paris Match in 1976.^[2] He owned specialty magazines, for instance, some were for teenage girls (such as Mademoiselle Age Tendre) and others for men (such as Lui,^[12] which Filipacchi had founded in 1963 with Jacques Lanzmann.^[13] He also acquired Newlook and French editions of American magazines Playboy and Penthouse.^[14][15])

In February 1979 Filipacchi bought the then-defunct Look. He hired Jann Wenner to run it in May 1979^[16] but the revival was a failure, and Filipacchi fired the entire staff in July 1979.^[17]

Art collecting

ARTnews has repeatedly listed Filipacchi among the world's top art collectors.^[18] Art from Filipacchi's collection formed part of the 1996 exhibit Private Passions at the Musée d'Art Moderne de la Ville de Paris.^[19] His collection (along with that of his best friend, the record producer Nesuhi Ertegün) was exhibited at the Guggenheim in New York in 1999 in Surrealism: Two Private Eyes, the Nesuhi Ertegun and Daniel Filipacchi Collections - an event described by The New York Times as a "powerful exhibition", large enough to "pack the Solomon R. Guggenheim Museum from ceiling to lobby".^[20]

Although Filipacchi sued the Paris gallery which sold him a fake "Max Ernst" painting in 2006 for US$7 million, he called its notorious forger Wolfgang Beltracchi (freed on 9 January 2015 after serving three years in prison for his forgeries) a "genius" in a 2012 interview.^[21]

Personal life

His father, Henri Filipacchi, who was born in İzmir, Turkey, descended from shipowners from Venice, hence the Italian family name.^[22] Filipacchi has three children. The eldest of these, Mimi, was from an early marriage.^[23] He then had two children with fashion model Sondra Peterson: Craig and novelist Amanda Filipacchi.^[24]

References

1. Stephane Groueff (12 February 2003). My Odyssey. iUniverse. pp. 175–. ISBN 978-1-4697-2803-2. Retrieved 30 April 2013.
2. "A Top French Publisher Purchases Paris-Match". The New York Times. September 2, 1976. p. 23.
3. Dupuis, Jérôme. Daniel Filipacchi: "Je travaille mieux la nuit et réfléchis mieux sur mon bateau" (English: "I work better at night and think better on my boat"), l'Express, 29 February 2012. Filipacchi is quoted as saying "je peux bien le dire aujourd'hui : je n'ai jamais aimé faire des photographies." ("I can just as well say it today: I never liked taking photographs.") Accessed 25 May 2013.
4. Mark Tungate (3 June 2005). Media Monoliths: How Great Media Brands Thrive and Survive. Kogan Page Publishers. p. 186. ISBN 978-0-7494-4595-9. Retrieved 30 April 2013.
5. Roscoe Seldon Suddarth (2008). French Stewardship of Jazz: The Case of France Musique and France Culture. University of Maryland, College Park. p. 37. ISBN 978-0-549-57192-6. Retrieved 30 April 2013.^{[permanent dead link‍]}
6. Axel Schildt; Detlef Siegfried (2006). Between Marx and Coca-Cola: youth cultures in changing European societies, 1960-1980. Berghahn Books. p. 53. ISBN 978-1-84545-009-0. Retrieved 30 April 2013.
7. Art and Visual Culture on the French Riviera, 1956-1971: The École de Nice. Ashgate Publishing, Ltd. 2012. p. 30. ISBN 978-0-7546-6471-0. Retrieved 30 April 2013.
8. Arthur Marwick (28 September 2011). The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, C.1958-c.1974. Bloomsbury Publishing. p. 167. ISBN 978-1-4482-0542-4. Retrieved 30 April 2013.
9. Antoine de Baecque; Serge Toubiana (2000). Truffaut: A Biography. University of California Press. p. 278. ISBN 978-0-520-22524-4. Retrieved 30 April 2013.
10. Richard Brody (13 May 2008). Everything Is Cinema: The Working Life of Jean-Luc Godard. Macmillan. p. 206. ISBN 978-0-8050-6886-3. Retrieved 30 April 2013.
11. David Wilson; Bérénice Reynaud (1 May 2000). Cahiers Du Cinéma: Volume Four, 1973-1978 : History, Ideology, Cultural Struggle : an Anthology from Cahiers Du Cinéma, Nos 248-292, September 1973-September 1978. Psychology Press. ISBN 978-0-415-02988-9. Retrieved 30 April 2013.
12. Aaron Latham, "Rabbit, Run", New York City, Nov 27, 1972, p.54
13. "Jacques Lanzmann — Novelist, lyricist and editor of Lui". The Independent. July 4, 2006. Archived from the original on November 7, 2012. Retrieved April 30, 2013.
14. Bill Marshall, Cristina Johnston, "France and the Americas: culture, politics, and history, a multidisciplinary encyclopedia", Transatlantic relations series vol.3, ABC-CLIO, 2005, ISBN 1-85109-411-3, p.945
15. Groueff 574
16. "Look and Rolling Stone". The New York Times. July 8, 1979. p. F13.
17. Deirdre Carmody (July 4, 1979). "Look Magazine Dismisses Staff And Ends Ties to Rolling Stone: Losses by Investors Cited". The New York Times. p. B3.
18. For example, "The 2012 ARTnews 200 Top Collectors". ARTnews. 26 June 2012. Retrieved 29 April 2013.;"The 2009 ARTnews 200 Top Collectors". ARTnews. 1 July 2009. Retrieved 29 April 2013.
19. Alan Riding (January 30, 1996). "French Ask: Is Art Still a Hobby?: A Paris show says modern art is being collected". The New York Times. p. C11.
20. Glueck, Grace (4 June 1999). "ART REVIEW; Trolling the Mind's Nooks and Crannies for Images". The New York Times. p. 31. Retrieved 29 April 2013.
21. Hammer, Joshua. The Greatest Fake-Art Scam in History?, Vanity Fair, 10 October 2012. Retrieved 24 May 2013.
22. Ory, Pascal (2013). Dictionnaire des étrangers qui ont fait la France. Robert Lafont. p. 547. ISBN 9782221140161.
23. Ecole supérieure de journalisme (2010). Ils ont fait la presse l'histoire des journaux en France en 40 portraits. Yves,. Agnès, Patrick,. Éveno. Paris: Vuibert. ISBN 978-2-311-00111-2. OCLC 690737255.
24. Hoban, Phoebe (14 January 1993). "Brief Lives: Skin Deep". New York. p. 30. Retrieved 27 April 2013.