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Heritage classified

Key figures

Origin and history

The villa Santo Sospir is an emblematic residence located in Saint-Jean-Cap-Ferrat, on the French Riviera. Built between 1931 and 1935 in a neo-regionalist Mediterranean style, it is distinguished by its architecture consisting of a main body covered with a long-paned roof, flanked by a circular tower evoking a dovecote. Inside, the walls are almost entirely decorated with frescoes, with the exception of the bamboo-lined dining room and technical spaces. The garden, organized in terraces, leads to an artificial beach equipped with a diver, reflecting the harmonious integration of the villa in its coastal environment.

In 1950, Francine Weisweiller, owner of the property, invited Jean Cocteau to stay in the villa. The latter, seduced by the place, began to adorn the walls with drawings and wall paintings, transforming the interior into a total artwork. His creations, inspired by the Mediterranean, its fishermen, the sun and mythology, cover the lounges, the rooms, the corridors and even the doors. Cocteau documents this work in his short film La Villa Santo Sospir (1952), and the villa also appears in Le Testament d'Orphee (1960). Until his death in 1963, the artist made long stays, leaving an indelible mark.

The villa changes hands after tax difficulties encountered by Carole Weisweiller, daughter of Francine. Sold to a Russian buyer on condition of preserving public visits and carrying out renovations, it remains accessible to the public. Classified as a Historical Monument in 1995 for the villa and in 2007 for the entire property, she also obtained the 20th century Heritage label in 2001. These protections underline its cultural importance, both for its architecture and for Cocteau's works, making it a unique testimony to the art and way of life of the French Riviera in the 20th century.

The frescoes of Cocteau, made between 1950 and 1963, are part of an intense creative period for the artist, who explores themes dear to his poetic universe. The villa, originally built for Martial Houzez, is acquired by Francine Weisweiller, who installs colonial furniture before welcoming Cocteau. Subsequent architectural changes, such as Henri Lorenzi's aborted boudoir project in 1965, or restorations of the paintings around 1985-1990, testify to the evolution of the site. Today, an association ensures its preservation, perpetuating its artistic and historical heritage.

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