Filipacchi in 1958
12 January 1928 |
|Children||Mimi, Craig, and Amanda|
Filipacchi wrote and worked as a photographer for Paris Match from its founding in 1949 by Jean Prouvost. While working at Paris Match and as a photographer for another of Prouvost's titles, Marie Claire—Filipacchi would later claim never to have enjoyed taking photographs, despite earning early notoriety as a "well-mannered paparazzo"—he promoted jazz concerts and ran a record label. In the early 1960s, at a time when jazz was not played on government-owned French radio stations, Filipacchi (a widely-acknowledged jazz expert) and Frank Ténot hosted an immensely popular show on Europe 1 called Pour ceux qui aiment le jazz ("For those who love jazz").
In the 1960s, he presented a rock and roll radio show modeled after Dick Clark's American Bandstand 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, eventually renamed Salut!, which built a circulation of one million copies. Filipacchi played American and French rock music on this radio show beginning in the early 1960s. The show and Filipacchi himself played an important role in the formation of a 1960s youth culture in France.
Filipacchi acquired the venerable Cahiers du cinéma in 1964. Cahiers was in serious financial trouble and its owners convinced Filipacchi to buy a majority share in order to save it from ruin. Filipacchi hired a number of his own people and redesigned the journal to look more modern, zippy, and youth-appealing. After the revolutionary May 1968 events in France and the subsequent evolution of Cahiers into a more political forum under the influence of the Maoist director Jean-Luc Godard and others, Filipacchi wanted out of the magazine and sold his share in 1969.
He started more magazines and acquired many others, such as Paris Match in 1976. Some were for teenage girls (such as Mademoiselle Age Tendre) and others for men (such as Lui, which Filipacchi founded in 1963 along with Jacques Lanzmann, Newlook, and French editions of Playboy and Penthouse). In February 1979 Filipacchi bought the then-defunct Look. He hired Jann Wenner to run it in May 1979 but the revival was a failure and Filipacchi fired the entire staff in July 1979.
ARTnews has repeatedly listed Filipacchi among the world's top art collectors. Art from Filipacchi's collection formed part of the 1996 exhibit Private Passions at the Musée d'Art Moderne de la Ville de Paris. 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".
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 (currently serving a six-year prison sentence) a "genius" in a 2012 interview.
- Stephane Groueff (12 February 2003). My Odyssey. iUniverse. pp. 175–. ISBN 978-1-4697-2803-2. Retrieved 30 April 2013.
- "A Top French Publisher Purchases Paris-Match". New York Times. September 2, 1976. p. 23.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- 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.
- Aaron Latham, "Rabbit, Run", New York, Nov 27, 1972, p.54
- "Jacques Lanzmann — Novelist, lyricist and editor of Lui". The Independent. July 4, 2006. Retrieved April 30, 2013.
- 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
- Groueff 574
- "Look and Rolling Stone". New York Times. July 8, 1979. p. F13.
- Deirdre Carmody (July 4, 1979). "Look Magazine Dismisses Staff And Ends Ties to Rolling Stone: Losses by Investors Cited". New York Times. p. B3.
- 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.
- Alan Riding (January 30, 1996). "French Ask: Is Art Still a Hobby?: A Paris show says modern art is being collected.". New York Times. p. C11.
- 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.
- Hammer, Joshua. The Greatest Fake-Art Scam in History?, Vanity Fair, 10 October 2012. Retrieved 24 May 2013.
- Hoban, Phoebe (14 January 1993). "Brief Lives: Skin Deep". New York Magazine. p. 30. Retrieved 27 April 2013.