Christo and Jeanne-Claude  

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Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric — including the Reichstag in Berlin, the Pont-Neuf in Paris, Running Fence in California, and The Gates in New York City's Central Park.

Born in Bulgaria and Morocco, respectively, the pair met in Paris in 1958 and married in 1959. Originally working under Christo's name, they later credited their installations to both "Christo and Jeanne-Claude". Until his own recent death, Christo continued to plan and execute projects after Jeanne-Claude's death in 2009.

Their work was typically large, visually impressive and controversial, often taking years and sometimes decades of careful preparation — including technical solutions, political negotiation, permitting and environmental approval, hearings and public persuasion. The pair refused grants, scholarships, donations or public money, instead financing the work via the sale of their own artwork.

Christo and Jean Claude described the myriad elements that brought the projects to fruition as integral to the artwork itself, and said their projects contained no deeper meaning than their immediate aesthetic impact; their purpose being simply for joy, beauty, and new ways of seeing the familiar.

Contents

See also

Surrounded Islands


Marriage and career

thumb|The Gates from The Met, February 2007 Christo and Jeanne-Claude met in October 1958 when he was commissioned to paint a portrait of her mother, Précilda de Guillebon.Template:Sfn Initially, Christo was attracted to Jeanne-Claude's half-sister, Joyce. Jeanne-Claude was engaged to Philippe Planchon.Template:Sfn Shortly before her wedding, Jeanne-Claude became pregnant by Christo. Although she married Planchon, Jeanne-Claude left him immediately after their honeymoon.Template:Sfn Christo and Jeanne-Claude's son, Cyril, was born May 11, 1960.<ref name="Bryan2019">Template:Cite book</ref>

In 1961, Christo and Jeanne-Claude covered barrels at the port of Cologne, their first collaboration. In 1962, the couple tackled their first monumental project, Rideau de Fer (Iron Curtain). Without consent of authorities and as a statement against the Berlin Wall, they blocked off Rue Visconti, a small street near the River Seine, with oil barrels. Jeanne-Claude stalled approaching police, persuading them to allow the piece to stand for a few hours. Although he was simultaneously holding his first exhibition at a gallery, it was the Visconti project that made Christo and Jeanne-Claude known in Paris.

In February 1964, Christo and Jeanne-Claude arrived in New York City. After a brief return to Europe, they settled in the United States in September of that year. Although poor and lacking fluency in English, Christo displayed his work in several galleries, including the well-known Castelli Gallery in New York and Gallery Schmela in Düsseldorf, Germany. Christo began to create storefronts, which he built to scale. Sale of the storefronts helped finance larger projects.

Art critic David Bourdon has described Christo's wrappings as a "revelation through concealment".<ref>Bourdon, David: "Christo", Harry N. Abrams Publishers, Inc., New York City, 1970.</ref> To his critics Christo replies, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain."<ref>Template:Cite book</ref> The two flew in separate planes such that, in case one crashed, the other could continue their work.<ref name=WSJ>Template:Cite news</ref>

Works

thumb|Pont Neuf wrapped up On all their projects since 1972 they worked exclusively with photographer Wolfgang Volz. At least five of their major projects were subjects of documentary films by Albert and David Maysles. Although Jeanne-Claude and Christo worked as creative equals on all of their art projects, only Christo's name appeared on the finished products. This was a conscious decision by both Jeanne-Claude and Christo because of the prejudices against female artists in the art world. Jeanne-Claude said, "'The decision to use only the name Christo was made deliberately when we were young because it was difficult for one artist to be established and we wanted to put all the chances on our side.'"<ref>Lewis, Richard, and Susan Lewis. "Cengage Advantage Books: The Power of Art." Google Books. Cengage Learning, January 23, 2008. Web. March 4, 2015.</ref> The pair did not reveal Jeanne-Claude as the second half in the creative process until 1994.<ref name="The New York Times 2009"/>

Oil Barrels

Jeanne-Claude was a firm believer in the aesthetic beauty of works of art; she said, "'We want to create works of art of joy and beauty, which we will build because we believe it will be beautiful.'"<ref name="The New York Times 2009">Template:Cite news</ref> However, that does not mean that Jeanne-Claude and Christo's artworks were without larger political connotations. Jeanne-Claude and Christo created a piece in response to the building of the Berlin Wall, in 1962. They blocked off the Rue Visconti in Paris with a wall of oil drums. The Template:Convert wall built with oil barrels completely closed the street and blocked all communication between Rue Bonaparte and Rue de Seine. They said, "This 'iron curtain' can be used as a barricade during a period of public work in the street, or to transform the street into a dead end. Finally, its principle can be extended to a whole area or an entire city."<ref>Template:Cite book</ref> As the police approached, Jeanne-Claude firmly stood her ground and guarded the art piece, arguing for it to stay in place just for a few more hours.Template:R

Documenta 4

In 1968, Christo and Jeanne-Claude had the chance to participate at the Documenta 4 in Kassel. In addition to the sculpture, Corridor Storefronts, the couple wanted to build an air package with a volume of Template:Cvt, which would be lifted by cranes and visible from a distance of Template:Cvt. On June 24, 1968, their first attempt to fully inflate the air package failed, as the polyethene skin tore as it was being raised. After two more attempts and repeated repairs, and using two of the largest cranes in Europe, the project became a reality on August 3, 1968. The package rose to its maximum height of Template:Convert tall for a total of 10 hours (from 4:00 am through 2:00 pm on August 4), becoming the largest inflatable structure with no skeleton ever constructed. Of the $70,000 (USD) cost of this project, Christo and Jeanne-Claude had financed all but $3,000 (USD) from the sale of preparatory drawings, collages, and a Store Front.

Wrapped Coast

At the end of 1969, Jeanne-Claude and Christo wrapped the coast of Little Bay, in Sydney, Australia, on invitation by Australian collector John Kaldor and as part of the Alcorso-Seekers Travelling Scholarship. With the support of John Kaldor, this became the first visit to Australia for international artists to make new work and the first in the series of Kaldor Public Art Projects.<ref>{{

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The project was supervised by retired army major Ninian Melville and required 110 workers and 15 professional mountain climbers who installed the work over four weeks under the guidance of Christo and Jeanne-Claude.<ref name=":0">Template:Cite journal</ref> Christo recalled the technical aspects were 'very difficult' as it was the first time he had done "all these construction things".<ref name=":0" /> The project wrapped Template:Convert of coast and cliffs up to Template:Convert high and required Template:Cvt of synthetic fabric and Template:Cvt of rope. It was the largest single artwork ever made at this time, larger than Mount Rushmore, and visitors took an hour to walk from one end of the work to the other. After initial resistance from the authorities and the public, reactions were largely positive and had an enormous impact on art in Australia.

Valley Curtain

thumb|right|alt=An enormous volume of fabric hangs from a wire across a valley. I the foreground is a telephone pole and several people looking up.|Valley Curtain 1972 (US) At the end of 1970, Christo and Jeanne-Claude began their preparations for the Valley Curtain project. A Template:Convert cloth was to be stretched across Rifle Gap, a valley in the Rocky Mountains near Rifle, Colorado. The project required Template:Cvt of cloth to be hung on four steel cables, fastened with iron bars fixed in concrete on each slope, and Template:Convert of concrete. The budget increased to $400,000, causing Christo and Jeanne-Claude additional problems with the financing. Finally, enough works of art were sold to raise the money and, on October 10, 1971, the orange curtain was ready for hanging, but was torn to shreds by wind and rock. While a second curtain was being manufactured, Christo received a request from a Berlin art historian to wrap the Reichstag in response to the 1961 "Project for Wrapping a Public Building." On August 10, 1972, the second attempt to hang the cloth succeeded, but only 28 hours later it was destroyed by a storm gale in excess of Template:Cvt.

The project was shown in the documentary film Christo's Valley Curtain, by David and Albert Maysles, which was nominated for an Academy Award for Best Documentary Short.<ref name="The New York Times">Template:Cite news</ref>

Running Fence

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Inspired by a snow fence, in 1972, Christo and Jeanne-Claude began preparations for Running Fence: a 24.5-mile fence of white nylon, supported by steel posts and steel cables, running through the Californian landscape and into the ocean. In exchange for temporary use of rancher land, the artists agreed to offer payment and use of the deconstructed building materials. Others challenged its construction in 18 public hearings and three state court sessions. The fence began construction in April 1976 and the project culminated in a two-week display in September, after which it was deconstructed.<ref>{{

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Wrapped Walk Ways

In 1977, Christo and Jeanne-Claude were mostly paying bank loans and trying to save money. In addition, however, they continued to plan their future projects, like wrapping the Reichstag in Berlin and the Pont-Neuf in Paris, as well as Wrapped Walk Ways, a covering of footpaths in a Kansas City park. In November, Christo met his parents, seeing his mother for the first time in 20 years.

With Wrapped Walk Ways Christo and Jeanne-Claude covered Template:Cvt of footpaths in Loose Park, a park in Kansas City, Missouri. Altogether it required 12,500 m2 of orange-yellow-colored shiny nylon fabric. Pedestrians enjoyed the artwork for two weeks in October. The cost of this project amounted to $130,000.

Surrounded Islands

thumb|alt=Four cafe chairs and a table, a high table, and an upholstered chair are wrapped in fabric and rope.| Würth Rioja wrapped chairs Christo and Jeanne-Claude planned a project based on Jeanne-Claude's idea to surround eleven islands in Miami's Biscayne Bay with Template:Cvt of pink polypropylene floating fabric. It was completed on May 7, 1983, with the aid of 430 workers and could be admired for two weeks. The workers were outfitted with pink long sleeve shirts with pale blue text written on the back reading “Christo Surrounded Islands,” designed and produced by Willi Smith.<ref name=":1">Template:Cite book</ref>

Pont Neuf

On March 14, 1984, Jeanne-Claude became a U.S. citizen; she held the dual U.S. and French citizenship. In August, the couple received permission to wrap the Pont-Neuf, (which had been completed in July 1607), after nine years of negotiations with the mayor of Paris, Jacques Chirac, and preparations for the project began. For the wrapping of the oldest bridge in Paris, Template:Cvt of sand-colored polyamide fabric was needed. The golden sandstone color is used to imitate that of pavements in Paris under the sunset. The wrapping began on August 25, 1985 and was completed on September 22. On October 5, the project was removed after being viewed by over three million visitors. All the expenses for The Pont Neuf Wrapped were borne by the couple themselves. Just as in all other projects, they do not take sponsorship. They usually utilize the money they make just selling the preliminary drawings of the project. Wrapping the Pont Neuf continued the tradition of transforming a sculptural dimension into a work of art. The fabric maintained the principal shapes of the Pont Neuf but it emphasized the details and the proportions. As with Surrounded Islands, workers who assisted with the installation and deinstallation of Pont Neuf Wrapped wore uniforms designed by Willi Smith. The uniforms consisted of a chambray smock and wide-leg pant ensemble with a printed illustration of the bridge penned by Christo on the back of the jacket.<ref name=":1" />

The Umbrellas, Japan–US, 1984–1991 Template:Anchor

thumb|right|alt=A large field with oversized blue umbrellas at regular intervals. Mountains are barely visible in the background as the fog descends.|Umbrellas 1991 (Japan) 100px|thumb|alt=Two fabric sample squares, blue on the bottom and yellow slightly overlapping it|Fabric sample squares Christo and Jeanne-Claude prepared for their next project, The Umbrellas. The plan was to have yellow umbrellas set up in California and blue umbrellas in Japan at the same time. In December 1990, after much preparation, the first steel bases for the umbrellas were installed. At the bases Template:Convert long anchors were fastened to the ground to withstand tensions of Template:Cvt. In September 1991, the umbrellas were brought to their places by 2,000 workers. In California, some of the bases were transported to the site by helicopter. The final cost of the project totalled $26 US million, and it was completely financed by the artists themselves through the sale of preparatory drawings etc; the artists do not take any form of sponsorship.

By September 7, 1,340 blue umbrellas in Ibaraki and 1,760 yellow umbrellas at the Tejon Ranch in southern California had been set up; the exhibition opened on October 9, 1991. The umbrellas were positioned closely together in the limited space of Japan, whereas in California they were placed in all directions in its vast uncultivated land. In total, three million people saw the umbrellas, each measuring Template:Cvt in height and Template:Cvt in diameter. On October 27, they started the removal of this project and restored the land to earlier condition. The umbrellas were taken apart and most of the elements were recycled. The umbrellas became a huge tourist attraction, finding use as everything from picnic spots to wedding altars.

On October 26, 1991, one of the umbrellas in California was toppled by high winds, killing one woman and injuring several others. The exhibit was ordered closed immediately.<ref>Template:Cite news</ref> A second death occurred during the removal of the umbrellas.<ref>Template:Cite news</ref>

Wrapped Reichstag

thumb|Reichstag wrapped After the project The Umbrellas, Christo and Jeanne-Claude concerned themselves again with wrapping the Reichstag in Berlin. With the support of the President of the Parliament, Rita Süssmuth, Christo and Jeanne-Claude worked to convince the elected Members of Parliament, going from office to office, writing explanatory letters to each of the 662 delegates and innumerable telephone calls and negotiations. On February 25, 1995, after a 70-minute debate at the Parliament and a roll call vote, the Bundestag allowed the project to go ahead.

Just under Template:Cvt of fireproof polypropylene fabric, covered by an aluminum layer, and Template:Cvt of rope were needed. The wrapping began on June 17, 1995 and was finished on June 24. The spectacle was seen by five million visitors before the unveiling began on July 7.<ref>{{

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Gallery

Verhüllte Bäume (Wrapped Trees)

After 32 years of planning and preparation work, between November 13 and December 14, 1998, Christo and Jeanne-Claude wrapped 178 trees in the Beyeler Foundation's "Berower Park" in the north-eastern part of Basel, alongside the road and tram line from the German frontier at Riehen (Lörrach).

To wrap the trees, the couple used Template:Cvt of silver-grey shiny polyester fabric and Template:Cvt of rope. A pattern had to be made for each individual tree so that the natural shape of the branches pushed the fabric outwards, creating individual shapes in the sky. The trees varied in height from Template:Cvt and in width from Template:Cvt. As with their other projects, this was financed by the sale of original works. On view for three weeks, Wrapped Trees was extremely dynamic: varying silhouettes of trees moved in the wind with the skeletal framework of branches made visible when the translucent material was backlit by the winter sun. All materials used were recycled when it was taken down.

Wrapped Snoopy House

In 1978, Charles M. Schulz drew an episode of his comic strip Peanuts in which Snoopy's doghouse is wrapped in fabric by Christo.<ref>{{

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}}</ref> In response, Christo constructed a wrapped doghouse and presented it to the Charles M. Schulz Museum in 2003.<ref>{{

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The Gates

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thumb|right|The Gates Work began on the installation of the couple's most protracted project, The Gates, in New York City's Central Park began in January 2005. The title is The Gates, Central Park, New York, 1979–2005 in reference to the time that passed from their initial proposal until they were able to go ahead with it with the permission of the new mayor Michael R. Bloomberg.<ref>Template:Cite journal</ref> The Gates was open to the public from February 12–27, 2005. A total of 7,503 gates made of saffron-colored fabric were placed on paths in Central Park. They were Template:Convert high and had a combined length of Template:Cvt. Bloomberg, a fan of Christo and Jeanne-Claude, presented them with the "Doris C. Freedman Award for Public Art" for the work of art.<ref name="ARTINFO">Template:Cite journal</ref> The project cost an estimated US$21 million, which the artists planned to recoup by selling project documentation.<ref>Template:Cite news</ref>

Big Air Package

Christo filled the Gasometer Oberhausen from March 16 until December 30, 2013 with the installation Big Air Package. After The Wall (1999) as the final installation of the Emscher Park International Building Exhibition, Big Air Package was his second work of art in the Gasometer. The "Big Air Package – Project for Gasometer Oberhausen, Germany" was conceived by Christo in 2010 (for the first time without his wife Jeanne-Claude). The sculpture was set up in the interior of the industrial monument and was made of Template:Cvt of translucent fabric and Template:Cvt of rope. In the inflated state, the envelope, with a weight of Template:Convert, reached a height of more than Template:Cvt, a diameter of Template:Cvt and a volume of Template:Cvt. The monumental work of art was, temporarily, the largest self-supporting sculpture in the world. In the accessible interior of Big Air Package, the artist generated a unique experience of space, proportions and light.<ref>{{

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thumb|right|The Pier at Peschiera Maraglio

The Floating Piers

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The Floating Piers were a series of walkways installed at Lake Iseo near Brescia, Italy. From June 18 to July 3, 2016, visitors were able to walk just above the surface of the water from the village of Sulzano on the mainland to the islands of Monte Isola and San Paolo. The floating walkways were made of around 200,000 polyethene cubes covered with Template:Cvt of bright yellow fabric: Template:Cvt of piers moved on the water; another Template:Cvt of golden fabric continued along the pedestrian streets in Sulzano and Peschiera Maraglio. After the exhibition, all components were to be removed and recycled.<ref>{{

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}}</ref> The Beretta family owns the island of San Paolo, which was surrounded by Floating Piers walkways.<ref>Template:Cite news</ref> The opera in Italy was a success with the public and critics alike.<ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref>{{

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}}</ref> thumb|right|The Mastaba, Serpentine

The London Mastaba

The London Mastaba was a temporary floating installation exhibited from June to September 2018 on The Serpentine in London. The installation consisted of 7,506 oil barrels, in the shape of a mastaba, a form of an early bench in use in ancient Mesopotamia, with a flat roof and inward sloping sides. It sat on a floating platform of high-density polyethene, held in place by 32 anchors. It was Template:Cvt in height and weighed Template:Convert. The vertical ends were painted in a mosaic of red, blue and mauve, whilst the sloping sides were in red with bands of white.<ref>Template:Cite news</ref>

Simultaneously with the display of The London Mastaba, the nearby Serpentine Gallery presented an exhibition of the artists' work, entitled Christo and Jeanne-Claude: Barrels and The Mastaba 1958–2018. The exhibition comprised sculptures, drawings, collages, scale-models and photographs from the last 60 years of the artists' work.<ref>{{

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Planned works

Over the River

Christo and Jeanne-Claude announced plans for a future project, titled Over The River, to be constructed on the Arkansas River between Salida, Colorado, and Cañon City, Colorado, on the eastern slope of the Rocky mountains. This scenic area is known as Bighorn Sheep Canyon, and is west of the well-known Royal Gorge. Plans for the project call for horizontally suspending Template:Cvt of reflective, translucent fabric panels high above the water, on steel cables anchored into the river's banks. Project plans call for its installation for two weeks during the summer of 2015, at the earliest, and for the river to remain open to recreation during the installation.

Reaction among area residents has been intense with supporters hoping for a tourist boom and opponents fearing that the project would ruin the visual appeal of the landscape and inflict damage on the river ecosystem. One local rafting guide compared the project to "hanging pornography in a church." The Bureau of Land Management released a Record of Decision approving the project on November 7, 2011.<ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref>Template:Cite news</ref> Work on the project cannot begin, however, until the Bureau of Land Management issues a Notice to Proceed.<ref>Template:Cite news</ref> A lawsuit against the Colorado Division of Parks and Wildlife was filed on July 22, 2011, by Rags Over the Arkansas River (ROAR), a local group opposed to the project.<ref>Template:Cite news</ref> The lawsuit is still awaiting a court date.<ref>Template:Cite news</ref>

Christo and Jeanne-Claude's inspiration for Over the River came in 1985 as they were wrapping the Pont-Neuf and a fabric panel was being elevated over the Seine. The artists began a three-year search for appropriate locations in 1992, considering some eighty-nine river locations. They chose the Arkansas River because its banks were high enough that recreational rafters could enjoy the river at the same time.<ref name="natgeo112006">Template:Cite news</ref>

Christo and Jeanne-Claude have already spent more than $6 million on environmental studies, design engineering, and wind-tunnel testing of fabrics. As with past projects, Over The River would be financed entirely by Christo and Jeanne-Claude, through the sale of Christo's preparatory drawings, collages, scale models, and early works of the 1950s/1960s. On July 16, 2010, the U.S. Bureau of Land Management released its four-volume Draft Environmental Impact Statement, which reported many potentially serious types of adverse impact but also many proposed "mitigation" options.<ref name="NYTimes100717">Template:Cite news</ref> <ref>Template:Cite news</ref>

In January 2017, after the election of President Trump, Christo canceled the controversial project citing protest of the new administration as well as tiring from the hard-fought legal battle by the local residents.<ref>Randy Kennedy, Christo, Trump and the Art World's Biggest Protest Yet The New York Times 2017/01/25</ref><ref>Corey H. Jones, Artist Christo Calls Off Colorado Project After Long Legal Battle Colorado Public Radio January 25, 2017</ref>

Mastaba (Al Gharbia)

The Mastaba is a planned trapezoidal structure of over 400,000 oil barrels, intended to be built at Al Gharbia, Template:Cvt from Abu Dhabi.<ref>{{

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}}</ref><ref>Template:Cite news</ref> If realised, it will be the only lasting large-scale Christo/Jeanne-Claude artwork.

L'Arc de Triomphe, Wrapped

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Continuing the series of monumental "wrapping" projects, the Arc de Triomphe in Paris was to be wrapped in 30,000 square meters of recyclable polypropylene fabric in silvery blue, and 7,000 meters (23,000 feet) of red rope in the Autumn of 2020.<ref>{{

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}}</ref> This was postponed a year to Saturday, September 18 to Sunday, October 3, 2021, due to the COVID-19 pandemic in France and its impact on the arts and cultural sector worldwide<ref>{{

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}}</ref> and will be, although the artist died, acomplished<ref>Artist Christo, famed for wrapping landmarks in cloth, dies at 84, France24, May 31 2020, online: france24.com/...</ref>

Public collections

Lives

Christo

thumb|Young Christo

Christo Vladimirov Javacheff (Template:Lang-bg, Template:IPA-bg) was born on June 13, 1935, in Gabrovo, Bulgaria, as the second of three sons to Tzveta Dimitrov and Vladimir Javacheff, who worked at a textile manufacturer. Christo was shy and had a predilection for art. He received private art instruction at a young age and the support of his parents, who invited visiting artists to their house. Christo was particularly affected by events from World War II and his country's fluid borders.Template:Sfn During evacuations, he and his brothers stayed with a family in the rural hills outside town, where Christo connected with nature and handicraft.Template:Sfn

While Bulgaria was under repressive Communist rule, and Western art was suppressed, Christo pursued realistic painting through the mid-1950s. He was admitted into the Sofia Academy of Fine Arts in 1953 but found the school dull and stifling. Instead he found inspiration in Skira art books and visiting Russian professors older and once active in Russian modernism and the Soviet avant-garde. On the weekends, academy students were sent to paint propaganda and Christo unhappily participated. He also found work as a location scout for the state cinema and served three tours of duty during summer breaks. In 1956, he used an academy connection to receive permission to visit family in Prague, where the theater of Emil František Burian reinvigorated him. Amid fears of further Russian suppression in Hungary, Christo decided to flee to Vienna as a railcar stowaway. He had little money after paying the bribe, did not speak the language, had deserted during his Bulgarian military service, and feared being trapped in a refugee camp. In Vienna, he stayed with a family friend (who had not expected him), studied at the Vienna Fine Arts Academy, and surrendered his passport to seek political asylum as a stateless person. There, he supported himself with commissions and briefly visited Italy with the academy, whose program he found equally unhappy as the one before it. At the behest of a friend relocated from Sofia, he saved up to visit Geneva in late 1957. In violation of his visa, he continued to pursue commissions (whose works he would sign with his family name, reserving his given name for more serious work) and was transformed after visiting the Kunstmuseum Basel and Kunsthaus Zürich. In January 1958, he first began to wrap things, as would become his trademark, starting with a paint can. His collection of wrapped household items would be known as his Inventory. In February 1958, Christo left for Paris, having received a visa with the assistance of a Sofia academy connection.

In 1973, after 17 stateless years, Christo became a United States citizen.<ref>Template:Cite news</ref> He died at his home in New York City on May 31, 2020, at 84. No cause of death was specified.<ref name=AP-obit>Template:Cite news</ref>

Christo died of natural causes in his New York home on May 31st, 2020 at the age of 84. L’Arc de Triomphe, Wrapped, a planned work by Christo and Jeane-Claude, is to be made posthumously in Paris in September 2021.<ref>Template:Cite news</ref>

Jeanne-Claude

Jeanne-Claude Denat de Guillebon came from an old French family. She was born in Casablanca, Morocco, where her father, an army officer, was stationed. Her mother, Précilda, was 17 when she married Jeanne-Claude's father, Major Léon Denat. Précilda and Léon Denat divorced shortly after Jeanne-Claude was born, and Précilda remarried three times. Jeanne-Claude earned a baccalauréat in Latin and philosophy in 1952 from the University of Tunis.<ref name="The New York Times 2009"/> After Précilda married the General Jacques de Guillebon in 1947, the family lived in Bern (1948–1951) and Tunisia (1952–1957) before returning to Paris.Template:Sfn

She was described as "extroverted" and with natural organizational abilities. Her hair was dyed red, which she claimed was selected by her husband.<ref>Template:Cite news</ref> She took responsibility for overseeing work crews and for raising funds.<ref name=WSJ />

Jeanne-Claude died in New York City on November 18, 2009, from complications due to a brain aneurysm. Her body was to be donated to science, one of her wishes.<ref>Template:Cite news</ref> When she died, she and Christo were at work on Over the River<ref name=Hoelterhoff>Template:Cite news</ref> and the United Arab Emirates The Mastaba.<ref name="The New York Times 2009"/> She had said, "Artists don't retire. They die. That's all. When they stop being able to create art, they die."<ref>Template:Cite news</ref>

Legacy

On Christo's death, the artist's office said "Christo and Jeanne-Claude’s artwork brought people together in shared experiences across the globe."<ref name=":2">Template:Cite news</ref>






Unless indicated otherwise, the text in this article is either based on Wikipedia article "Christo and Jeanne-Claude" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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