Belle Époque meets contemporary at the Royal-Riviera, Côte d’Azur

In the second part of our luxury travel views column from the Spring/Summer 2023 issue, LUX’s Editor-in-Chief Darius Sanai checks in at the Royal Riviera, Côte d’Azur

What drew us there?

Many of the great hotels of the French Riviera are places to see and be seen. They are the kind of destinations where wardrobe prep and social diary-checking can take as long as the stay itself.

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Wafting through the understated reception of the Royal-Riviera, you realise you are somewhere quite different. Walk to the pool area behind the main Belle Époque building and there is a low-rise building, Villa l’Orangerie, that houses capacious rooms and suites; to your left is an elegant restaurant beyond which you see the Mediterranean stretch to Monaco. Behind the hotel is a dramatic vista of mountains plunging to the sea. Although the hotel sits in the most desirable residential area of the coast, this is an enclave, a place where you put on your Chanel sunglasses only to protect yourself from the sun. Your fellow guests are as discreet as you are; they don’t need to shout about who they are.

The perfect private terrace

How was the stay?

Our suite was in the Villa l’Orangerie, whose rooms and suites are all newly renovated, as is the terrace surrounding the swimming pool and the garden deck, giving us much to admire. We had our own little private garden and could go from our living room to the pool in 12 steps.

Sit by the pool and you won’t feel like leaving: the view of the mountains and the Mediterranean cuisine served poolside or in the restaurant see to that. If you do go out, this is super-prime Côte d’Azur. The village of St-Jean-Cap-Ferrat is five minute’s walk one way along a pretty coastal path. The centre of Beaulieu-sur-Mer – another chichi resort in this hallowed region between Nice and Monte Carlo – is five minutes the other way. Outside the hotel is a little sandy beach, a section of which is for hotel guests only. It is delightful and very different to some Mediterranean hot spots: no Instagram celebrities, just people chilling in one of the most spectacular parts of Europe.

Read more: One&Only The Palm, Dubai, Review

One afternoon, we took a taxi halfway up the mountain to the hilltop village of Èze, a medieval scramble of streets with unbelievable views in every direction. Another evening we went for dinner with friends in Monte Carlo, around 25 minutes away. In both cases, we were pleased to get back to the peace of the Royal-Riviera.

Discreet Mediterranean styling in a Junior Suite

Anything else?

Breakfast is on an arcaded terrace in the original building, where, later, a glass of vintage champagne sets you up well for the evening. From there, it’s a short stroll to the terrace of the Jasmin Grill & Lounge for a glass of Whispering Angel and a main course of grilled turbot.

Find out more: royal-riviera.com

This article was first published in the Spring/Summer 2023 issue of LUX

Sassan Behnam-Bakhtiar, Energy Within, 2023

The French-Iranian artist Sassan Behnam-Bakhtiar has a solo show opening in Phillips on Berkeley Square. His compelling paintings examine themes of loss, anger, nature, healing and positive and negative energy. Each of Behnam-Bakhtiar’s paintings in the series reflect the internal structure of trees which he connects with trauma-recovery and healing. The selling exhibition has been supported by his German gallerist Setareh and is curated by Kamiar Maleki, erstwhile director of Photo London among other hats.

Behnam-Bakhtiar comes from a notable Iranian family; his great uncle Shahpour led the country’s last attempt at creating a liberal, democratic regime before the Islamic revolution ushered in an era of Muslim extremism. Jasper Greig, emerging collector and philanthropic advisor, spoke to the artist in his home in Cap Ferrat, about the personal experiences that informed his increasingly sought-after art

Jasper Greig: I would like to ask about your early life and how you got into painting?

Sassan Behnam-Bakhtiar: I am a fourth generation artist; my father was and is an artist and was highly involved in the government before the 1979 Islamic Revolution in Iran, as one of the key figures in bringing and developing modern art to Iran back in the day. Family-wise I was always showing signs of creativity and was very tight with my Dad before my parents separated when I was 3 years old. I was very close with my Dad until the age of 5 when I was still around in Europe – I was born in Paris. My first memory of art was my father teaching me how to paint!

I always had this creativity within me. Unfortunately the support to pursue my passion was not present in any way as a child and young adult, after being separated from my father.

Sassan Behnam-Bakhtiar, The Secret of Life, 2023

JG: Was your father very supportive of you wanting to pursue art as a career?
SBB: He was, but unfortunately, my parents divorced when I was young! But it stayed in me. That was the seed. When you’re a child, your first 3 years are the most formative – my own son is three and a half now, so I have seen it with my own eyes.

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JG: You were born in France to an Iranian family, and then unusually moved to Iran. Did you feel your family’s reputation changed your experiences in Iran?
SBB: Being in school, I remember reading a chapter about Shahpour Bahktiar, the late Prime Minister, my great uncle, who was assassinated in Paris. They were showing videos of people chanting, literally swearing at our family. Everybody knew I was from that family so I was basically an outcast while I was in Iran. They wouldn’t accept me as an Iranian because I was born in France and I came from what they would call a ‘western family’. It was very tough at the beginning, until I integrated at about 12 or 13. I used to get bullied all the time. There are a lot of people over there who are like me so I found my group eventually, but for the first few years it was hell.

Simultaneously, I was always highly frustrated about the way Iran was being portrayed, even though I was not accepted by my own society.

Sassan Behnam-Bakhtiar, Powerful Beyond Measure, 2023

JG: Can you tell us about your journey into increasing your vibrations through meditation? You said you discovered that at a really low point in Iran.
SBB: I see it as a form of rebirth for me. I was at the lowest point in my life, and going through that transformation during those harsh times changed my life forever.

It was after taming my anger that I went back into my studio and I was looking for that signature style of work that you can see today. I will never forget – I did a body of work and it was the last painting from that body of work that was a two by four metre painting, a big one, where I actually found it. The whole body was exhibited at Saatchi Gallery in 2017. That was the first time I brought these paintings to the public because they were very intimate. Obviously, since then my style has developed and critics come and go – some say my work has the romantic qualities of a Monet, others say I am the perfect melting pot with my Persian background and Western techniques. Everyone has their own thing to say, but for me, my works are representations of energy at their core, no matter what subject I’m trying to depict.

JG: Your paintings involve the building up of layers, scraping those layers, relaying and spreading them back over each other. Does each painting start from a meditative process?
SBB: There were some small figurative elements to the works which slowly started to die out – nothing is planned behind my work. Those paintings at Saatchi, you can still see the collage elements on the work – they were the transition between the collage and the painting. Today, at least for now, I am highly focused on my abstract paintings and what I can do with my signature style of work. For now I can confidently say we will probably not be seeing any figurative elements for a while to come. But nothing is planned, everything is organic. I’m in a different zone when I paint.

Sassan Behnam-Bakhtiar, Earth, 2023

JG: Some of the greatest artists like Bacon and Freud, writers like James Joyce, all worked best away from their homeland. Do you think this can be a kind of liberation or do you think there is always a perpetual feeling of loss?
SBB: It’s difficult to explain how you feel because if you add on everything that has happened to me from a young age to today, if you feel it and you see it, it is the combination of all these things that will give you those emotions while you’re creating art. When I am working I find myself wearing a lot of the complicated times I have had on the surface of the canvas, but immediately I want to cover them.

Read more: Art Dubai opens in support of South Asian artists

It has shaped the way that I paint today. I would say that everything had a direct impact. I definitely miss home very much, even though things have been tough there for me. Whatever happened happened for a reason, for me to be able to paint the way I do today.

Sassan Behnam-Bakhtiar, Tree of Love, 2023

JG: If you were describing your paintings to an alien how would you describe them?
SBB: It’s very simple. My painting provides a window for you so you can have a better understanding of who you are. I have a much better idea of my own capabilities as a human being – I’m not saying I know it all, I’m still on my journey. But we are capable of powerful things beyond measure. You can heal yourself from a lot of injuries for instance, which I can do now.

Sassan Behnam-Bakhtiar’s latest series, ‘The Age of Energy’, is available to view at Phillips Gallery, 30 Berkeley Square, London W1J 6EX, until Sunday 26th March

The Club Dauphin pool at the Grand-Hotel

In the first of our four part luxury travel views column from our Autumn 2021 issue, LUX Editor-in-Chief Darius Sanai experiences a taste of old world glamour at Four Seasons Grand-Hôtel du Cap-Ferrat

Cicadas trilling down a long avenue lined with high walls, behind which some of the world’s most expensive real estate lurks. Glimpses of the Mediterranean through the hedges. A security-guarded gateway, a short driveway and doormen opening doors on either side at the entrance to a Belle Époque mansion.

Arrival at the Four Seasons Grand-Hôtel du Cap-Ferrat could barely be more grand. You are in an unchanged south of France of 1920s flapper legend. Not here the camper vans, beach-going day-trippers and crowds of normal people that besmirch even the swankiest Monaco boulevard. Cap Ferrat is a place where the rich can be rich, and the Grand is the sea-facing jewel at its tip. High ceilings, light marble, big windows: first impressions are of a Parisian palace hotel transplanted and reworked to suit the setting, rather than anything like a resort. But wait, that comes later.

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Our room was light, a bedroom connecting through sliding doors to a living area with a taupe sofa, white and light grey colourways everywhere. Open the window (there was no balcony) and lavender and thyme and the sound of the cicadas pour in in one sensual flow.

The gardens and Le Cap. Image by Darius Sanai

Down through the palatial lobby, out of the door at the top of the staircase at the back of the building (or is at the front?), and down towards the gardens, it’s as if you are descending through layers of formality into total chillout.

Read more: Art Basel Miami Beach is Back and it’s Buzzing

The terrace of Le Cap restaurant is on the first layer of terrace, shaded by mature trees. Next layer down is a casual dining terrace and the bar where a rather good jazz band played under the canopy of the trees every evening. Carry on walking across the big lawn of the hotel and you can take various paths into a labyrinth of flower beds and trees – quite an indulgence in the place with the highest residential real estate price in the world. The gardens are on a gentle slope down towards the sea, and at night the combination of starlight, the bouquet from the plants and the sound of the jazz is intoxicating, even without a champagne cocktail.

The entrance hall

Directly across a little road from outside the back gate at the bottom of the garden is the entrance to Club Dauphin, the hotel’s beach club (local people can also join as members). You can take a funicular down the steep hillside that descends towards the sea, or walk down along the flower-lined path. You’re then presented with the club restaurant and swimming pool, at the very tip of the Cap. It seems that there is sea for 270 degrees around you, and what isn’t sea is either swimming pool, or a terrace where very expensive people are nibbling tiny amounts of vibrant food and being served out of magnums of Provençal rosé wine.

Here, the palace hotel you are staying in feels a long way away, and you have reached the pinnacle of informal chic as epitomised by somewhere like St Bart’s – or indeed, the Grand-Hôtel du Cap-Ferrat.

Lunch at Club Dauphin and dinner at Le Cap seems to be standard practice at the Grand – preceded in our case by an aperitif next to the jazz band, our bench seat offering a gorgeous view across the lawns and trees to the sea. The food is a kind of ultra-superior Provençal: razor clams and cockles with seaweed and fennel bavaroise; grilled asparagus in thyme jelly; and a particular favourite, grilled red mullet with olive tapenade, tomato hearts and basil, fish and tomato reduction. The only thing that was missing was David Niven chatting to Audrey Hepburn at the next table.

Book your stay: fourseasons.com/capferrat

This article was originally published in the Autumn 2021 issue. 

Details of paintings by Sassan Behnam-Bakhtiar

French-Iranian artist Sassan Behnam-Bakhtiar gives LUX readers a rare glimpse inside his Saint-Jean-Cap-Ferrat studio, normally open only to collectors and close friends, and shares insights into the artistic process

Every artist’s studio is unique, but French-Iranian artist Sassan Behnam-Bakhtiar’s studio is, to coin a phrase, more unique than most. It is in a “secret” building on the spine of the chi-chi Cote d’Azur peninsula of Cap Ferrat, just outside the village of Saint-Jean-Cap-Ferrat. His neighbours are not other artists and craftspeople, but the discreet owners of fabulous villas in what is some of the most expensive real estate in the world. From the balcony of the second floor windows of the studio, you can see yachts moored at St Jean, and, in the distance, the rocky backdrop of Monte-Carlo.

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The studio building is, however, much as you might expect an artist’s studio to be: the communal garden (the studio shares the block with residents) is characterfully overgrown, and the studio itself comprises a small and basic kitchen which is not used for anything other than mixing paints, a tiny bathroom, and two large, bright and light rooms filled with canvasses, paint, studies, sketches and everything in between. There is barely anywhere to sit, and while the balcony looks out over the garden and rows of villas to the sea and mountains beyond, it doesn’t look like it is used for anything except musing.

The setting may seem unusual now, but in fact the artist follows in the footsteps of artists such as  Cézanne, Matisse, Chagall, Renoir and Picasso, in his choice of the French Riviera as his creative backdrop. The floor-to-ceiling windows provide the artist an opportunity to connect with nature, a theme which increasingly permeates his work. The mountains and climate of the south of France provide a geographic link with Iran, Behnam-Bakhtiar’s ancestral homeland where he spent his formative years and young adulthood, and the culture and language a direct link back into Paris, the city of his birth, 1000km and a world away to the north.

Below, and for one of the first times ever, the artist shares intimate images from inside his studio alongside accompanying commentary about life as an artist under lockdown.

“Since mid 2019, I have had a calling to focus on our connection to nature and have been painting that mainly. I had this urge to paint art that transfers an experience that is both good for us and our planet. The lockdown just reinforced it even more. The routine has not changed but the focus on my work has deepened.”

“The view from my studio is a constant reminder that we are part of something much greater and connected to all living beings, and understanding this fact is vital to one’s evolution of the Self. The beauty of nature in its purest form pushes us to see beyond what most of us call the norm – to understand the value and importance of what is provided for us by nature and its energy, which is flowing through us and all around. My location is important because of its energy and what is provides for me on a daily basis – I didn’t get the vibes I get here when I used to work in my studio in London and it showed in my work. All of this is interconnected and will affect the artist path and work throughout the years.”

Read more: Boundary-breaking artist Barbara Kasten on light & perception

“I definitely require a certain atmosphere to be able to create. Not that the ambiance needs to be positive and happy for me to create – I’ve done some of my strongest canvases under pressure and negative circumstances. It’s hard to explain, but I place myself in a particular mode when I work. It is all about what needs to pour out of you with the subjects in mind. I’ve had horrible days with so much thought in my mind and once I bring out all of it on a canvas (normally resembles a fight between myself, the canvas, my tools and the paint), I leave the studio with a sense of ease and peace.

I don’t like to have people around when I work. As I create some sort of an energy bubble where I place myself in during the creative process, I can’t have any interference. I do have very few select people (collector friends) who can see my creative process.”

“The studio is divided into five main spaces. There are two painting spaces in two different sections, one for where 90% of the creative process happens and the other for the detailing work. There’s also a storage room where finished works are stored (I can’t show you that as don’t like to show sold works), an equipment and paint room, and a mounting room for when my framing partner passes by to pick up canvases to take back to his atelier and to mount smaller works on the chassis.”

“There are some of my collectors who have become friends throughout the years who pass by regularly to see new works and have a chat, which is always fun. Our topics usually revolve around the work, their messages, the process and visionary discussions about life and our humanities. They usually find one or two works they fall in love which I end up putting in the ‘sold room’ until they are picked up. There are maybe three of my collector friends whom I like to listen to as they have a unique eye and understanding of the arts.”

Read more: Examining the work of visual artist and philosopher Wolfgang Tillmans

“This study, entitled Rebirth Under the Gingko Tree, has been a work in progress for about a year, which a larger piece will be based on.”

“Both of these canvases have been prepared for my upcoming show Rebirth. Both works were done simultaneously showing each a tree amongst nature. This shot was after each canvas was stretched on a chassis.”

“Space is primordial for me – I have recently taken over the above floor of my current studio to extend my working space.”

“This work is entitled Eternal Garden. It’s hard to describe how I know when a painting is finished – it is like an internal click and then you know it’s perfect.”

Sassan Behnam-Bakhtiar’s upcoming exhibition ‘Rebirth’ is due to open at Saint-Jean-Cap-Ferrat Cultural Space (Villa Namouna) on 11 September until 11 October 2020.

He is represented by Setareh Gallery, Dusseldorf: setareh-gallery.com

Grevillia is a waterfront residence on the port of Saint-Jean-Cap-Ferrat, on the market for €56m

Lord Andrew Hay. Image by John Wright

Lord Andrew Hay is Global Head of Residential at Knight Frank, the international real estate consultancy, and has built up property portfolios for some of the wealthiest people in the world. In this regular column, he is handed a theoretical sum of money by LUX and asked how he would invest it. This month, we asked Lord Hay where he would buy if he had £50m to spend on a single home

“If you had £50m to spend and could buy a property anywhere in the world – where would you choose?” It sounds like a question you’d ask your friends at a dinner party and actually is something I get asked quite regularly. My answer often changes as there are so many places around the world where I’d love to live, but having just returned from my summer holiday and with the thought of sunshine and the Mediterranean fresh in my mind along with this healthy budget, I would have to choose Saint-Jean-Cap-Ferrat on the French Riviera.

Cap Ferrat is glamorous yet unspoilt. It has been a firm favourite of aristocracy and Hollywood celebrities over the years and is arguably one of the most exclusive addresses in Europe. It is easily located between Monaco and Nice, accessible both by car and helicopter making it a huge draw for wealthy clients looking for a second or third home and is somewhere they go to escape.

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As we describe in the latest Knight Frank Prime France Report, the 1.3km forested peninsula is home to around 500 spacious villas on large plots and has one of the strongest international buyer profiles on the French Riviera. The Eastern side is home to the best beaches, the Port and the old town, it offers the widest array of amenities, whilst the west has a steeper coastline and good views. There are two Michelin-starred restaurants – La Voile d’Or and Le Cap and the small marina has around 560 berths.

Contemporary interiors of luxury villa Grevillia

When a client arrives on Cap Ferrat, they always ask for homes with direct access to the sea and that’s what I would look for. And, with Knight Frank recently opening its sixth office along the Cote d’Azur in Cap Ferrat, and its 22nd office in France, my team would be primed to help me.

Two properties in particular stand out to me. The first being Grevillia, on the market for €56m. This is an exceptional, waterfront residence on the port of Saint-Jean-Cap-Ferrat. It is a beautiful modern estate, comprising a principal villa, a secondary villa and a guest house – ideal for someone like me with a large family and friends who regularly join us on holiday.

Villa Neo is built into the hillside above the bay of Villefranche-sur-Mer, on the market at €15m.

The second is Villa Neo, on the market at €15m. Significantly under my €50m budget but it is a perfectly presented villa, built into the steep hillside above the bay of Villefranche-sur-Mer and provides idyllic Riviera scenery. The villa’s wide terrace, infinity pool and principal rooms face the Mediterranean Sea so by day the small sail boats moored in the azure water provide a languid but ever-changing picture while after dark, the lights of the peninsula gently sparkle against the night sky.

Read more: Louis Roederer International Wine Writers’ Awards 2019

Property prices on Cap-Ferrat range from €2,000,000 to over €200,000,000 with the most active band between €5,000,000 and €10,000,000. Prime property prices have increased by 4 per cent in the year to 2018 but this is a most extraordinary market, one that resonates far and wide with international buyers and also those based in Monaco looking for a nearby escape with a slower pace of life. The unique homes on glorious Saint-Jean-Cap-Ferrat make the market anything but predictable.

Cap Ferrat not only has a timeless quality which my wife Claire, being half-French, would adore, but it also has one of the broadest international buyer profiles of all the markets on the French Riviera. This helps protect owners’ exit strategies by ensuring the market isn’t dependent on the economic fortunes or currency shifts of one particular buyer nationality.

Find out more: knightfrank.co.uk

Sassan Behnam-Bakhtiar’s technique involves painstakingly applying layer upon layer of paint

Sassan Behnam-Bakhtiar’s body of exuberant, multi-layered paintings, created with a signature technique that sees each point on the canvas scraped and remixed hundreds of times, tell a story of his land of birth, France, and his family homeland of Iran. Ahead of his upcoming show Extremis at the Setareh Gallery in Düsseldorf, Rachel Spence speaks to the French-Iranian artist about beauty and turbulence

With their radiant, Mediterranean palette and shimmering pyramids of brushstrokes, many of Sassan Behnam-Bakhtiar’s paintings strike the viewer as praise songs to life in all its natural beauty.

Entirely in oil, and all abstract, his signature style is the result of a scrupulous and lengthy technique; each one requires months to complete. “I work with a lot of different types of paint,” he tells me. “I have to get the consistency right, place the paints layer by layer next to each other, let them get absorbed, then scrape them off and repeat the process about 500 times.” Look closely at his paintings and you see that sometimes the paint is less scraped than shaved.

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Painted in glowing Fauvist colours – raspberry, azure, lemon, rose pink and sunset yellow are dominant, although black occasionally intrudes – the effect is that of a flickering mosaic assembled from fragments of stained glass. In many of his paintings there are shimmering outlines of shapes and figures emerging from the background, often open to interpretation – is that a tree, a boat, two women? His technique means each change of colour, and hint of a figurative shape, is the result of a slight change in layering of a spot on the canvas.

In his studio in the south of France, Behnam-Bakhtiar’s latest works, to be shown at a solo exhibition at the Setareh Gallery in Düsseldorf this autumn, “are my story in reality”, he says. Propped up on the walls, an explosion of colour and joy, they also hide symbols from his past and his countries – he considers himself a French-Iranian artist, rather than taking the identity of his cultural homeland wholesale. In one, a pomegranate tree, rich in cultural symbolism, emerges from a blaze of scraped-oil colours.

Sassan Behnam-Bakhtiar’s most recent works resemble a flickering mosaic of colour

The studio looks out over the most perfect of settings, the garden dropping down towards a view of the harbour at Saint-Jean-Cap-Ferrat, yachts floating on the water with their wealthy owners inside, the mountains of the Alpes-Maritimes rising sharply in the background.

Behnam-Bakhtiar’s images make the spirits soar, as does the location in which he is speaking to us. But they hide a story that is more painful than might first be imagined.

Behnam-Bakhtiar’s history is entwined with his French land of birth and his Iranian roots. Born in Neuilly-sur-Seine on the outskirts of Paris in 1984, he can trace his heritage back to Iran’s ancient Bakhtiari tribe. More recently, his great-uncle Shapour Bakhtiar was the last prime minister of Iran under the doomed regime of Mohammad Reza Shah, who was overthrown by the Islamic Revolution in 1979. Shapour Bakhtiar was murdered in Paris in 1991, allegedly by agents of the Islamic Republic of Iran that succeeded the Shah.

Like many Iranians of their generation, Behnam-Bakhtiar’s parents had left after the revolution. However, his mother went back with him to Tehran in 1994. Their return was troubled from the start.

“It was totally insane. There were forces in the street all the time. There were people outside [the house] trying to break down the walls.” Though he was then just a “typical French kid” suffering acute culture shock, he did his best to embrace his new home. “I started to speak Farsi and really tried to integrate myself as an Iranian.”

Coming from a creative family – both parents being artists – he wanted to be an artist too. As he learned about his homeland, he started “recording the jewels of my country” – the textiles, architecture, patterns, motifs and landscapes which have enriched Iranian culture for centuries. In those days, his chief tool was a camera and the photographs he took influenced collages made in the early part of his career.

Read more: OMM’s Creative Director Idil Tabanca on creating an art institution

But even as he fell in love with Iran’s visual bounty, Behnam-Bakhtiar was also discovering the country’s darker side. “From the age of 13 or 14, I was having to become the man of the family in Tehran,” he recalls. As he attempted to defend his home, the young artist found himself “many times” in trouble with the authorities.

At 19, he enrolled at the American University in Dubai. He double majored in information technology and finance, but he was “always studying art on the side”. Among the first works he showed, at an auction organised by the Magic of Persia foundation in Dubai in 2009, was a sculpture entitled Mitra. Inspired by “the feminine figures of Iran, the poets and singers, important people,” Mitra marked the embryo of a journey that would see Behnam-Bakhtiar devote himself to expressing “the real image of Iran and Iranians,” to counterpoint the myriad stereotypes of “bad people, terrorists with beards who shout ‘Allahu Akbar’ on the street.”

His commitment to truth-telling unfolded through early series such as A Reason to Fight (2013) and Aftermath (2014), which focused on the Iran-Iraq war. “It did very well, but many people were confused,” he recalls of paintings that aimed to pay homage to the young soldiers who defended “our identity”, but that also trespassed on the sensibilities of those who felt the war was best consigned to the history books.

Another series, The Real Me, from 2014, used bold collisions of Iranian patterns and iconic architecture with images of contemporary young people, including the artist himself in “extravagant situations”, for example, on the beach or enjoying cars and motorbikes.

By now, Behnam-Bakhtiar was living in Saint-Jean-Cap-Ferrat with his wife Maria Zakharchenko, following in the footsteps of a train of creative beau monde, including Jean Cocteau, Picasso and Matisse, who fell in love with the region’s spectacular light and abundant plants and flowers. Here, the couple, alongside Sassan’s brother Ali, set up the Fondation Behnam-Bakhtiar, which promotes artists of Iranian descent and Iranian culture.

Yet despite the beauty around him, Behnam-Bakhtiar was, paradoxically, turning inwards towards an exploration of his own past. In part, the shift was prompted by a downturn in his health as a result of his youthful trauma.

“I felt really bad,” he remembers now, his voice dipping towards sadness. Fortunately, thanks to “valuable advice”, he pursued healing through techniques such as meditation and Qigong. As he recovered, he had “an awakening moment”, which helped him to “understand our inner beings, how we are connected to the energy that surrounds us and how, if we understand how to use [this energy] we can live a better life.”

Out of this came his 2017 series Oneness Wholeness, exhibited at the Saatchi Gallery, and the Villa Santo Sospir (once home to French artist Jean Cocteau), alongside works by Cocteau himself. The mixed-media paintings, with their scintillating strata of colours, evoke the sensation of a late Monet or Renoir were it to be left out in the sun to melt and drip down the canvas. They emerged out of Behnam-Bakhtiar’s effort “to paint the energy network that surrounds us”.

The new paintings, part of a show called Extremis, at Setareh Gallery, are more complex in their use of colour, light and form than any the artist has done before. He hopes they will evoke his own journey from darkness to light and he likens the new paintings to “shields of humanity”, which will inspire his audience to unlock their own powers of healing. “You have so much power and will inside yourself,” he insists. “If you focus on it and believe in it, visualise it, you can obtain it.” That manifesto for a better life seems to be working.

‘Extremis’ runs at the Setareh Gallery in Düsseldorf from 24 October. Find out more: setareh-gallery.com

Five other Iranian artists to watch

By Anna Wallace-Thompson

YZ Kami
The artist explores a Sufi-esque journey into the self through large-scale portraits. The subjects are at once ethereal and yet deeply personal, often appearing hazy, as if wrapped in a dream.

Farhad Moshiri
Nobody ever made a wall full of knives look this good – the original Iranian Pop artist combines biting social commentary with tongue-in-cheek references to contemporary culture and society.

Ali Banisadr
The Brooklyn-based artist grew up on the American West Coast, yet it’s the nightmarish dreamscapes of Hieronymus Bosch that have informed his figuratively abstract canvases.

Nicky Nodjoumi
Politics and power collide in these paintings – often with fragmented, fractious results. Dealing with the aftermath of revolution, Nodjoumi’s paintings take political dialogue to a new level.

Shirin Neshat
Arguably the most recognisable Iranian artist in the world, Neshat’s iconic monochrome aesthetic dominates striking photography works, while a poetic vision and delicate sensitivity encapsulate her films.

This article was originally published in the Autumn 19 Issue.

Sassan Behnam-Bakhtiar at work in his studio

Franco-Iranian artist Sassan Behnam-Bakhtiar, despite a childhood spent escaping war, then living in post- revolutionary Iran and enduring the subsequent prejudice, produces the most brilliantly coloured and life-affirming paintings. James Parry speaks with him ahead of his new exhibition in Düsseldorf

It’s an idyllic scene. Azure skies and an enticing ultramarine sea reaching out to the horizon and dotted with yachts, the perfect backdrop for a picture-postcard harbour town with cobbled streets lined with stylish shops and restaurants. Bougainvillea froths over historic façades and cicadas chirp in the beautifully manicured gardens of opulent villas. Welcome to the south of France, and to Saint-Jean-Cap-Ferrat. The artist Sassan Behnam-Bakhtiar has made his home here, following in the footsteps of artists such as Cézanne, Matisse, Chagall, Renoir and Picasso, all drawn to the French Riviera by the dramatic light, colours and stunning scenery.

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As bucolic as this may sound, in Behnam- Bakhtiar’s case, the Côte d’Azur provides welcome and creative sanctuary from a life that has not been without its challenges. Born in France in 1984 to Iranian parents who left their homeland after the Islamic Revolution, he would only visit Iran for a few weeks each summer to see family. But even such relatively brief trips could be fraught. For much of the 1980s Iran was engaged in a bitter war with Iraq, and Tehran was periodically targeted by Iraqi missiles. “It was terrifying,” remembers Behnam-Bakhtiar. “We could hear the rockets roaring overhead, and then the explosions.” On one occasion, he and his mother had to make a desperate dash to the city of Bandar Abbas to catch the last flight out of the country to safety in Europe.

‘Lovers’ (2018) by Sassan Behnam-Bakhtiar

Further turmoil and trauma were to follow when, at the age of nine, Behnam-Bakhtiar moved to Iran permanently with his mother,to a world far removed from the childhood comforts of suburban Paris. He was a foreigner in a land deeply suspicious of the West. “At school they used to call me ‘the outsider’ and it wasn’t long before the verbal insults turned into actual physical violence,” he recalls.

The bullying came not only from his fellow pupils but also from the teachers, and continued outside of school, with intimidation and harassment from the police an almost daily occurrence. Behnam-Bakhtiar was singled out for being different, and because of his family’s history and role in the government prior to the Islamic revolution. Only by standing his ground and fighting his corner (literally, helped by taekwondo classes), did the unwelcome newcomer manage to get through each day. “At times it was pure darkness and not easy to focus on the potential light at the end of the tunnel,” he admits.

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But light there was, and Behnam-Bakhtiar will be focusing on the empowering aspects of such life experiences in his forthcoming exhibition ‘Extremis’, which opens at Setareh Gallery in Düsseldorf on 24 October. An evolution of his ‘Oneness Wholeness’ body of work, which wowed crowds last year at the Saatchi Gallery in London and at Jean Cocteau’s dramatically decorated Villa Santo Sospir on Cap Ferrat, the show will consist mostly of new works. “My new paintings reflect on what I learned from my difficult times in Iran and from life in general,” explains the artist. “By putting it out on the canvas, I’m saying that even in the toughest of situations, it’s always possible to learn and move forward towards becoming a more complete human being.”

Detail of Sassan Behnam-Bakhtiar’s painting ‘Eternal Wholeness’

Behnam-Bakhtiar’s work, which is both beautiful and technically proficient, has been achieved against an unusual and sometimes difficult background. His parents were both artists, but post-revolution Iran presented its challenges for opportunities to express or develop any artistic potential. What saved him was his camera. “Photography was my creative safety valve,” he explains. “I was always out and about, taking pictures of whatever caught my eye. That in itself was problematic during those years in Iran, but I learnt how to be discreet.”

Soon he had amassed a vast bank of images, part of an archive of source material that he now uses in his work. “I’ve been collecting ideas for years,” he admits, “especially patterns and designs that appeal to me.” These inspire him in the choosing of his own motifs, mostly Persian-oriented, which he uses in his collage- style paintings. To refer to them as ‘mixed media on canvas’ comes nowhere close to doing them justice, as they are complex and painstakingly crafted works of immense skill, using the artist’s trademark layered technique (see end of article). Behnam-Bakhtiar specialises in large works, expansive and yet also highly detailed, studded with jewel-like effects that resonate with the richness of a Persian heritage that he regards as central to what he does and who he is.

Detail of ‘Lovers’ (2018)

This approach – and the battle between light and dark in human life – will be brought into sharp relief in the new show. The exhibition centrepiece will be an epic work, Tornado of Life (2017), a vivid and exuberant painting around which many other works will be gathered. More guarded and sombre in hue, with just flickers of brighter colours emerging, these paintings serve to emphasise the triumph of light – and indeed of personal enlightenment – that Behnam- Bakhtiar seeks to achieve. Even in the darkest days in Iran, he explains, he drew positives from the friendships that he eventually made there.

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“Sassan stands out as a globally educated artist of Iranian background who is bringing works of great relevance to the canon of world art history,” says Samandar Setareh, owner of Setareh Gallery. “By using historic references, as well as a deeply personal and sensitive vision of the human condition, he is formulating a language that is understood beyond any frontier of cultural limitation.” ‘Extremis’ reflects the global appeal of this ethos and art, as well as Behnam-Bakhtiar’s commitment to identifying and developing positive outcomes from seemingly bleak situations. The myriad layers of his textured paintings reflect the very complexity and passage of life itself, a synthesis of practical skill and ingenuity that results in a very special type of art.

The artist in his studio

Layers of technique

Sassan Behnam-Bakhtiar’s stunning artworks are created by a particular technique that has become his trademark. In much the same way as his life experience is layered and complex, his artworks are similarly intricate. Working in mixed media and oil on canvas, he builds up his paintings through the application of different layers of paint. These can include fragments of handcrafted designs that he attaches to the canvas, collage-style. He overpaints each layer, in some cases working to a grid-like pattern to create a mosaic effect. Finally, he uses a plasterer’s edging trowel to remove sections of the top layers of paint and reveal the colours underneath, resulting in the kaleidoscopic effect for which his works are renowned.

Find out more: sassanbehnambakhtiar.com or setareh-gallery.com

This article was originally published in the Summer 19 Issue.

Sassan Behnam-Bakhtiar’s sculptures stand alongside Jean Cocteau’s murals in Villa Santo Sospir

Last week saw the private view and opening of French-Iranian artist Sassan Behnam-Bakhtiar’s latest exhibition. LUX Editor-in-Chief Darius Sanai was entranced.

The mesmerising Villa Santo Sospir on Cap Ferrat in the south of France, once home to Jean Cocteau, played host to Sassan Behnam-Bakhtiar’s private view of his Oneness Wholeness with Jean Cocteau exhibition; LUX was privileged to be invited.

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The villa itself is something of an anomaly on Cap Ferrat, perhaps the swankiest real estate spot in Europe. Walk down the steep drive from the little road (just around the corner from the Four Seasons Grand Hotel du Cap Ferrat) and you are transported into the 1950s. No bulletproof glass or architect-designed pavilions here: just a low-rise villa, its gardens festooned with bougainvillea and bamboo, and, inside, walls decorated with intricate murals by Cocteau himself.

Those attending included Lily Cole, Richard Biedul, Nathalie Emmanuel, Kiera Chaplin and Jo Wood.

From right to left: Natalie Rushdie, Maria Behnam-Bakhtiar, Sassan Behnam-Bakhtiar, Melissa Tarling, Richard Biedul and Nathalie Emmanuel

Kate Slesinger, Sassan Behnam-Bakhtiar and Darius Sanai

Tyrone Wood and Jo Wood

Guests were scattered through the cosy living room, onto the terrace, down the stairs on another garden terrace, and on a final, lowest level near the sea, but the stars of the show were Behnam-Bakhtiar’s sculptures (which also adorn one of the special covers of this issue of LUX magazine) and a soundtrack which featured Cocteau himself, present among us.

Sassan Behnam-Bakhtiar with Nathalie Emmanuel

Silhouettes of guests merge with Sassan Behnam-Bakhtiar’s sculptures as the sun sets

As a storm cleared and the sun set over Cap d’Antibes and the Massif de l’Esterel in the distance, the melancholy and joy of Behnam-Bakhtiar’s creations added an extra note to the end of summer in an area that has inspired artists for generations. Who knows, perhaps its the start of a new life for the Cote d’Azur as an artistic hub, generations after the likes of Picasso, Matisse, Van Gogh, Cézanne and Dufy were mesmerised by the light, shapes and people here.

Oneness Wholeness with Jean Cocteau runs until 30 September at Villa Santo Sospir

Sassan Behnam-Bakhtiar’s latest exhibition responds to the work of French polymath Jean Cocteau. Virginia Blackburn travels to the Cote d’Azur to meet the artist and his muse

“The sea,” says the French/Iranian artist Sassan Behnam-Bakhtiar, gesturing out at an exceptionally beautiful cove on the Cote d’Azur, “is a symbol and a direction of life. It’s where we all came from. As long as you are facing the sea you are on the right track.” And it is not just Behnam-Bakhtiar who is facing the Med: beside him is Jean Cocteau, or at least a representation of Cocteau, leading a line of luminaries from the Villa Santo Sospir in Saint-Jean-Cap-Ferrat to face out at the spectacular view.

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Inside the house, Cocteau is in conversation with Behnam-Bakhtiar, for this exhibition, Oneness Wholeness with Jean Cocteau, has its roots in a video Behnam-Bakhtiar came across that Cocteau made in 1962; the younger artist discovered that his preoccupations and fears about the way the world was going were identical to the older man’s. And so the idea took root.

Oneness Wholeness with Jean Cocteau, which runs from 6th to 30th September is comprised of two aspects, visual and aural. The visual element is spread throughout the villa and its grounds: it consists of 32 wooden sculptures in six different sizes, representing both the historical figures who visited the villa when Cocteau and its owner, the socialite Francine Weisweiller, lived there, and what could be termed humanity itself.

Each sculpture is double sided, to represent the masculine and feminine aspects of the individual, although it is up to the viewer to decide which is which; the wood is bois marine, or sea wood, the type used to make boats. It was treated three times and then painted in Behnam-Bakhtiar’s signature style, embodying energy, stripe after stripe of differing colours fighting to make their way through to the top. “I didn’t want the sculptures to be super-clean but artisanal,” explains Behnam-Bakhtiar, adding that the work took nearly a year and changed him in the process. “So many great things came out: who are we? What are we doing here? Why these sculptures?” he says.

Read more: Why we love Club Dauphin on Cap Ferrat right now

Inside the villa the recorded conversation between the two artists takes place, in which they discuss their fears about the almost robotic world in which we live, the emphasis on material success despite the very high price it exacts. The setting could not be more appropriate: Cocteau’s extravagant murals cover the walls and the ceiling; outside his mosaics bring the myth of the minotaur to mind. One mosaic is doubleheaded, which is reflected in Behnam-Bakhtiar’s double sided sculptures, that dual identity being a preoccupation with both men.

To walk among the sculptures in their stillness, their complexity, induces a feeling of eternity, of contemplation, of timelessness. Visitors to the exhibition will be encouraged to do exactly that, imparting their own life energy to the statuary as they make their way towards the imposing figure of Cocteau, slightly taller than the rest.

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One figure stands out for a slightly different reason: he is covered in shades of black, although some colour is struggling to get through. “He had it a little rougher than the others,” says Behnam-Bakhtiar. To the viewer he symbolises death, but with hope – the light is trying to break in, even here.

This is a remarkable exhibition based on a brave and remarkable concept: artists in conversation across decades, sharing the same space. And catch it while you can because the group will be broken up at the end of it, dispersed among museums and collectors, while the villa is closing for a couple of years for major renovations. It is a treat, visually, and balm for the soul.

Oneness Wholeness with Jean Cocteau runs until 30 September at Villa Santo Sospir. Visit Sassan Behnam-Bakhtiar’s website for more information or follow him on Instagram at @sassanbehnambakhtiar

Grand-Hôtel du Cap-Ferrat by Four Seasons sits perched high on the cliff edge with stunning views of the Mediterranean

Club Dauphin at Grand-Hôtel du Cap-Ferrat by Four Seasons feels more like a private island than one of the most famous poolsides in the Cote d’Azur, says LUX Editor-in-Chief Darius Sanai

It’s high summer, and you are almost certain to be suffering from one of two types of holiday envy right now. Either you’re sitting in your office swiping through Instagram posts from people in exotic locations, wondering why you’re not there; or, worse, you’re on holiday in an exotic location, swiping through the same Instagram posts – and you’re still envious. Because, just as there’s always going to be someone richer or more successful than you (unless you’re Bill Gates or Nelson Mandela), there’s always a better place to be than where you’re at.

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Club Dauphin’s infinity pool surrounded by sun loungers facing out towards the ocean

Unless you’re sitting poolside at Club Dauphin at the Grand-Hôtel du Cap-Ferrat, sipping a glass of rosé (poured by the cute bartender from a magnum, as is the current fashion), with a little tartlet by your side – a tartlet of the pâtissier kind (before you get any ideas – we’re not that type of magazine) created by the pastry chef as a special summer délice.

The Club Dauphin is the swimming pool area at the Grand-Hôtel, itself a dramatic creation at the very tip of the most exclusive spot on the Cote d’Azur, surrounded by the Mediterranean on three sides and avenues of stone pines shrouding hundred million euro Belle Epoque villas on the other. To get to the Club from the hotel, you wander along the lawn and down through a tropical garden sloping down a cliffside, which reveals a deep blue pool lined by sun loungers on two sides, rocks crashing into the sea on another, and a poolside restaurant/terrace. It is entirely private, more like being on a private island than in the heart of the Cote d’Azur, one of the world’s busiest and most beautiful holiday destinations, in high summer.

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Open-air dining by the poolside

And that’s the beauty of the Grand-Hôtel. It’s rather like being on a yacht, except without the seasickness and the feeling of being hemmed in with other guests and their kids. You are surrounded by sea, but when you stand on the sea-side edge of the pool and look back, you see the dramatic backdrop of the Alpes Maritimes and the Corniche leading to Monaco, just 10 minutes drive away. You can visit Michelin-starred restaurants, drop by the Casino, wander the ancient streets of Eze or Saint-Paul de Vence, and then disappear back into the Club Dauphin for silence and another glass of rosé, please.

It’s so good, you’ll forget all about Instagram.

For more information on Club Dauphin and Grand-Hôtel du Cap-Ferrat by Four Seasons visit: fourseasons.com/capferrat