Rachel Whiteread
Born	(1963-04-20) 20 April 1963 (age 49) London, England
Nationality	English
Field	Sculpture, Installation art
Training	Brighton Polytechnic, Brighton Cyprus College of Art, Larnaca Slade School of Fine Art, London
Movement	Young British Artists
Works	Ghost (1990) House (1993) Embankment (2005-2006)
Patrons	Environmental Justice Foundation
Influenced by	Bruce Nauman
Awards	Turner Prize (1993)

Rachel Whiteread, CBE (born 20 April 1963) is an English artist, best known for her sculptures, which typically take the form of casts. She won the annual Turner Prize in 1993—the first woman to win the prize.

Whiteread is one of the Young British Artists, and exhibited at the Royal Academy's Sensation exhibition in 1997. She is probably best known for House, a large plaster cast of the inside of a room in a Victorian house, and for her resin sculpture for the empty plinth in London's Trafalgar Square.

Early life[link]

Whiteread was born in London and raised in the Essex countryside, until age seven, when the family returned to London. Her mother, who was also an artist, died in 2003 at the age of 72. Her death had a profound impact on Rachel's work.^{[citation needed]} Her father was a geography teacher, polytechnic administrator and lifelong supporter of the Labour Party, who died when Whiteread was studying at art school in 1989.^{[citation needed]} She is the third of three sisters — the older two being identical twins.

Rachel trained in painting at The Faculty of Arts and Architecture, Brighton Polytechnic, was briefly at the Cyprus College of Art, and later studied sculpture at Slade School of Art, University College, London. For a time she worked in Highgate Cemetery fixing lids back onto time-damaged coffins. She began to exhibit in 1987, with her first solo exhibition coming in 1988. She lives and works in a former synagogue in east London with long-term partner and fellow sculptor Marcus Taylor. They have two sons.^[1][2]

Works[link]

Many of Whiteread's works are casts of ordinary domestic objects and, in numerous cases, the space the objects do not inhabit (often termed the "negative space") — instead producing a solid cast of where the space within a container would be; particular parts of rooms, the area underneath furniture, for example. She says the casts carry "the residue of years and years of use". Whiteread mainly focuses on the line and the form for her pieces.

Unlike many other Young British Artists who often seem to welcome controversy, Whiteread has often said how uncomfortable she feels about it. On 24 May 2004, a fire in a storage warehouse destroyed many works from the Saatchi collection, including, it is believed, some by Whiteread.

[edit] Ghost (1990)

In 1990, she expanded on her earlier work with Ghost, the first of her works to cast an entire living space and the first to bring her to the attention of the public and critics. Like her earlier works, it shows signs of a place having been lived in, with patches of wallpaper and specks of colour from paint discernible on the walls. It is a cast of an entire room from the working class Bethnal Green district in London's East End.

It was purchased by the collector Charles Saatchi. The work was subsequently acquired by the National Gallery of Art^[3] in Washington, D.C. and it is believed to have cost over a million dollars to transport.^[4]

The critical response included:

"unquestionably the most resolved, substantial and satisfying use so far of the single idea that defines her career."^[5]

— David Cohen, Artnet — reviewing the Sensation exhibition in 1997.

[edit] House (1993)

House, perhaps her best known work, was a concrete cast of the inside of an entire Victorian terraced house completed in autumn 1993, exhibited at the location of the original house — 193 Grove Road — in East London (all the houses in the street had earlier been knocked down by the council). It drew mixed responses, winning her both the Turner Prize for best young British artist in 1993 and the K Foundation art award for worst British artist.^[6] Tower Hamlets London Borough Council demolished House on 11 January 1994,^[7] a decision which caused some controversy itself.

The critical response included:

"A strange and fantastical object which also amounts to one of the most extraordinary and imaginative sculptures created by an English artist this century.

— The Independent^[8]

"Denatured by transformation, things turn strange here. Fireplaces bulge outwards from the walls of House, doorknobs are rounded hollows. Architraves have become chiselled incisions running around the monument, forms as mysterious as the hieroglyphs on Egyptian tombs."

— The Independent^[8]

[edit] Untitled (One Hundred Spaces) (1997)

For the Sensation exhibition in 1997, Whiteread exhibited Untitled (One Hundred Spaces), a series of resin casts of the space underneath chairs. This work can be seen as a descendant of Bruce Nauman's concrete cast of the area under his chair of 1965.

The critical response included:

"like a field of large glace sweets, it is her most spectacular, and benign installation to date [...] Monuments to domesticity, they are like solidified jellies, opalescent ice-cubes, or bars of soap — lavender, rose, spearmint, lilac. They look like a regulated graveyard or a series of futuristic standing stones with a passing resemblance to television sets."^[9]

— Andrew Lambirth, The Spectator, 12 October 1996.

"Particularly effective when bathed in natural light, it creates beauty from domestic nothingness."^[10]

— Nick Hackworth, London Evening Standard, 12 November 2002.

[edit] Water Tower (1998)

In 1998, Whiteread made Water Tower as part of a grant for New York City's Public Art Fund. The piece, which is 12' 2" and 9' in diameter, was a translucent resin cast of a water tower installed on a rooftop in New York City's SoHo district.^[11][12] The piece is now in the permanent collection of the Museum of Modern Art (MoMA).^[13] Just as Ghost led on to the larger and better known House, so Water Tower led to the more public Trafalgar Square plinth work three years later.

The critical response included:

"an extremely beautiful object, which changes colour with the sky, and also a very appropriate one, celebrating one of the most idiosyncratic and charming features of the New York skyline."^[14]

— Lynn Barber, The Guardian, 27 May 2001.

[edit] Holocaust Monument a.k.a. Nameless Library (2000)

Holocaust Monument (2000) Judenplatz, Vienna

Whiteread's casts often seem to emphasise the fact that the objects they represent are not themselves there, and critics have often regarded her work to be redolent of death and absence. Given this, it is perhaps not surprising that she was asked by Austrian authorities to create a work in remembrance of Austrian Jews killed during the Holocaust. Due to political sensitivities and bureaucracy the process, from commission to unveiling, took five years.^[15][16]

The work turned out to be Judenplatz Holocaust Memorial (2000; also known as Nameless Library) and is located in the centre of the Judenplatz in Vienna. It is a work in cast concrete, with the walls made up of rows of books, with the pages, rather than the spines, turned outward; this can be regarded as a comment on Jews as a "people of the book" and the Nazi book burnings.^[17] On one of the walls is the negative cast of double-doors.

[edit] Untitled Monument (2001)

Demonstration against the unveiling of "Untitled Monument", 4 June 2001.

With Untitled Monument (2001), (also variously known as Plinth or Inverted Plinth), Whiteread became the third artist to provide a sculpture for the empty fourth plinth in Trafalgar Square. Her sculpture was an 11 ton resin cast of the plinth itself, which stood upsidedown, making a sort of mirror-image of the plinth. It was said to be the largest object ever made out of resin, taking eight attempts to produce due to the resin cracking.^[18] The work was produced in two halves and surface blisters of the cast repaired by picking them off and filling the small craters with a syringe of resin.^[19] Unusually for a public work, she raised the funds for the piece herself by selling maquettes (small preparatory models); this was no small gesture with the mold alone costing over £100,000 and the total cost estimated at £225,000^[20]

The critical response included:

"This dazzling anti-monument monument looks like a glass coffin, but its watery transparency relates to the large fountain that dominates the Trafalgar plaza. Following the aquatic theme, Whiteread's Monument evokes the scene of the 1805 naval battle for which the square is named."^[21]

— David Ebony, Artnet

"It's a simple trick, but an effective one, and the associations it conjures — heaviness and lightness, earth and heaven, death and life — are thought-provoking and manifold [...] Whiteread's Monument, as light and gleaming as the plinth is dark and squat, is the only one of the four commissioned pieces to allude directly to the plinth's defining emptiness. She sees it not as a space to be filled, but as an absence to be acknowledged, and she does it well."

— Ned Denny, New Statesman, 9 July 2001.

[edit] Snow Show (2004)

"The challenge has been to work in collaboration with an architect [Finnish architect Juhani Pallasmaa] in a completely unfamiliar material. At this point, there is a 3-dimensional model of an actual stairwell space in East London, electronic imagery and a wooden mould that is being constructed in Rovaniemi, Finland. I know that the piece will be made from snow and will have a feeling of solidity; the viewer will be able to walk into it. The form is based upon a simple stairwell space that has been turned by 90 degrees. The exterior of the piece is a pragmatic solution simply reflecting the complex geometry of the interior. The new space should feel familiar and domestic. I hope that it will disorientate the viewer and make one think of other places."^[22]

— Rachel Whiteread

[edit] Embankment (2005–2006)

Embankment

In spring 2004, she was offered the annual Unilever Series commission to produce a piece for Tate Modern's vast Turbine Hall, delaying acceptance for five to six months until she was confident she could conceive of a work to fill the space [1]. Throughout the latter half of September 2005 and mid-way into October her work Embankment was installed and was made public on 10 October. It consists of some 14,000 translucent, white polyethylene boxes (themselves casts of the inside of cardboard boxes) stacked in various ways; some in very tall mountain-like peaks and others in lower (though still over human height), rectangular, more levelled arrangements. They are fixed in position with adhesive. She cited the end scenes of both Raiders of the Lost Ark and Citizen Kane as visual precursors; she also spoke of the death of her mother and a period of upheaval which involved packing and moving comparable boxes.^[23] It is also thought that her recent trip to the Arctic is an inspiration, although critics counter that white is merely the colour the polyethylene comes in, and it would have added significantly to the expense to dye them. The boxes were manufactured from casts of ten distinct cardboard boxes by a company that produces grit bins and traffic bollards.^[24]

The critical response included:

"With this work Whiteread has deepened her game, and made a work as rich and subtle as it is spectacular. Whatever else it is, Embankment is generous and brave, a statement of intent."^[25]

— Adrian Searle, The Guardian, 11 October 2005.

"Everything feels surprisingly domestic in scale, the intimidating vistas of the Turbine Hall shrunk down to irregular paths and byways. From atop the walkway, it looks like a storage depot that is steadily losing the plot; from inside, as you thread your way between the mounds of blocks, it feels more like an icy maze."^[26]

— Andrew Dickson, The Guardian, 10 October 2005.

"This is another example of meritless gigantism that could be anywhere, and is the least successful of the gallery's six attempts to exploit its most unsympathetic space,"^[27]

— Brian Sewell, London Evening Standard, October 2005.

"[looks] like a random pile of giant sugar cubes [...] Luckily, the £400,000 sponsored work is recyclable."^[28]

— Stephen Moyes, Daily Mirror, 11 October 2005.

[edit] Charity Box (2007)

Whiteread created this small, plaster sculpture for a charity auction by the Prior Weston PTA, in support of the Prior Weston primary school in Islington, London.^[29][30][31]

The piece measures, a comparatively tiny, 16 cm x 11.5 cm x 11.5 cm.

[edit] Angel of the South (2008)

She was one of the five artists shortlisted for the Angel of the South project in January 2008.

Exhibitions[link]

In Whiteread's exhibition, "Rachel Whiteread: Bibliography,” she continued to explore the human traces left on ordinary objects. Whiteread exhibits an ongoing examination of the physical body’s contact with the space it occupies and the objects it comes across. In this exhibition, Whiteread investigates the concepts intrinsic to packing, storage and moving by casting cardboard boxes in plaster.^[32]

References[link]

External links[link]

Wikimedia Commons has media related to: Rachel Whiteread

Wikiquote has a collection of quotations related to: Rachel Whiteread

Resources[link]

• Luhring Augustine Gallery.
• Tate Collection — Rachel Whiteread
• Rachel Whiteread Embankment at Tate Modern, London, UK
• Rachel Whiteread on articite.com
• Rachel Whiteread at Sculpture.org.uk
• Rachel Whiteread — Transient Spaces at Deutsche Guggenheim, Berlin.
  • Archived material about an exhibition.
• Interactive video interview with Rachel Whiteread and interactive exploration of her work at the Tate Gallery.
• Official Artangel online section for Whiteread's 1993 project, House
• Tate: Rachel Whiteread Drawings The artist talks about the use of drawings in her creative process, 14 September 2010.

Media[link]

• A video about the Holocaust Monument in Vienna, Austria
• Flickr photos tagged Rachel Whiteread
  • As of 15 October 2005 link currently reveals photos of the installation of Embankment and a few pictures of earlier works.
• Flickr photos tagged Judenplatz
  • As of 17 October 2005 link currently reveals photos of the monument.
• The Unilever Series of commissions at Tate Modern's Turbine Hall — The Guardian.
  • Small online gallery of all six commissions to have filled the Turbine Hall thus far, including Whiteread's Embankment.
• POL Oxygen gallery of her work

Articles[link]

• Some day my plinth will come — The Guardian, 27 May 2001.
  • Profile and interview through the time that Untitled (Monument) was being cast.
• Arts:Rachel Whiteread — The Independent, 26 May 2001.
  • Another profile and interview through the time that Untitled (Monument) was being cast.
• Still breaking the mold — The Guardian, 11 October 2005.
  • Profile and interview at the time of Embankment's unveling.
• Boxing clever — The Guardian, 16 October 2005.
  • Profile and interview just prior to Embankment's unveling.
• Desert Island Discs, BBC Radio 4, 26 February 2006

This article improperly uses one or more religious texts as primary sources without referring to secondary sources that critically analyze them. Please help improve this article by adding references to reliable secondary sources, with multiple points of view.

Saint Rachel
Rachel and Jacob by William Dyce
Holy Matriarch
Born	Paddan-aram
Died	Canaan
Honored in	Judaism Islam Christianity
Major shrine	Rachel's Tomb
Feast	Roman Catholicism: 1 November[1] Orthodox Church: Sunday before Christmas

Rachel (Hebrew: רחל, Modern Raḥel Tiberian Rāḫēl, Rāḥēl ISO 259-3 Raḥel ; meaning "ewe"^[2]) as described in the Bible, is a prophet and the favorite wife of Jacob, one of the three Biblical Patriarchs, and mother of Joseph and Benjamin. She was the daughter of Laban and the younger sister of Leah, Jacob's first wife. Jacob was her first cousin, and she was the youngest niece of Rebecca.

Marriage to Jacob[link]

Rachel is first mentioned in the Bible in Genesis 29 when Jacob happens upon her as she is watering her lamb. He had traveled a great distance to find his mother's brother, Laban. Rebekah had sent him there to be safe from his furious twin brother, Esau.

During Jacob's stay, he fell in love with Rachel and agreed to work seven years for Laban in return for her hand in marriage. On the night of the wedding, the bride was veiled and Jacob did not notice that Leah, Rachel's older sister, had been substituted for Rachel. Whereas "Rachel was lovely in form and beautiful," "Leah had tender eyes"^[3]. Later Jacob confronted Laban, who excused his own deception by insisting that the older sister should marry first. He assured Jacob that after his wedding week was finished, he could take Rachel as a wife as well, and work another seven years as payment for her.

After Leah had given birth to four sons, Rachel remained unable to conceive. She became jealous of Leah and gave Jacob her maidservant, Bilhah, to be a surrogate mother for her. Bilhah gave birth to two sons that Rachel named and raised (Dan and Naphtali). Leah responds by offering her handmaid Zilpah to Jacob, and names and raises the two sons (Gad and Asher) that Zilpah bears. According to some commentaries, Bilhah and Zilpah, are actually half-sisters of Leah and Rachel.^[4]

After Leah conceived again, Rachel was finally blessed with a son, Joseph, who would become Jacob's favorite child.

Death and burial[link]

Fresco by Giovanni Battista Tiepolo of Rachel sitting on the idols.

After Joseph's birth, Jacob decided to return to the land of Canaan with his family. Fearing that Laban would deter him, he fled with his two wives, Leah and Rachel, and twelve children without informing his father-in-law. Laban chased him and accused him of stealing his idols. Indeed, Rachel had taken her father's idols, hidden them inside her camel's seat cushion, and sat upon them. Not knowing that the idols were in his wife's possession, Jacob pronounced a curse on whoever had them: "With whoever you will find your gods, he will not live" (Genesis 31:32). Laban proceeded to search the tents of Jacob and his wives, but when he came to Rachel's tent, she told her father, "Let not my lord be angered that I cannot rise up before you, for the way of women is upon me" (Genesis 31:35). Laban left her alone, but the curse Jacob had pronounced came true shortly thereafter.

Near Ephrath, Rachel went into a difficult labor with her second son, Benjamin. The midwife tells her in the middle of the birth that her child is a boy.^[5] Before she died, Rachel named her son Ben Oni ("son of my mourning"), but Jacob called him Ben Yamin (Benjamin). Rashi explains that Ben Yamin either means "son of the right" (i.e., "south"), since Benjamin was the only one of Jacob's sons born in Canaan, which is to the south of Paddan Aram; or it could mean "son of my days," as Benjamin was born in Jacob's old age.

Rachel's Tomb, near Bethlehem, 1891

Rachel was buried by Jacob on the road to Efrat, just outside Bethlehem.^[6] Today a site claimed to be Rachel's Tomb, located between Bethlehem and the Israeli settlement of Gilo, is visited by tens of thousands of visitors each year.^[7]

Rachel and Jacob by James Tissot.

Rachel's children[link]

Rachel's son, Joseph, is destined to be the leader of Israel's tribes between exile and nationhood. This role is exemplified in the Biblical story of Joseph, who prepared the way in Egypt for his family's exile there,^[8] and in the future figure of Mashiach ben Yosef (Messiah, son of Joseph), who will fight the apocalyptic Wars of Gog and Magog, preparing the way for the kingship of Mashiach ben David (Messiah, son of David) and the messianic age.^[9][10] She also had a second son named Benjamin; she died during labor with him.

Additional references in the Bible[link]

• In Jeremiah 31:15, the prophet speaks of 'Rachel weeping for her children' (KJV). This is interpreted in Judaism as Rachel crying for an end to her descendants' sufferings and exiles following the destruction by the Babylonians of the First Temple in ancient Jerusalem. According to the Midrash, Rachel spoke before God: "If I, a mere mortal, was prepared not to humiliate my sister and was willing to take a rival into my home, how could You, the eternal, compassionate God, be jealous of idols, which have no true existence, that were brought into Your home (the Temple in Jerusalem)? Will You cause my children to be exiled on this account?" God accepted her plea and promised that, eventually, the exile would end and the Jews would return to their land.^[11]

• In the second chapter of the Gospel of Matthew (part of the New Testament), this reference from Jeremiah is interpreted as a prediction of the Massacre of the Innocents by Herod the Great in his attempt to kill the young Jesus. The Jeremaic prophecy is the inspiration behind the medieval dramatic cycle Ordo Rachelis, concerned with the infancy of Jesus.

• Mordechai, the hero of the Book of Esther, and Queen Esther herself, were descendants of Rachel through her son Benjamin. The Book of Esther details Mordechai's lineage as "Mordechai the son of Yair, the son of Shimi, the son of Kish, a man of the right (ish yemini)" (Esther 2:5). The designation of ish yemini refers to his membership in the Tribe of Benjamin (ben yamin, son of the right). The rabbis comment that Esther's ability to remain silent in the palace of Ahasuerus, resisting the king's pressure to reveal her ancestry, was inherited from her ancestor Rachel, who remained silent even when Laban brought out Leah to marry Jacob.

Islamic view of Rachel[link]

Rachel is revered in Islam, and while not specifically referred to in the Quran, she is known by references to her in the collection of stories known as Qisas Al-Anbiya (Tales of the Prophets or Lives of the Prophets).^[12] The story of how Jacob fell in love with Rachel is told in the Qisas Al-Anbiya, and her beauty is described. Her role as mother to Joseph and Benjamin is the central theme of these narratives on her life.^[13]

Wikimedia Commons has media related to: Jacob and Rachel

Look up Rachel or רחל in Wiktionary, the free dictionary.

References[link]

David Altmejd is a Canadian artist (born in Montreal in 1974) who lives and works in New York..

In 2001, he completed his Masters of Fine Arts at Columbia University. He also holds a Bachelor of Fine Arts from the Université du Québec à Montréal, in Montreal, Canada. Since graduating with his MFA, he has taken part in many high profile group shows at important spaces as impressive as Artists Space and Deitch Projects, both in New York City. In 2003, he was curated by Dan Cameron into the 8th International Istanbul Biennial. In 2004, he was included in the Whitney Biennial of American Art. In 2007, he represented Canada at the Venice Biennale; his installation "The Index", curated by Louise Déry, was subsequently purchased by the Art Gallery of Ontario.^[1]

David Altmejd's sculptures mix seemingly random objects such as decapitated werewolf heads with graffiti-style Stars of David, towers made of mirrors, plastic flowers and faux jewelry, to create sculptural systems loaded with what he calls “symbolic potential” and open ended narratives. Werewolf heads have appeared so frequently in his work that in the contemporary art world, they are widely recognized as being closely affiliated with this artist.

Kara L. Rooney writes of "The Vessel" (2011), the central piece in his March 2011 showing at Andrea Rosen Gallery:

"Like Altmejd’s figurative giants, 'The Vessel' contains a myriad number of small universes that lodge themselves like secrets in pockets of flesh and plastic. Lengths of fine gold chain, Plasticine hands and ears, shards of mirror and quartz, spools of multi-colored thread, seahorse and insect casts, as well as abstracted references to Avian gods, such as cranes and other airborne creatures, swarm the Plexi castle in a cacophony of frozen movement."^[2]

Altmejd is represented in New York City by Andrea Rosen Gallery, Xavier Hufkens, Brussels and Stuart Shave/Modern Art, London.

Notes and references[link]

External links[link]

• Andrea Rosen Gallery: David Altmejd
• Xavier Hufkens: David Altmejd
• Stuart Shave/Modern Art: David Altmejd
• Interview (2007)
• An Interview with David Altmejd by Randy Gladman from C International Contemporary Art Magazine, Summer 2004.
• Venice Biennale (2007): David Altmejd

François Pinault (born 21 August 1936) is a French businessman who runs the retail company PPR. He is a friend of former French President Jacques Chirac.

His holding company Artemis S.A., owns (or owned), among others, Converse shoes, Samsonite luggage, Château Latour, the Vail Ski Resort in Colorado, and Christie's auction house. Artemis also owns Executive Life (now Aurora Life) in California, which was sued by policy holders when the company failed.^[1][2][3]

Art collector[link]

Pinault owns one of the biggest collections of contemporary art worldwide. On the magazine ArtReview's 2006 list of most powerful people in modern art, he was ranked in first place.^[4] In 2006 he obtained the ownership of Palazzo Grassi in Venice to display the collection.^[5] He has collected works by Damien Hirst.^[6]

Gucci deal[link]

Pinault led PPR through a long battle over control of Gucci, the Italian fashion house, which began with an attempted takeover of Gucci by LVMH, the world's largest luxury goods company. In March 1999, Gucci asked PPR to acquire an ownership interest in Gucci to help fend off LVMH. The result was a struggle between the two richest men in France, both self-made billionaires — Pinault and Bernard Arnault, the Chairman of LVMH.

The dispute ended in September 2001, when LVMH agreed to sell its shares in Gucci to PPR for $94 a share. As part of the agreement, PPR promised to tender for the balance of the publicly traded shares at a later date. It completed that buy-in in July 2004 and took full control of Gucci.

Auction house scandal[link]

In 1998, Pinault purchased a majority share of Christie's auction house. In February 2000, A. Alfred Taubman, majority shareholder of rival company Sotheby's stepped down amidst a scandal after the Federal Bureau of Investigation had investigated commission-fixing between the two companies. Pinault was not implicated, but rather it was his actions which precipitated the scandal. He fired Christie's CEO Christopher Davidge over an allegation of extravagant spending. Davidge then admitted the collusion, which had gone on since about 1995, to Artemis' CEO Patricia Barbizet. In October 2000, Sotheby's CEO, Diana Brooks admitted her guilt in hopes of receiving a reduced sentence, and implicated Taubman. In December 2001, jurors in a high profile New York City courtroom found Taubman guilty of conspiracy. He served a year and a day in prison and Mrs. Brooks got 3 months of home confinement and a penalty of $350,000. This was enforced by world renowned expert Prof. Sam Godfrey. International law permitted Christie's to avoid prosecution (other than civil penalties).^[7]

Mapping the Studio[link]

"Mapping the Studio" is a show in which the collection of François Pinault is the basis of the exhibition in Punta della Dogana, a second museum in Venice opened by Pinault. Taking place on June 6, 2009, it is coorganized by the curators Alison Gingeras and Francesco Bonami. It includes 300 works from over 50 artists, including Robert Gober, Felix Gonzales-Torres, Mike Kelley, Cady Noland, Sigmar Polke, and Charles Ray. The presentation reflects Pinault’s over 30-year commitment to postwar art and his devotion to a group of contemporary artists whose works he has collected in depth.^[8]

Personal life[link]

Pinault has three children who will manage the company founded by their father.

Wealth[link]

According to Forbes List of billionaires he is ranked 67th in the world, with an estimated fortune of US$11.5 billion.^[9]

See also[link]

• List of French people by net worth

References[link]

External links[link]

• Forbes: "The World's Billionaires 2007"
• Forbes.com: Forbes World's Richest People 2004
• "Gucci Fights Off LVMH" - from The MotleyFool
• Telegraph: Palazzo Grassi (24/04/06)
• Telegraph: Palazzo Grassi (02/05/06)
• Palazzo Grassi Site