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Maison Bleue temporairement fermée. Prochaine ouverture à l'occasion de l'évènement Pierres en Lumières le 30 Mai 2026.
The creator/artist
The creator/artist
The blue house is the creation of Euclides da Costa Ferreira who originally came from Portugal
The blue house is the creation of Euclides da Costa Ferreira who originally came from Portugal
Euclides da Costa was born in 1902 in Valarinho, near Porto, in Portugal and emigrated to France when he was 22. He was illiterate and had no specific training. In 1924, he met Marie-Louise Duval who had been born in he Eure department. They married several years later.
Euclides da Costa was born in 1902 in Valarinho, near Porto, in Portugal and emigrated to France when he was 22. He was illiterate and had no specific training. In 1924, he met Marie-Louise Duval who had been born in he Eure department. They married several years later.
During the second world war the couple lived a precarious existence i n Saint Nazaire but , with the help of a relative of Marie-Louise, they moved to Dives-sur-Mer. After the Normandy landings da Costa got a work in the Tréfimétaux factory and in 1947 he obtained French Nationality . He never returned to Portugal
During the second world war the couple lived a precarious existence i n Saint Nazaire but , with the help of a relative of Marie-Louise, they moved to Dives-sur-Mer. After the Normandy landings da Costa got a work in the Tréfimétaux factory and in 1947 he obtained French Nationality . He never returned to Portugal
In 1950 da Costa purchased a plot of land close to the railway in he shadow of the copper workshops. He and Marie-Louise lived in a modest house on this plot of land. The house which didn't have the running water, was never their priority and from 1957 the garden became their main focus their lives for the next 20 years.
In 1950 da Costa purchased a plot of land close to the railway in he shadow of the copper workshops. He and Marie-Louise lived in a modest house on this plot of land. The house which didn't have the running water, was never their priority and from 1957 the garden became their main focus their lives for the next 20 years.
In 1954 da Costa developed tuberculosis and his health deteriorated. As a result he began to spend his time tending his small garden and looking after aviary.
In 1954 da Costa developed tuberculosis and his health deteriorated. As a result he began to spend his time tending his small garden and looking after aviary.
However an event in 1957 turned his life upside down. Laïka, the dog which the Russians has sent into space, died and da Costa was so disturbed by this event that he decided to build a mausoleum dedicated to the dog which had died a lonely death, somewhere in outer space. This mausoleum which was topped by a sputnik which served as a weather vane, was the start of 20 years of creativity.
However an event in 1957 turned his life upside down. Laïka, the dog which the Russians has sent into space, died and da Costa was so disturbed by this event that he decided to build a mausoleum dedicated to the dog which had died a lonely death, somewhere in outer space. This mausoleum which was topped by a sputnik which served as a weather vane, was the start of 20 years of creativity.
The mausoleum of Laïka was finished in 1958 and da Costa, seized by a creative frenzy, began to develop a plan to build a dozen of monuments and to decorate the outer walls of his garden.
The mausoleum of Laïka was finished in 1958 and da Costa, seized by a creative frenzy, began to develop a plan to build a dozen of monuments and to decorate the outer walls of his garden.
Over time da Costa's style developed and his work brought out the contrast between content and form. He enriched his repertoire using familiar and exotic animals and numerous birds.
Over time da Costa's style developed and his work brought out the contrast between content and form. He enriched his repertoire using familiar and exotic animals and numerous birds.
Nature is widely represented with flowers made up of pieces of ceramic tiles or pieces of decorative crockery. He used templates, possibly supplied by a friend, to develop his motifs. The preparatory work was undertaken in a workshop behind the house which was unfit for habitation. According to the locals, the materials he used were salvaged from rubbish tips.
Nature is widely represented with flowers made up of pieces of ceramic tiles or pieces of decorative crockery. He used templates, possibly supplied by a friend, to develop his motifs. The preparatory work was undertaken in a workshop behind the house which was unfit for habitation. According to the locals, the materials he used were salvaged from rubbish tips.
Towards the end of the 1970s his strength was diminishing and he limited his output to small objects such as vases which he gave or sold to passersby. These included tourists from England, Germany, Belgium and Switzerland who were intrigued by the unusual constructions which they could see beyond the garden wall.
Towards the end of the 1970s his strength was diminishing and he limited his output to small objects such as vases which he gave or sold to passersby. These included tourists from England, Germany, Belgium and Switzerland who were intrigued by the unusual constructions which they could see beyond the garden wall.
In 1984 da Costa died. He was a proud, shy and solitary man who felt somewhat bitter that his work had not been recognized. Marie-Louise died in 1989 by which time the town of Dives, despite economic difficulties resulting from the closure of the factory, had agreed to safeguard da Costa's life work.
In 1984 da Costa died. He was a proud, shy and solitary man who felt somewhat bitter that his work had not been recognized. Marie-Louise died in 1989 by which time the town of Dives, despite economic difficulties resulting from the closure of the factory, had agreed to safeguard da Costa's life work.
The work
The work
The garden contains constructions whose inspiration is mainly religious and da Costa's work was influenced by the cultural heritage of his birthplace, Portugal, which had given him a deep faith and the dream of a greater harmony with nature.
The garden contains constructions whose inspiration is mainly religious and da Costa's work was influenced by the cultural heritage of his birthplace, Portugal, which had given him a deep faith and the dream of a greater harmony with nature.
His constructions are covered in mosaic made up from pieces of ceramics, porcelain and glass collected over a 20 year period. Increasingly the material da Costa used was blue in colour and as a result the house became known locally as the The Blue House.
His constructions are covered in mosaic made up from pieces of ceramics, porcelain and glass collected over a 20 year period. Increasingly the material da Costa used was blue in colour and as a result the house became known locally as the The Blue House.
In the 1960s the Blue House featured in a number of publications in several languages as well as in two documentaries: one for Cologne television 1979 and the other in 1989 in a video for Canal + .
In the 1960s the Blue House featured in a number of publications in several languages as well as in two documentaries: one for Cologne television 1979 and the other in 1989 in a video for Canal + .
In 1989 the town of Dives-sur-Mer purchased the Blue House having recognized its artistic significance as well as its importance for the locality. In 1991 it was included in the Inventaire Supplémentaire des Monuments Historiques. An association was set up in 2004 with the aim of raising funds to restore this remarkable life's work and to re-open it to the public. By partnering with la Fondation du Patrimoine, donors and patrons were able to take advantage of available tax breaks. The first phase of the restoration was completed at the end of 2011 and the first works to be restored were the Laïka mausoleum and the Sacre Coeur.
In 1989 the town of Dives-sur-Mer purchased the Blue House having recognized its artistic significance as well as its importance for the locality. In 1991 it was included in the Inventaire Supplémentaire des Monuments Historiques. An association was set up in 2004 with the aim of raising funds to restore this remarkable life's work and to re-open it to the public. By partnering with la Fondation du Patrimoine, donors and patrons were able to take advantage of available tax breaks. The first phase of the restoration was completed at the end of 2011 and the first works to be restored were the Laïka mausoleum and the Sacre Coeur.
Documentary film performed by Franceorganum during the event "PIerres en lumière" on May 19th 2018.
Documentary film performed by Franceorganum during the event "PIerres en lumière" on May 19th 2018.
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