La Coupole (Paris)
| Company type | Brasserie |
|---|---|
| Industry | Hospitality, Restaurant |
| Founded | December 20, 1927 in Paris, France |
| Founder | Ernest Fraux, René Lafon |
| Headquarters | Paris , France |
Area served | Montparnasse, Paris |
| Products | Food and beverages, dance hall entertainment |
La Coupole stands as a famous brasserie situated in Montparnasse, Paris, inaugurated on December 20, 1927, by Ernest Fraux and René Lafon amid the Roaring Twenties. Crafted in the prevailing art deco style of the era, it aimed to cater to the lively community of artists and writers, including expatriates and members of the Lost Generation. Throughout the interwar years, this brasserie emerged as a central meeting place for creatives from the School of Paris and prominent intellectuals.
Beneath the main establishment lies the La Coupole Dance Hall, which opened its doors on December 24, 1928. This venue featured performances by musicians such as Filiberto Rico's Rico's Créole Band (1910-1976), specializing in musical styles like rumba, bolero, guaracha, samba, and baião up until the 1960s.
Among its earliest visitors were distinguished personalities including Jean Cocteau, Alberto Giacometti, Joséphine Baker, Man Ray, and Georges Braque. It was also at La Coupole in 1928 where Louis Aragon encountered Elsa Triolet. The following decade attracted frequent attendance from figures such as Pablo Picasso, Simone de Beauvoir, Jean-Paul Sartre, Sonia Delaunay, André Malraux, Jacques Prévert, Marc Chagall, and Édith Piaf. During the 1940s and 1950s, notable guests included Ernest Hemingway, Henry Miller, Marlene Dietrich, and Ava Gardner. After World War II, artist Yves Klein became a regular patron and even held judo classes on the terrace.
A key decorative element within the restaurant is the bronze artwork La Terre created by Louis Derbré, which was introduced in 1993. The original revolving sculpture from 1972 is exhibited at Ikebukuro Square in Tokyo, while a resin reproduction is positioned at La Défense near Paris. This piece contributes significantly to La Coupole’s cultural distinction and is mentioned in John Adamson’s memoir Footloose in France.