universal exposition 1937

The word "propaganda" had not yet acquired connotations of deception, and one saw the word everywhere, in French and foreign pavilions alike. But I do know that, according to the contract, I have to start demolition on November 2." Almost none of the major nations distributed information about the materials and processes used in their industrial exhibits. Hitchcock, H.R., Jr. "Paris 1937: Foreign Pavilions," Architectural Forum, September, 1937. Dioramas of paintings and mural-sized photographs showed the history of aviation. The graceful lines of light seemed a perfect realization of the belief that industry, too, had its own intrinsic beauty. Painters and sculptors displayed their work at their own annual and biennial salons, where patrons and purchasers entered the "higher" world of aesthetic beauty, far from clanking machinery. Between the pylons, and all across the front of the building was a semi-abstract mural showing a rail car passing though a forest of loops and tracks.The official book of the exposition, Le Livre d'Or, significantly makes no mention of the names of the artists who painted the murals. As deputy commissioner Julien Durand assured the legislature during the budgetary hearings : "The old Trocadero will be replaced by a monument whose lines, in spite of their modernism, will fit well within the monumental tradition of Mansart, Gabriel, Ledoux, Percier, Fontaine, etc. Upgrade to PRO to view all 11 results. The Trocadero was the major legacy from the first exposition launched by the Third Republic. Marcello Piacentini was given the job of designing the pavilion exterior. Conceived during the victorious optimism of the 1920s, the Exposition Internationale of 1937 (the originally-planned opening was delayed for a year) was carried out in the anxious zeitgeist of the 1930s. The 8m x 12 m work towered over the two-storey height space that occupied the top of the pavilion's tower, making it the centre piece of the pavilion's decorative and propaganda program. (Texto de Fernando Martín Martín, El pabellón español en la Exposición Universal en París en 1937, Sevilla, Universidad de Sevilla, 1983) Vista general de la Exposición. But it was a by-product, and not part of the official plan. It was an embarrassment for the French government to watch visiting nations complete their pavilions while bureaucratic delays and strikes drove the French commissioners to despair. The Universal Exposition of 1889 (Exposition Universelle de 1889) was a highly successful international exhibition and one of the few world's fairs to make a profit. Amidst the technological wonders and charming pavilions of artisanship, there lurked an unpleasant feeling of tension, suspicion, and hostility at the Exposition Internationale in 1937. The ancient, bitter rivalry between the two nations, healed in 1855, damaged in 1889 (when England refused to participate in an exposition that celebrated revolution) and again in 1898 (the year of the Fashoda crisis, when English troops humiliated the French on the banks of the Nile), was now declared extinct. – from Littlejohn's essay on the American pavilion in Cinquantenaire de l'Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris, 1987), page 156. Lacoste, R. ""Paris Exhibition of 1937," Great Britain and the East, July 15, 1937. The United States pavilion, a towering skyscraper designed by chief architect Paul Weiner, showcased the Roosevelt's New Deal.21 The Departments of Treasury, Commerce, Interior and Labor made the case that America was successfully combating the Depression through an unprecedented series of public works funded by the federal government. The enthroned figure of Italy represented Corporatism – the successful economic policy that merged the best of Capitalism and the best of Communism – and that had, up until then proved a success. Vera Mukhina designed the large figurative sculpture on the pavilion. Paris World Expo 1937 --- Deutscher Pavillion bei Nacht II --- German Pavillion at night --- Pavillion allemand á nuit.jpg 1,153 × 1,678; 121 KB Paris World Expo 1937 --- Italian Pavillion at daytime --- Pavillion italien á jour.jpg 1,625 × 1,210; 297 KB The official philosophy of the exposition still paid homage to the twin gods Peace and Progress, as all parties at the great ceremony in Paris intoned the faith: no matter how bleak the world seems to be, the twin gods will see humanity through to a glorious future. Workers are not always swayed by the fine words Peace and Progress. "20 What a far cry from the heroic call for national unity in the first national expositions. Italy was the benevolent dictatorship: sunny, open and Mediterranean it was founded on discipline, order and unity. Inaugurouse o 25 de maio de 1937, da man do presidente Albert Lebrun, e pechou o 25 de … From there visitors could visit the Colonial Exhibits by Mario Sironi and the Gallery of Tourism before enjoying a plate of real spaghetti on the restaurant terrace. "Tourism, the hotel industry, and spa therapy. There was little public outcry over the proposed demolition of the relic from the 1878 exposition. Guards in every pavilion were posted to stop visitors from photographing the exhibits. The very title – "International Exposition of Arts and Technics in Modern Life" – shows the decisive split from the spirit of the earlier expositions universelles. [9], Britain had not been expecting such a competitive exposition, and its planned budget was only a small fraction of Germany's. Hamlin, T.F. viamichelin.co.uk. It replaced the old Palais du Trocadéro built for the 1867 World’s Fair. The wide, impersonal sweep of the colonnade conjures up for many a feeling of totalitarianism in modern guise: an updated imperial style that owes its vocabulary to the twentieth century but its imperial ambitions to Rome. Both were built on sites of buildings left over from previous expositions: the Grand Palais replaced the old Palais de l'Industrie of 1855, and the Palais de Chaillot replaced the Palais du Trocadéro of 1878. At the Regional Center of the 1937 exposition, the fundamental distinctions of prestige and power between Paris and the rest of France were made manifest. Gillet, L. "Coup d'oeil sur l'exposition," Revue des deux mondes, May 15, 1937. I went there nearly every day with my precious pass, given by the Prefecture, in hand. The philosophy was as congenial to fascist Italy as to democratic France or communist Russia. As a newly-recognized member of the power elite, the United States wanted to demonstrate the forward-looking nature of the nation. No longer the backbone of French agriculture and the textile trade, the provinces are now quaint outposts of Paris, useful and picturesque in their diversions from city life. Artists gratefully accepted this public support; and some of the most renowned French artists of the period – painters Robert and Sonia Delauny, Albert Gleizes, sculptors Henri Bouchard and Alfred Janniot– staved off starvation with government commissions. [10], After the Paris exhibition closed, Worker and Kolkhoz Woman was moved to the entrance of the All-Russia Exhibition Centre in Moscow, where it stood on a high platform. But for painters and sculptors, gold medals awarded at world's fairs never had the status comparable to awards from the annual salons. World War One was scarcely two decades past. The purpose of the exhibit was educational; but visitors must have been struck with the fluid beauty of the patterns of light as they flowed back and forth across the exposed sections of the locomotive engine. The opening date was moved up to 1937, and a commission set to work in earnest on the grand schemes and finer details. Additional note: some observers contend that, at the 1958 exposition in Brussels, Belgian officials purposefully placed the United States and Russian pavilions together to highlight their mutual enmity. 23 Architectural Record, October, 1937, page 8, Expenses: 789,700,000 francs (including supplements to original budget), Loss to Government: 495,000,000 francs (Figures vary according to different reports), Pierre Mortier, Directeur de la Propagande, Jacques Gréber, Architecte en Chef de l'Exposition. The value of art and science derives from its social utility, the exposition planners announce at Paris 1937. It also 'repurposed' an existing artwork: Mario Sironi's Corporative Italy (Fascist Work) mosaic from the 1936 Triennale that had now been completed with numerous figures engaged in different types of work and the figure of the imperial Roman eagle flying in from the right hand side. Culture, Capital and Representation. viamichelin.co.uk. "This great lesson in international cooperation will not be forgotten,"1 predicted Fernand Chapsal, the French Minister of Commerce, in the official public report on the exposition. Each country did its best to show the world the superiority of the political and economic system that had produced the marvels on view in its national pavilions. ", "Well," replied the director,"I can't tell you exactly. "Paris 1937: A Critique," American Architect, November, 1937. The preparation and construction of the exhibits were plagued by delay. [4], The Spanish pavilion was arranged by the President of Spain Spanish Republican government and built by the Spanish architect Josep Lluis Sert. Because of the Great Depression – and the trend among painters and sculptors towards "unpopular" abstract art – the number of buyers to support the arts had declined sharply. In a spirit of cooperation, even the Ile de France – the province that includes Paris – participated with a structure that resembled the top part of one tower in the City Hall of Paris. Instead, the government announced in the Livre d'Or Officiel that it would integrate the exposition with "the overall plan of economic recovery and the struggle against unemployment."2. Place de Alma, continue straight on avenue de New York. Le Corbusier, whose Pavillon de l'Esprit Nouveau had created such an uproar at the 1925 Art Deco fair, was excluded from all the design teams of the 1937 exposition. Here primitive artisanship thrived. Visualizza altre idee su Esposizione universale, Parigi, Vecchia parigi. The main entry was through the Court of Honour that showcased life size examples of Italy's most important contribution to the history of technology. The exposition was, in this respect, a kind of equivalent to the WPA program in the United States, where the government funded hundreds of mural projects in an effort to sustain working artists. 11. At the center of all the displays featuring the New Deal stood a huge relief map of the Capitol, where all visitors could admire the city planners' wisdom and foresight when they envisioned the political centerpoint the United States. But the most striking feature of the Russian pavilion was not the exhibits of gold and propaganda: it was the placement of the building face to face with the Nazi pavilion. Close by, these bas-reliefs by Pierre Le Faguay summed up the sources and international extent of influence of powered flight: "The ‘spike’ of our pavilion, without a doubt, is the animated model showing the passage by ferryboat from Paris to London,"18 the exhibit commissioners announced proudly. . In the modern view, easel painting was elitist. But as 1936 drew closer, no detailed plans for the event had yet been drawn up. Joseph Sapey-Triomphe - Series of four framed photographs 1930, universal exhibition of 1937 in Paris - Art Deco - Glass, Paper, Wood France Series of four old photographs depicting sculptures presented at the 1937 World Expo in Paris. The Russian and German Pavilions oppose each other at the 1937 Exposition (click the image for a lightbox view), Click HERE for a 1937 video of the scene above, Expanded and revised from World's Fair magazine, Volume VIII, Number 1,1988. L'invention du sauvage (Musée du Quai Branly, Paris, 29.11.2011-3.6.2012), Paris, Arles 2011, 180-205. In spite of the genuine attempt to see colonial cultures as part of the greater French family, the mood of cultural and racial superiority persisted. One of the most successful manifestations of the goals of the exposition was the Railway Pavilion. (ed.) At the time when the Universal Exposition of 1900 was in the planning stage, the Compagnie Paris-Lyon-Méditerranée (the PLM) decided to build a new railway station with 13 tracks capable of handling tens of thousands of visitors. The major legacy from the 1878 exposition universelle was leveled in 1934 without ceremony. It attracted more than thirty-two million visitors. "U.S. Pavilion Carries Skyscraper Motif to Paris," Architectural Record, December, 1937. France planned the new exposition with an eye toward consolidating her claims to cultural authority. The Italian building showed how lovely Italy had become even lovelier under the benign reign of Il Duce. Some thirty-thousand visitors per day crowded into the immense series of galleries housed in a pavilion designed by Audoul, Hartwig, and Gérodias. What the Isle des Cygnes was to France, the Regional Center, located in a remote corner of the Esplanade des Invalides, was to Paris. Both the right and the left wings of political life in the 1930s conspired to confine art and science to these subservient roles. Paris, France, Europe, and all nations of the earth seemed poised in the eye of a hurricane, between the winds of World War I and World War II. Sie empfing insgesamt 2,3 Millionen Besucher aus der ganzen Welt. Application to daily life is the highest measure of worth. The muralists and sculptors who adorned the walls of the industrial galleries were the artists truly in phase with the official philosophy of the fair. It was to broadcast to the world that a new and powerful Germany had a restored sense of national pride. 8. Apr 14, 2019 - Pierre Jahan, THE UNIVERSAL EXHIBITION OF 1937. Artists felt that the fine arts were more noble and refined products of the human spirit. Art could profit by advances in industry – the use of photography in portrait painting was the most often-cited example – and industry borrowed liberally from the arts to lend grace to utility. The grand building was topped by Worker and Kolkhoz Woman, a large momentum-exerting statue, of a male worker and a female peasant, their hands together, thrusting a hammer and a sickle. Night view of the Palais de l'air (Click the image for a lightbox view), Guide booklet for the colonial empire exhibits. Exposition '37: la vie flamboyante des expositions (Paris, 1937). Its central attraction was the Eiffel Tower, a 300-meter high marvel of iron by Gustave Eiffel. On 4 December 2009 the sculpture was revealed on the recreated pavilion structure. [2], The Pavillon des Temps Nouveaux (Pavilion of New Times) was a tent pavilion designed by Le Corbusier and Pierre Jeanneret. But the officials pointed out that, during the year of the exposition, over four million more people attended theatrical and musical performances than in 1936, producing an estimated profit of forty million francs; admissions to the Louvre and Versailles doubled; the Métro collected fifty-nine million more fares; train travel increased twenty per cent; and hotels registered one hundred twelve per cent more guests. Government support for the murals at the exposition was, as we have seen, part of the official effort to combat unemployment. 15 For a rejection, or at least a qualification, of the view that the Chaillot Palace represents a French urge towards fascism or totalitarianism, see Bertrand Lemoine's essay on the Chaillot Palace in Cinquantenaire de l'Exposition Internationale des Arts et des Techniques dans la Vie Moderne (Paris: 1987), pages 86ff. Art is not the vessel of immortal truth, whose purpose is to "instruct by pleasing": it is a decorator of the useful. From the political vantage point, the fair was a vehicle of nationalistic propaganda. L'Exposició Universal de París de 1937, oficialment anomenada Exposition Internationale des Arts et Techniques dans la Vie Moderne en francès, va estar regulada per l'Oficina Internacional d'Exposicions i va tenir lloc del 25 de maig al 25 de novembre de 1937, a París. The sculpture was removed for restoration in 2003, intended to be completed by 2005. The Universal Exhibition was just a stone’s throw from home. It attracted extra attention because the exposition took place during the Spanish Civil War. The idea was abandoned as it was far too expensive. At night, the pavilion was illuminated by floodlights. The medals were distributed, and the conquering exhibitors of forty-four nations politely applauded each other during the closing ceremonies on November 2, 1937. Clearly, the monetary goals of the exposition, taken in the larger context of the French economy, had been met. 12.900 Aussteller nahmen an der Ausstellung teil, davon stammten 66 Prozent aus Spanien. The Palais de Chaillot is perhaps the best known monument. [1] Unfortunately, as Robichon notes, "The reconstruction of the Trocadero palace took place in total disorder.

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