Exposition Internationale Des Arts Dãƒâ©coratifs Et Industriels Modernes Paris
Equally nosotros approach its centenary, Society Chair and storied 'Art Deco Traveller' Genista Davidson looks at the 1925 Paris Exposition and its legacy.
This hugely successful globe off-white attracted 16 million visitors over its seven-month run from April to October 1925. It is accounted to be where Modernism and Art Deco were built-in and transported around the earth. However, pre-1925 new eclectic modernist genres of arts, design and architecture were already beingness explored, especially by the Bauhaus move. The off-white was originally proposed for 1913-14 simply abased due to the outbreak of World State of war I. The previous off-white held in Paris had been in 1900; and France wanted this new Exposition of 1925 in order to regain world recognition as the cultural arts uppercase of the world.
The criteria fix downwardly past the organising authorities of the exhibition stated: – "Information technology should comprehend a broad field of gimmicky industrial and decorative art. Reproductions or mere copies were excluded and that all exhibits should display genuine originality, fulfil a practical need and limited a modern inspiration."
With 20 different countries participating and xv,000 exhibitors, it was a strict remit to adhere to. The layout of the exhibition covered 70-two acres and embraced the entirety of the Grand Palais, the Petit Palais, the Cours La Reine, the Pont Alexandre Three and the Esplanade des Invalides, every bit well as utilising both banks of the River Seine. There were over a dozen gateways and entrances positioned around the perimeter – each designed by a different architect. The principal entrance was at the Place de la Concorde, designed past Pierre Patout, with a statue of a woman in the centre called 'Welcome' past Louis Dejean.
2-thirds of the exhibits were French, including many from luxury Paris department stores. The pavilions of the major French stores and decorators were located on the main axis inside the entrance. Other sections included products from the French colonies and from the French provinces focusing heavily on Nancy and Lyon.
Virtually of the country pavilions embraced the remit with optimism, enthusiasm and futuristic designs. The Italian Pavilion was considered a little too safe in terms of design as they relied on the tried and tested beauty of the Renaissance architectural style.
British Pavilion
Galleries Layfette Pavilion
Le Corbusier Pavilion – l'Esprit Nouveu
The British Pavilion past Easton & Robertson received mixed reviews with some critics praising its bold pattern while others dismissed it. The French-Swiss architect, designer and artist, Le Corbusier, pseudonym of Charles Edouard Jeanneret (1887-1965) took the modernist motility i-stride further with his small Pavilion de fifty'Camaraderie Nouveau (new spirit) named after a magazine he had co-founded in 1920. Le Corbusier advocated the functionalist style promulgated by the Bauhaus schoolhouse and criticised the decorative style of other pavilions. "Decorative fine art," Le Corbusier wrote, "equally opposed to the automobile miracle, is the final twitch of the sometime manual mode, and is a dying matter. Our pavilion will contain only standard things created by industry in factories and mass-produced, truly the objects of today." When the committee saw his pavilion, they disallowed it and decided to cover it with a hoarding until the Minister of Fine Arts, K. de Monzie, intervened and canonical the blueprint.
The Soviet pavilion by Konstantin Melnikov fully grasped the remit and created an undervalued modernist pavilion that was non recognised for its outstanding design until many decades later.
Le Corbusier and the Russians fabricated the running for modernism, given the absence of Germany, non invited for obvious reasons; so the Bauhaus could not not exhibit. Robert Mallet-Stevens's Tourism Pavilion was another striking modernist structure, setting out French claims to the avant-garde.
The strikingly beautiful water fountain designed by Rene Lalique was one of the heart pieces and was lit during the evenings, thus causing all to endorse Paris every bit the 'Metropolis of Light'. Along the river Seine were large barges full of the latest creations by the fashion designer Paul Poiret, and everyone wanted to go a glimpse of his showstopping couture.
The rich and famous rubbed shoulders with royalty and information technology was considered the event to be seen at, while heart and working classes would dress in their Lord's day all-time and promenade around the gardens and pavilions. It was a spectacle beyond words and the success of this world fair firmly put Paris and France back on the map as beingness at the forefront of the decorative arts once again, after the trauma of World War I.
Commemorative Contumely Plaque
Reverse of plaque
The Paris Exposition left a far-reaching legacy over the following decades.The Exposition Coloniale Internationale in Paris (1931) and the Exposition Universelle et Internationale in Brussels (1935) emulated the faddy of the Paris 1925 Expo inside similar remits roofing architecture and design, both receiving high recognition. Two American fairs, the Century of Progress Exposition held in Chicago (1933-34) and the New York Globe's Fair (1939-twoscore), followed suit celebrating the period with a newfound optimism.
In 2025 information technology will be the centenary year of the 1925 Paris Exposition and the Art Deco legacy will exist celebrated in one case again effectually the world.
Source: https://artdecosociety.uk/2019/06/01/l-exposition-internationale-des-arts-decoratifs-et-industriels-modernes-1925-paris/
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