universal exposition 1937

12.900 Aussteller nahmen an der Ausstellung teil, davon stammten 66 Prozent aus Spanien. France planned the new exposition with an eye toward consolidating her claims to cultural authority. But it was a by-product, and not part of the official plan. "4  Jean Loisy, writing in L’insurgé, sneered that "the exposition has neither a leader nor a plan nor a program. "Leçon et avertissement pour l'Exposition 1937," Arts et métiers graphiques, 1936, numéro 51. Exposition Internationale des Arts et Techniques, Paris, 1937 – Rapport Général, 10 Volumes (Paris, 1938-40). Today Museum of Modern Art of the City of Paris and Site of Contemporary Creation, this place was from its construction to become a cultural center in Paris. The title of the 1937 exposition suggests another change in the thinking of the planners, a change as fundamental as the shift from "universal" to "international." The French erected a special Pavillon du Tourisme, where the beauties of France could be admired without the distractions of industrial or artistic exhibits. Art ruled the realm of Beauty, while industry held sway in the domain of the practical. Aerial photo of the Chaillot Palace today (photo: Panoramio), As it turned out, the new Chaillot Palace was not the most the exciting architectural event at the exposition. Detailed shots of the Soviet Pavillion at the 1937 Exposition internationale des Arts et Techniques dans la Vie moderne in Paris. Art is not the vessel of immortal truth, whose purpose is to "instruct by pleasing": it is a decorator of the useful. 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. You will pass by the Palais de Tokyo, double building built for the Universal Exhibition of 1937. Basingstoke: Palgrave-Macmillan. In spite of the obvious differences in style, there are some striking parallels between the two buildings. At night, the pavilion was illuminated by floodlights. Wine-Searcher is not responsible for omissions and inaccuracies. Others wanted to see the artisan exalted, in an attempt to ennoble colonial craftsmen and to fix the status of art as a decorative auxiliary to social concerns. However, the compressed time frame hurried the commission into hasty decisions and improvisational planning. The term artisan is used again and again in the official literature; and the word is used with the kind of respect that indicates the writers felt at artisanship was every bit as worthy as artistry. The statue was meant to symbolize the union of workers and peasants.[8]. 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. Parisian laborers in 1937 demanded a pledge from the government that if they helped build the exposition, they would be guaranteed employment thereafter. "The old Trocadero will be mourned," remarked one French architect, "but only by those who habitually mourn the dead. The most telling sign that art had declined into servitude was the manner in which artisanship was exalted over art, and the condescending admiration bestowed upon the artisans of colonial cultures by their rulers. I had just bought, for my holidays, a tiny sailing ship that I launched in the middle of the Exhibition with the utmost thoughtlessness! Both the Palais de Chaillot, housing the Musée de l'Homme,[1] and the Palais de Tokyo, which houses the Musée d'Art Moderne de la Ville de Paris, were created for this exhibition that was officially sanctioned by the Bureau International des Expositions. pp. . As a newly-recognized member of the power elite, the United States wanted to demonstrate the forward-looking nature of the nation. The preparation and construction of the exhibits were plagued by delay. Exposition '37: la vie flamboyante des expositions (Paris, 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. At night, lights shined through the opaque plastic, giving a wonderful sense of airiness to the whole. This was the familiar French 1001 Nights dreamland, the exotic Orient and darkest Africa made real by theme pavilions and dusky natives hawking wares in the quartier d'outre mer. It was finally decided that the world's fair would take as its theme the division that had grown up between the arts and technology. This book argues for the importance of bringing women and gender more directly into the dynamic field of exposition studies. On December 28, 1929, the French Chamber of Deputies passed a resolution calling for an "Exposition of Decorative Arts and Modern Industry," in 1936, to be placed under the direction of the Minister of Commerce. Inaugurouse o 25 de maio de 1937, da man do presidente Albert Lebrun, e pechou o 25 de … La de 1937 fue titulada «Exposition Internationale des Arts et des Techniques». [5] The pavilion included Pablo Picasso's Guernica, the now-famous depiction of the horrors of war,[6] as well as Alexander Calder's sculpture Mercury Fountain and Joan Miró's painting Catalan peasant in revolt.[7]. In 1937, the Queen City of Expositions held court for the last time. 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. [17], Entrance to the Italian Pavilion (Colour reconstruction). Like massive abstract sculptures, radial airplane engines rested on pedestals at wide intervals throughout the main gallery. By day, the building's ribbed pylons stood forth boldly from the front of the building, emphasizing the geometric nature of the design. In spite of all my appeals to their honor and power, they still go on strike.7, Medal honoring Edmond Labbé for his work as chief commissioner for the exposition. Upgrade to PRO to view all 11 results. Its contents were crafts objects arranged according to English words which had become loanwords in French, such as "sport" and "weekend", and included some items by renowned potter William Worrall. 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. There was considerable British criticism that the result was unrepresentative of Britain and compared poorly to the other pavilions' projections of national strength. Today, many buildings of the 1937 Exhibition are still standing in Paris. 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. No one came away from the Columbian exposition with the notion that the other states were provinces of Chicago. [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. The very title – "International Exposition of Arts and Technics in Modern Life" – shows the decisive split from the spirit of the earlier expositions universelles. The writer makes it clear that Gillet's remarks are typical of the general comments about the unloved Trocadero. [1] Science is valued, not as an independent exploration of the unknown, but as a vehicle for social amelioration. But as 1936 drew closer, no detailed plans for the event had yet been drawn up. 12 Quoted in the Architectural Record, October, 1937, page 81. The pavilion was conceived as a monument to "German pride and achievement". Bas reliefs showed airlines tying together Europe (with France leading the way), the Americans, Indochina and Africa. [8] Hitler had desired to withdraw from participation, but his architect Albert Speer convinced him to participate after all, showing Hitler his plans for the German pavilion. Artists felt that the fine arts were more noble and refined products of the human spirit. Hitchcock, H.R., Jr. "Paris 1937: Foreign Pavilions," Architectural Forum, September, 1937. But Le Corbusier himself was too uncompromisingly visionary for the exposition planning commissioners. Visualizza altre idee su Esposizione universale, Parigi, Vecchia parigi. 14 Rapport Julien Durand, given to the Commission of Finances, meeting of February 13, 1936, n.p. 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. The Railway Pavilion, with facade painted by Robert Delauny. The organization of the world exhibition had placed the German and the Soviet pavilions directly across from each other. This utilitarian tendency, always present in the philosophy of the Parisian expositions, is now carried to its logical extreme. As he surveyed the exhibit of tribal masks from Gabon and the Ivory Coast, the official chronicler of the colonial exhibit, Marc Chadourne, has a vision of the message crying out from these wares: "I am black, but I am beautiful. The room was a celebration of all those aspects of Fascist society that Pagano wholeheartedly believed in: social harmony, government input to generate industrial innovation and support for artists, professionals and craftsmen as well as workers. Una exposició universal és una exposició de gran envergadura celebrada des de la segona meitat del segle xix en localitzacions arreu del món. The tardiness of the French workers was a major embarrassment to the French, since, by the time of the opening ceremonies, the Russian, German, Belgian, Danish and Italian pavilions were complete and ready to receive visitors. Indeed, Albert Speer, chief architect of the Third Reich, thought so, and his German pavilion at the 1937 exposition was carried out in a spirit quite close to that of the Chaillot Palace. The Soviet Union mounted the most expensive display of all: a map of mother Russia made entirely of gold studded with rubies, topazes, and other precious stones – a luxurious and luxuriant illustration the country’s industrial growth in recent years. "5 Looking back to the exposition of 1937 half a century later, François Robichon concludes that "the scheme of the whole was undiscoverable, since the placement of the 200 pavilions was made without any overarching plan, with the exception of those in the Trocadero Esplanade."6. L'invention du sauvage (Musée du Quai Branly, Paris, 29.11.2011-3.6.2012), Paris, Arles 2011, 180-205. World War One was scarcely two decades past. 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. 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. 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. Even apparently public displays were to be appreciated, not studied. 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. Workers are not always swayed by the fine words Peace and Progress. But there was a subtle price attached to this patronage: modern painting and sculpture at the Exposition Internationale were reduced to the status of architectural embellishment. At least one other writer (Jonathan Coe) suggested that the placement was rather an example of the Belgian sense of humor. In all the previous events, increased business was recognized as an economic by-product of staging an exposition. One newspaper ran the headline: "The exposition is late – as usual. Various shot of the French colonial section at the Exhibition of Paris in 1937. By being most emphatically themselves, writes André Liautey, the provinces, "serve a national cause." Over six hundred congresses had been held on an unprecedented number of topics. It is also the last such event to take place in Paris. The most famous structure created for the Exposition, and still remaining, is the Eiffel Tower Gone were the obeisances to the European tradition, such as were embodied in the American building on the Quai des Nations in 1900. Four distinguished French architects – Alfred Audoul, Eric Bagge, Jack Gérodias and René Hartwig – designed a structure in the art deco mode. The Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) was held from 25 May to 25 November 1937 in Paris, France. Given the precarious state of the national economy, the decorative arts did not seem a serious enough concern to justify the labor and expense of a major international exposition. Application to daily life is the highest measure of worth. ", "Well," replied the director,"I can't tell you exactly. And in 1906, Dutert’s Gallery of Machines (from the 1889 exposition)  was destroyed to enhance the view towards Les Invalides. 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. Inside, they set forth his models and plans for the ideal city of the future. The Italian building showed how lovely Italy had become even lovelier under the benign reign of Il Duce. 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. [10] Frank Pick, the chairman of the Council for Art and Industry, appointed Oliver Hill as architect but told him to avoid modernism and to focus on traditional crafts. The idea was transferred to Paris, where the "Provinces" seemed to the French as the equivalent of states. Lemoine, Bertrand, general editor. Des hommes exotiques dans les expositions universelles et internationales (1851-1937), in: Exhibitions. 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. The 1937 Exposition Internationale was designed in part to effect a unification between these forms of endeavor. 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. Jacques Gréber, supervising architect of the Exposition Internationale, expressed his dismay at the lack of foresight in choosing the exposition site and permanent structures: If the exposition had been decided upon five or six years before the opening, I certainly would have recommended a site that extended beyond the confines of the city – more precisely, a site to house a great Park of the Future, with several permanent public buildings useful to the development of greater Paris.3, When the American correspondent for the Architectural Record surveyed the exposition, he could compliment the "cheerful magnificence of conception, peculiarly French," while at the same time lamenting that the overall objectives of the exposition were "foiled by a lack of coordination between the idea and the realization. "17, Mural in Le Corbusier's Pavilion de l'Esprit Nouveau. Now the colonials were brought back and placed in isolated splendor on the Ile des Cygnes in the Seine. A praise of the industrial revolution t… From the outset, women participated not only as spectators, but also as artists, … The new Chaillot Palace was to be the triumphant vindication of the present age over the past. The exposition coloniale had presented handiwork and crafts by the subject peoples of the French empire in a picturesque encampment out by the Chateau de Vincennes, for scrutiny and appreciation by the citizens of the governing nation. 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. Speer's pavilion was culminated by a tall tower crowned with the symbols of the Nazi state: an eagle and the swastika. "12  It was the third time that Paris had demolished a major structure from a previous exposition – the first to go was the old Palais of Industry, built in 1855 and torn down for the 1900 exposition – and in both cases, the destruction took place without protest from the public or critics. 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. In addition, artists were called upon to adorn official buildings with bas reliefs and free-standing works that symbolized the goals of the exposition. 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. Auch sollte, in einer Zeit wachsender Kriegsgefahr, die Bedeutung des Friedens betont werden. Moholy-Nagy, L. "Paris Exposition," Architectural Record, October, 1937. It was to broadcast to the world that a new and powerful Germany had a restored sense of national pride. 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. (ed.) "9 Right-wing journalist blamed the left wing for creating a "climate of disaster," while the left pointed the accusing finger at the capitalists for failing in their commitments and suppressing the workers.10 The rancor of the recent elections continued to be played out in the newspapers and journals as the exposition proceeded. 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. . Juli 1934 gefasst. (By contrast, two years later, San Francisco would succeed in holding its Treasure Island exposition open for an additional year).

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