Basingstoke: Palgrave-Macmillan. The Palace of Industry was the major legacy of the first exposition of Napoleon III's Second Empire. And in 1906, Dutert’s Gallery of Machines (from the 1889 exposition)  was destroyed to enhance the view towards Les Invalides. And there were other tangible evidences of mistrust. [4], The Spanish pavilion was arranged by the President of Spain Spanish Republican government and built by the Spanish architect Josep Lluis Sert. Both buildings recalled some of the basic design features of their predecessors: the Grand Palais, like the old Palais de l'Industrie, crowning its elaborately decorated stone sheath with a vault of glass and iron; the Palais de Chaillot retaining from the old Palais du Trocadéro the encircling sweep of the colonnade and the ceremonial fountains facing the Seine. The very title – "International Exposition of Arts and Technics in Modern Life" – shows the decisive split from the spirit of the earlier expositions universelles. On 28 November 2009 the sculpture was completed and returned to its place in front of the VDNKh. 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. He used a modern reinforced concrete frame combined with traditional elements such as colonnades, terraces, courts and galleries, the tower form, Classical rhythms and the use of Mediterranean marble and stucco. 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. Inaugurouse o 25 de maio de 1937, da man do presidente Albert Lebrun, e pechou o 25 de … "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. Both the Grand Palais and the Chaillot Palace were conceived as permanent art museums – legacies of their respective eras to the city of Paris for the glory of France. 12 Quoted in the Architectural Record, October, 1937, page 81. Writers for the Parisian journals of 1937 regaled themselves with epithets for the unloved Trocadero: "a miserable amalgamation of crab, antelope, and turtle" –, "a vacuous idiot with a pair of asses ears!" 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. The visual aspect of these regional pavilions was an effect miniaturized grandeur: reductions of older styles meant for larger buildings. Inside, they set forth his models and plans for the ideal city of the future. . 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. It attracted more than thirty-two million visitors. Many translated example sentences containing "l'exposition universelle de 1937" – English-French dictionary and search engine for English translations. There was little public outcry over the proposed demolition of the relic from the 1878 exposition. The major legacy from the 1878 exposition universelle was leveled in 1934 without ceremony. [11] The main architectural element of Hill's pavilion was a large white box, decorated externally with a painted frieze by John Skeaping and internally with giant photographic figures which included Neville Chamberlain fishing. Barret, Maurice. 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. The centerpiece of the Air Pavilion was a vast gallery reminiscent of an airplane hanger. The Italian building showed how lovely Italy had become even lovelier under the benign reign of Il Duce. At the earlier French national fairs held in the first decades of the 19th century, the artists refused to lower themselves by appearing in the same expositions as the "lower" mechanical arts. 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. And what is the nature of this contribution? Military aircraft, parachuting, sport flying, and even model-airplane building – every genre of hobby, commercial, or military application – were all represented at the booths of the Palais de l'Air. The value of art and science derives from its social utility, the exposition planners announce at Paris 1937. Beneath the imported totem poles, between the fronds of the newly-planted banana trees, palms and cacti, the colonial artisans weaved fabrics and sang their songs on the Parisian island of outre mer. Labbé was persuaded to continue, and the work proceeded. « I was then living in rue La Fontaine. 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. While the country indeed finds got back among the major world powers – challenged after economic crises, the Prussian invasion and the Paris Commune– the World’s Fair was an opportunity for the Republic to glorify both the french know-how and its colonial empire. Science is valued, not as an independent exploration of the unknown, but as a vehicle for social amelioration. (By contrast, two years later, San Francisco would succeed in holding its Treasure Island exposition open for an additional year). As always with Parisian expositions, the work proceeded slowly, and the exposition opening time was pushed back again and again. Various shot of the French colonial section at the Exhibition of Paris in 1937. 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. The pavilion was conceived as a monument to "German pride and achievement". 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. Though art and industry had coexisted at world's fairs, there were never any systematic attempt to integrate the two. 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. 148–68,,,,, "Raumbild Paris 1937: Introduction, ten images, and English text", Exposition internationale de 1937 at the Médiathèque de l'Architecture et du Patrimoine, Exposition Internationale by Sylvain Ageorges, International Exposition of Arts and Technics in modern life,, Articles with unsourced statements from April 2010, Articles with unsourced statements from January 2020, All articles with vague or ambiguous time, Vague or ambiguous time from February 2011, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Exposition Internationale des Arts et des Techniques appliqués à la vie moderne, Polish modern architect Stanisław Brukalski won the bronze medal for, German textile designer, weaver and former, 27 July – World Championship Boxing Matches, 30 July – 10 August – The True Mystery of the Passion (before, Forty Two International Sporting Championships, Every Night: Visions of Fairyland on the Seine, This page was last edited on 5 January 2021, at 11:07. Visualizza altre idee su Esposizione universale, Parigi, Vecchia parigi. The sculpture was removed for restoration in 2003, intended to be completed by 2005. Undaunted, and following the tradition of "refusée" painters from earlier expositions,16 Le Corbusier and his followers erected a huge tent outside the exposition grounds, just beyond the Porte Maillot. This, as well as the fact that the two pavilions faced each other, turned the exhibition into a competition between the two great ideological rivals. The 1937 Exposition Internationale faced some of the most important dualisms that divided humanity against itself: the split between Paris and the provinces, between France and her colonies, between art and science, between socialism and capitalism, between fascism and democracy. 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. The most famous structure created for the Exposition, and still remaining, is the Eiffel Tower 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. Its central attraction was the Eiffel Tower, a 300-meter high marvel of iron by Gustave Eiffel. In the shadow of the Eiffel Tower, the two opponents faced off with self-aggrandizing monuments to their nationalistic spirits. 2. The legacies of the Expo. in La Revue Musicale, June-July, 1937, page 99. In the domain of ideas, the 1937 exposition attempted to reconcile, symbolically, art and industry. Soon the participants departed to their fortified cities and prepared to arm human pride with the tools of technology for the forthcoming tournament of blood. Official writing about the Regional Center is not the slightest bit condescending. 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. 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. Within the expositions themselves, however, art and industry remained separate – separate in the nature and application of their basic values, and separate in the very exhibit space they occupied within the exposition buildings themselves. Bas reliefs showed airlines tying together Europe (with France leading the way), the Americans, Indochina and Africa. Marcello Piacentini was given the job of designing the pavilion exterior. Some legislators thought the exposition should celebrate "Workers’ and Peasants’ Lives," in an attempt to heal the split between Paris and the provinces and to give an egalitarian cast to the exposition’s theme and purpose. Speer's pavilion was culminated by a tall tower crowned with the symbols of the Nazi state: an eagle and the swastika. Artists felt that the fine arts were more noble and refined products of the human spirit. After having first decided to demolish the old structure, they opted instead for camouflage. Both the Palais de Chaillot, housing the Musée de l'Homme, 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. First the superiors, then the equals of industrialists, artist had now fallen to the level of plaster molding manufacturers and furniture decorators. A Exposición Internacional de París de 1937, baixo o lema Exposición Internacional das Artes e das Técnicas na vida moderna, foi a sexta celebrada nesta cidade desde que naceron en Londres, en 1851. 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. 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. One of his students, Junzo Sakakura, designed the Japanese pavilion. Over six hundred congresses had been held on an unprecedented number of topics. [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. Die Exposición Internacional de Barcelona von 1888 war eine Weltausstellung und fand zwischen dem 8. The organization of the world exhibition had placed the German and the Soviet pavilions directly across from each other. At one point Edmond Labbé, chief commissioner of the exposition, resigned his post with a despairing outburst: I am a dishonored man, and I herewith tender my resignation. 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. By June of 1940, Paris would belong to the conquering Nazis. By 1935, the new exposition had a theme and a name. 11. Paintings by Brunet, sculpted panels on the outside of the structure, and several thematic stands inside the Canadian pavilion depicted aspects of Canadian culture. 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. "20 What a far cry from the heroic call for national unity in the first national expositions. To their credit, the exposition officials recognized that they were celebrating in a deeply troubled world, and did their best to confront the actual and impending disasters within the framework of the exposition itself. “Long live regional differences among the French!” the commissioners insist. 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. But would the fair ever open its gates to the public? Una exposició universal és una exposició de gran envergadura celebrada des de la segona meitat del segle xix en localitzacions arreu del món. 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. But Chicago does not signify to America what Paris signifies to France. Nothing in any previous universal exhibition had ever matched this dramatic architectural confrontation. 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. ", "Well," replied the director,"I can't tell you exactly. 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. At the ground level, a massively naked Teutonic trio stare at the Russian monument with grim determination.22. I had just bought, for my holidays, a tiny sailing ship that I launched in the middle of the Exhibition with the utmost thoughtlessness! [9], Britain had not been expecting such a competitive exposition, and its planned budget was only a small fraction of Germany's. Even apparently public displays were to be appreciated, not studied. The fairs of the earlier era and the event of 1937 are all "expositions" – shows of the products of human ingenuity, under the aegis of Peace and Progress – but the "universal" is gone from the name and nature of the newest fair. Upgrade to PRO to view all 11 results. All previous expositions had been international; but national rivalries were supposed to be subordinated to larger, "universal" concerns: the elevation of taste through the arts and the improvement of everyday life by science through industry. 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 model showed Paris and London as sister cities, bound together by efficient and convenient means of transportation. 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. The medals were distributed, and the conquering exhibitors of forty-four nations politely applauded each other during the closing ceremonies on November 2, 1937. What the Isle des Cygnes was to France, the Regional Center, located in a remote corner of the Esplanade des Invalides, was to Paris. (ed.) Guards in every pavilion were posted to stop visitors from photographing the exhibits. At night, lights shined through the opaque plastic, giving a wonderful sense of airiness to the whole. The ritual of Peace and Progress was over. Art is not the vessel of immortal truth, whose purpose is to "instruct by pleasing": it is a decorator of the useful. Sie empfing insgesamt 2,3 Millionen Besucher aus der ganzen Welt. No one came away from the Columbian exposition with the notion that the other states were provinces of Chicago. It was to broadcast to the world that a new and powerful Germany had a restored sense of national pride. The mood of the 1937 exposition carried none of the buoyant optimism that prevailed in 1900. The Universal Exhibition was just a stone’s throw from home. [1] The 1925 exposition, though not as ambitious as the five previous Parisian world's fairs, was pronounced a succès d'estime for France. Here primitive artisanship thrived. The Hall of Honour was the pavilion's most dramatic and evocative space. 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. La de 1937 fue titulada «Exposition Internationale des Arts et des Techniques». 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. Reclaiming women for the history of world fairs (1876-1937), it also seeks to introduce new voices into these studies, dialoguing across disciplinary and national historiographies. 14 Rapport Julien Durand, given to the Commission of Finances, meeting of February 13, 1936, n.p. And Picasso's Guernica, on display in the Spanish pavilion, showed that painters were still capable of making powerful statements about the moral dimension of the contemporary world. 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. It was with the architecture of the pavilions and buildings specially built for the exhibition that France demonstrated his technique. The idea was abandoned as it was far too expensive. Like massive abstract sculptures, radial airplane engines rested on pedestals at wide intervals throughout the main gallery. Des hommes exotiques dans les expositions universelles et internationales (1851-1937), in: Exhibitions. As time went on, the objectives themselves wavered and shifted in the political storms. "The old Trocadero will be mourned," remarked one French architect, "but only by those who habitually mourn the dead. Check with the merchant for stock availability. 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. This enormous and intricately detailed model showed the departure from the Gare du Nord in Paris (with much of the city, including Montmartre, rendered with almost photographic accuracy), the debarking from Dunkirk, the arrival at Dover, and the destination at Victoria Station in London. Knowledge was the hoarded property of the nation that discovered and applied it. The Exposition Internationale would be the final European enactment of the ritual of Peace and Progress before the deluge. On 4 December 2009 the sculpture was revealed on the recreated pavilion structure. One of the most successful manifestations of the goals of the exposition was the Railway Pavilion. A good internet reference source for the pavilions at the 1937 exposition:, Here is my account of the background for the Paris expositions, Quotations from the Works of Samuel Johnson, Presentations for Biography of a City: San Francisco, Signature Buildings of San Francisco Backstory. [2], The Pavillon des Temps Nouveaux (Pavilion of New Times) was a tent pavilion designed by Le Corbusier and Pierre Jeanneret. 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." Other countries as well stressed the virtues of their home government, but added allurements to promote tourism. 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. 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. The graceful lines of light seemed a perfect realization of the belief that industry, too, had its own intrinsic beauty. 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 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. Culture, Capital and Representation. Now "Art" and "Science" no longer exist as absolute values. Juli 1934 gefasst. The new Chaillot Palace was to be the triumphant vindication of the present age over the past. 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. Motto war, dass Kunst und Technik sowie das Nützliche und das Schöne, einander jeweils nicht widersprechen, sondern ergänzen. Today, many buildings of the 1937 Exhibition are still standing in Paris. Exposition '37: la vie flamboyante des expositions (Paris, 1937). Here the French borrowed from the Chicago Columbian Exposition, which devoted a portion of the fairgrounds to the states of the union. Clearly, the monetary goals of the exposition, taken in the larger context of the French economy, had been met. First Factory of Locomotives in Poland Ltd. Evrard, Guillaume (2010) “Producing and Consuming Agricultural Capital: The Aesthetics and Cultural Politics of Grain Elevators at the 1937 Paris International Exposition” in Balfour, Robert J. France had her colonies, Paris her provinces. Almost none of the major nations distributed information about the materials and processes used in their industrial exhibits. The opening date was moved up to 1937, and a commission set to work in earnest on the grand schemes and finer details. Now traveling from Paris to London would be an easy adventure, efficient and inexpensive, to be enjoyed and profited from by all. April und dem 9. Just a few weeks before the actual opening date, one of the commissioners approached the director of works and asked him: "Since you're the builder of all this," the official asked,"can you tell me when the fair will be ready to open? Mock, Elizabeth. But Le Corbusier himself was too uncompromisingly visionary for the exposition planning commissioners. Idealist promotion of the belief in Peace and Progress, advancing national prestige, and contributing to a worldwide exchange of information – these were among the principal stated goals of the past universal expositions. [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]. One architect was making sketches of the night-time illumination patterns of the French buildings – only to have his drawings confiscated and destroyed by the exposition gendarmes.23. Two of the other notable pavilions were those of Nazi Germany and the Soviet Union. "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. The French erected a special Pavillon du Tourisme, where the beauties of France could be admired without the distractions of industrial or artistic exhibits. The title of the 1937 exposition breaks down the real meaning inherent in the earlier term "universal" into its component parts: the nationalism inherent in the competition for prestige, the fundamental duality between the arts and technics, and the transforming power of art and science. From the political vantage point, the fair was a vehicle of nationalistic propaganda. Night view of the Palais de l'air (Click the image for a lightbox view), Guide booklet for the colonial empire exhibits. Said the writer for the Architectural Record: "It was one of the most exciting, convincing, and most easily remembered exhibits of 1937 Paris. Parisian laborers in 1937 demanded a pledge from the government that if they helped build the exposition, they would be guaranteed employment thereafter. Facing the heroically posed Russian workingman and peasant woman brandishing hammer and sickle, the German eagle, its talons clutching a wreath encircling a huge swastika, disdainfully turned its head and fanned out its wings. 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. However, due to financial issues the restoration was delayed. 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. The radical modernism of Le Corbusier was passed over in favor of a style which mixed traditionalism and the international style. The idea was transferred to Paris, where the "Provinces" seemed to the French as the equivalent of states. But as 1936 drew closer, no detailed plans for the event had yet been drawn up. 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. Unfortunately, as Robichon notes, "The reconstruction of the Trocadero palace took place in total disorder. The philosophy was as congenial to fascist Italy as to democratic France or communist Russia. Anteriormente a esta data celebráranse outras exposicións similares pero tiñan un carácter nacional ou sectorial. inc. 22% sales tax. 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. Since the 1855 exposition, though, artists agreed to compete with each other side by side with the industrialists. The workers pay no attention to me. The statue was meant to symbolize the union of workers and peasants.[8]. Lacoste, R. ""Paris Exhibition of 1937," Great Britain and the East, July 15, 1937. Exotic People in Universal Exhibitions and World's Fairs (1851-1937), in: Human Zoos.