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 Italian building showed how lovely Italy had become even lovelier under the benign reign of Il Duce. The centerpiece of the Air Pavilion was a vast gallery reminiscent of an airplane hanger. 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. From the ceiling, gigantic aluminum rings, reminiscent of the rings of Saturn or the paths of electrons, encircled a Pontex 63 fighter plane in the display designed by "artist-decorators" Robert and Sonia Delauny. 11. 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 as 1936 drew closer, no detailed plans for the event had yet been drawn up. "20 What a far cry from the heroic call for national unity in the first national expositions. Gone were the obeisances to the European tradition, such as were embodied in the American building on the Quai des Nations in 1900. In this case, though, the unification meant a subordinate position for art. 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. 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. 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. The philosophy was as congenial to fascist Italy as to democratic France or communist Russia. The Universal Exhibition was just a stone’s throw from home. 11 Louis Gillet, quoted with approval by the anonymous author of "En avant la musique: en voilà pour l'Exposition!" 1937 – Dallas, Texas, USA – Greater Texas and Pan American Exposition (1937) 1937 – Düsseldorf, Tyskland – Reichsausstellung Schaffendes Volk (1937) 1937 – Miami, Florida, USA – Pan American Fair (1937) 1937 – Paris, Frankrig – Exposition Internationale des Arts et Techniques dans la Vie Moderne In spite of the obvious differences in style, there are some striking parallels between the two buildings. Culture, Capital and Representation. [8], The architect of the Soviet pavilion was Boris Iofan. In the shadow of the Eiffel Tower, the two opponents faced off with self-aggrandizing monuments to their nationalistic spirits. Art ruled the realm of Beauty, while industry held sway in the domain of the practical. [1] The Trocadero was the major legacy from the first exposition launched by the Third Republic. 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. Exposition '37: la vie flamboyante des expositions (Paris, 1937). The 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (‘International Exposition of Art and Technology in Modern Life’) was held in Paris: the French capital’s sixth and latest International Exposition, after fairs held in 1855, 1867, 1878, 1889, and 1900. 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. The workers pay no attention to me. The Hall of Honour was the pavilion's most dramatic and evocative space. Its central attraction was the Eiffel Tower, a 300-meter high marvel of iron by Gustave Eiffel. Josef Thorak's sculpture Comradeship stood outside the pavilion, depicting two enormous nude males, clasping hands and standing defiantly side by side, in a pose of mutual defense and "racial camaraderie". Arturo Martini's Victory of the Air presided over the space, her dark bronze form standing out against a seemingly infinite backdrop of blue-grey Venetian mosaic tiles. It is a style conducive to a mood of subjection of the individual to the state – in short, an architecture of fascism.15. World War One was scarcely two decades past. The French erected a special Pavillon du Tourisme, where the beauties of France could be admired without the distractions of industrial or artistic exhibits. Here Pagano had the joy of working alongside five different artists and placing Italy's newest industrial material such as linoleum and Termolux (shatterproof plate glass) next to a sumptuous chandelier from Murano and amber marble. 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. viamichelin.co.uk. 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. Cinquantenaire de l'Exposition Internationale des Arts et des Techniques dans la Vie Moderne (Paris: 1987), Livre d'Or Officiel de l'Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris, 1937). Hitchcock, H.R., Jr. "Paris 1937: Foreign Pavilions," Architectural Forum, September, 1937. In the modern view, easel painting was elitist. But would the fair ever open its gates to the public? 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. No one came away from the Columbian exposition with the notion that the other states were provinces of Chicago. (By contrast, two years later, San Francisco would succeed in holding its Treasure Island exposition open for an additional year). The word "propaganda" had not yet acquired connotations of deception, and one saw the word everywhere, in French and foreign pavilions alike. Una exposició universal és una exposició de gran envergadura celebrada des de la segona meitat del segle xix en localitzacions arreu del món. "Paris 1937 Exposition" – special edition of Le Monde Illustré, May 29, 1937. The Exposition Internationale would be the final European enactment of the ritual of Peace and Progress before the deluge. Though art and industry had coexisted at world's fairs, there were never any systematic attempt to integrate the two. It attracted extra attention because the exposition took place during the Spanish Civil War. "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 very title – "International Exposition of Arts and Technics in Modern Life" – shows the decisive split from the spirit of the earlier expositions universelles. Since the decorative arts were not to be the major subject or theme of the great exposition, what would take their place? 12 Quoted in the Architectural Record, October, 1937, page 81. By June of 1940, Paris would belong to the conquering Nazis. Though the attendance at the Art Deco fair was only a tenth of the number who visited the 1900 exposition universelle, France congratulated herself on having taken a decisive step in maintaining her leadership in cultural affairs. 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. 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. 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. The Railway Pavilion, with facade painted by Robert Delauny. Sie empfing insgesamt 2,3 Millionen Besucher aus der ganzen Welt. Lacoste, R. ""Paris Exhibition of 1937," Great Britain and the East, July 15, 1937. 14 Rapport Julien Durand, given to the Commission of Finances, meeting of February 13, 1936, n.p. . 8. At previous Parisian expositions, "Art" and "Technique" were always housed in separate pavilions or separate sections on the fairgrounds. Art becomes artisanship, science becomes technology. Armagnac Exposition Universale 1937 St Vivant de la Sale Bordeau St Vivant De La Sale, Bordeaux, France $ 861.52 $ 1,148.68 / 1000ml. Parisian laborers in 1937 demanded a pledge from the government that if they helped build the exposition, they would be guaranteed employment thereafter. Warnod, André. Giuseppe Pagano was responsible for the overall co-ordination of the exhibits and was the first impact on entering the building, its large courtyard garden and its hall of honour. Anteriormente a esta data celebráranse outras exposicións similares pero tiñan un carácter nacional ou sectorial. 12-feb-2019 - Esplora la bacheca "Universal Expositions" di dadapolis su Pinterest. Only thirty-four million visitors – half the attendance of the 1900 exposition – attended this elaborate ceremony of the unification of Arts and Technics. Basingstoke: Palgrave-Macmillan. viamichelin.co.uk. [4], The Spanish pavilion was arranged by the President of Spain Spanish Republican government and built by the Spanish architect Josep Lluis Sert. In spite of these encouraging statistics, most observers counted the exposition as something less than an unqualified success. Inaugurouse o 25 de maio de 1937, da man do presidente Albert Lebrun, e pechou o 25 de … Art is not the vessel of immortal truth, whose purpose is to "instruct by pleasing": it is a decorator of the useful. 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. The idiom of the new building would be modern, but not too much. 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. From the political vantage point, the fair was a vehicle of nationalistic propaganda. You will pass by the Palais de Tokyo, double building built for the Universal Exhibition of 1937. The pavilion's interior carried out similar motifs: strict stylistic geometry, relieved by colorful, semi-abstract murals depicting the structure and power of rail transport. 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. At least one other writer (Jonathan Coe) suggested that the placement was rather an example of the Belgian sense of humor.