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mass-produced, truly the objects of today." The Esprit
Nouveau pavilion was almost hidden between two wings of the Grand Palais. It was made of concrete, steel and glass, with no ornament at all. The interiors had plain white walls with a few cubist paintings. Since trees on the site could not be cut down, Le Corbusier integrated a tree into the interior of the building, coming up through a hole in the roof. The furniture was simple, machine-made and mass-produced. The organizers of the exposition were horrified by the appearance of the building, and tried to hide it by building a fence. However, Le Corbusier appealed to the Ministry of Fine Arts, which sponsored the exhibition, and the fence was removed.
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844:, who in 1922 had designed the new central market in Moscow, and who also designed the sarcophagus in Lenin's mausoleum in Moscow. He had a very low budget, and built his structure entirely of wood and glass. A stairway crossed the structure diagonally on the exterior, allowing visitors to see the interior of the exhibit from above. The roof over the stairway was not continuous, but was made up of planes of wood suspended at an angle, which were supposed to let in fresh air and keep rain out, but visitors were sometimes drenched. The exhibits inside included models of projects for various Soviet monuments. The interior of the pavilion was designed by
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252:, a new Salon founded in 1903, honored painters, sculptors, graphics artists and architects, but again decorative arts were largely ignored. Frantz Jourdain announced the idea of holding a separate exhibit of decorative arts as soon as possible. He explained his reason in an essay written later, in 1928: "We consequently resolved to return Decorative Art, inconsiderately treated as a Cinderella or poor relation allowed to eat with the servants, to the important, almost preponderant place it occupied in the past, of all times and in all of the countries of the globe."
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382:, designed by architect Pierre Patout, with a statue of a woman in the center called "Welcome" by Louis Dejean. The pavilions of the major French stores and decorators were located on the main axis within the entrance. Another section was devoted to pavilions from designers from the French provinces, particularly from Nancy and Lyon. Another section was devoted to foreign pavilions and manufacturers, and another to the products of French colonies which could be used in decoration, particularly rare woods and products such as ivory and mother of pearl.
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276:, explained that there was no modern art in the United States. The U.S. Commerce Department did appoint a commission to attend the exhibit and issue a report. The report, which came out in 1926, stated that the U.S had clearly misunderstood the purpose of the exposition, and that at least some participation should have been arranged to honor the French-American wartime alliance. While the U.S. did not have a pavilion, hundreds of American designers, artists, journalists and department store buyers came to Paris to see the exposition.
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272:"Whatever the reputation of the artist, whatever the commercial strength of the manufacturer, neither will be allowed into the exhibition if they do not fit the conditions outlined in the exhibition program." A second purpose was attached to the exhibition: to honor the Allied countries in the First World War. For this reason the new Soviet Union was invited, though its government was not yet recognized by France, while Germany was not. The United States declined to participate; the U.S. Secretary of Commerce,
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563:, proposed the construction of a series of identical 200 meter tall skyscrapers and lower rectangular apartments, that would replace the historic buildings on the right bank of the Seine in Paris. He had no expectation that central Paris would be demolished and his plan carried out; it was simply a way to attract attention to his ideas. The pavilion represented a single modular apartment, representing the identical machine-made houses which Le Corbusier believed were the future of modern architecture.
1123:; he stated that a house was simply "a machine to live in", and tirelessly promoted the idea that Art Deco was the past and modernism was the future. Le Corbusier's ideas were gradually adopted by architecture schools, and the aesthetics of Art Deco were abandoned. The economy of the 1930s also favored modernism; modernist buildings, without ornament, used less expensive materials and were cheaper to build, and thus were considered more suitable for the times. The outbreak of
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liners that crossed that
Atlantic, movie theaters around the world. It had a major influence in the design of fashion, jewelry, furniture, glass, metalwork, textiles and other decorative arts. At the same time, it displayed the growing difference between the traditional modern style, with its expensive materials, fine craftsmanship and lavish decoration, and the modernist movement that wanted to simplify art and architecture. The
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Grand Palais, and also built pavilions to illustrate new ideas in architecture. Britain, Italy, Spain, Belgium and the
Netherlands all had substantial pavilions, as did the Scandinavian countries, Poland, and Czechoslovakia. Japan had an important pavilion, while China had only a modest representation. The United States, not entirely understanding the purpose of the exhibit, chose not to participate.
1111:, as they became known, insisted that well-constructed buildings should be available to everyone, and that form should follow function. The beauty of an object or building resided in whether it was perfectly fit to fulfill its function. Modern industrial methods meant that furniture and buildings could be mass-produced, not made by hand.
761:, was a striking block of red and white bricks, making a Danish cross. Inside were murals by Mogens Lorentzen inspired by ancient maps of Denmark, with colorful and fantastic images. A separate building, symmetrical with the first, was filled with light and displayed the works of the Danish manufactory of porcelain and faience.
801:, by the architects Easton and Robertson, resembled an art deco cathedral. It was decorated on the outside with colorful flags, and in the inside with stained glass, murals and polychrome facade, with arabesques and oriental themes. The interior opened out to a restaurant on a platform next to the Seine.
783:, designed by J.F. Staal, was designed to capture in a modern style the mystery and luxury of the East Indies, where the country had colonies. An enormous roof like that of a pagoda covered the structure; the facade was decorated with colorful murals, and the structure was reflected in brick-lined pools.
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architecture. Belgium had been left in ruins by the War, and the
Belgian exhibit had a low budget; the pavilion was made of wood, plaster and other low-cost materials. Horta's pavilion had a rectangual tower, with crowned with six statues by Wolfers, representing decorative arts through the ages.
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Some twenty countries participated in the exhibit. Germany was not invited because of its role in World War I, but
Austria and Hungary were invited, as was the new Soviet Union, though it was not yet officially recognized by France. Many countries had exhibits of furniture and decoration within the
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Many of the exhibits were shown inside the Grand Palais, the enormous hall which had been built for the 1900 Universal
Exposition. For the first time at an international exposition, pieces of furniture were displayed not as individual items but in rooms similar to those in a home, where all the decor
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Just inside the main entrance of the exposition on the Place de la
Concorde was the main promenade of the exposition, with the pavilions of the major French department stores and manufacturers of luxury furniture, porcelain, glassware and textiles. Each pavilion was designed by a different architect,
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of architecture, interior decoration, furniture, glass, jewelry and other decorative arts in Europe and throughout the world. Many ideas of the international avant-garde in the fields of architecture and applied arts were presented for the first time at the exposition. The event took place between
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Company decorated the tower from top to bottom with two hundred thousand light bulbs in six colors. The lights could be controlled from a keyboard, and presented nine different patterns, including geometric shapes and circles, a shower of stars, the signs of the zodiac, and, most prominently, the
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in 1920, and used it vigorously to attack traditional decorative arts. "Decorative art," Le
Corbusier wrote, "as opposed to the machine phenomenon, is the final twitch of the old manual mode, and is a dying thing. Our pavilion will contain only standard things created by industry in factories and
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The exposition accomplished its goal, to show that Paris still reigned supreme in the arts of design. The term "art deco" was not yet used, but In the years immediately following the exposition, the art and design shown there was copied around the world, in the skyscrapers of New York, the ocean
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Large areas were devoted to amusements, from shooting galleries to merry-go-rounds, cafes and theaters. A miniature village was created for children, and there were stages which presented plays, ballets, singers and cultural programs from the participating countries. The exposition also was the
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by
Shichigoro Yamada and Iwakichi Miyamoto was in the classical Japanese tradition, but with the use of both traditional materials, such as straw and varnished wood, combined with highly refined lacquered decoration. It was built in Japan, transported to France and assembled by Japanese workers.
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An alternative view of future of
Decoration was also on display at the exposition, within the white cube of the pavilion of the Esprit Nouveau. Here Le Corbusier displayed prototypes of mass-produced pieces of inexpensive furniture, made with inexpensive materials, which he saw as the future of
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The program for the exhibition made it clear that it was intended to be a celebration of modernism, not of historical styles. It was declared to be "open to all manufacturers whose products are artistic in character and show clearly modern tendencies." The program also stated specifically that
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Another brand of modernism had also grown up parallel with the work of the avant-garde architects, deriving from the Paris Exhibition of Decorative Arts held in Paris in 1925. Nowadays, this parallel style is referred to under the terms 'Art Deco' or 'Moderne' or 'Jazz Age Modern' . t gained a
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Following the program of the French organizers of the exposition, the objects on display, from furniture to glassware and metalwork, all expressed a new style, a combination of modernist forms made with traditional French craftsmanship. The furniture, glassware, metalwork, fabrics and objects
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was designed by Joseph Czajkowski. It had a flamboyant glass and iron tower with geometric facets, a deco versio of the picturesque churches of Poland in the 17th and 18th centuries. The pavilion was also inspired by architecture of traditional manor house of Polish nobility and by
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defended Art Deco in this way: "We know that man is never content with the indispensable and that the superfluous is always needed...If not, we would have to get rid of music, flowers, and perfumes..!" However, Le Corbusier was a brilliant publicist for
813:. Mix of all was an attempt to create the Polish national style. The octagonal hall, supported on wooden pillars, had a skylight of deco stained glass, and was filled with deco statuary and tapestries. Polish graphic arts were also successfully represented.
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which Rodchenko designed as an optimal model space for self-education and cultural leisure activities. The intent of the building was to attract attention, and it certainly succeeded; it was one of the most talked-about buildings in the exposition.
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955:, best known for its delicate Art Nouveau glasswork, produced an art deco crystal fountain, illuminated from within, which became one of the landmarks of the exposition. The Maison d'un Collectionneur, the pavilion of the furniture maker
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The idea for an exhibition entirely devoted the decorative arts originally came from the Société des Artistes Décorateurs (The Society of Decorative Artists), a group founded in 1901 which included both established artists, including
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with pavilions on both banks, while gardens and fountains were placed between the pavilions. The Pont Alexander III, which connected the two parts of the exposition, was turned into a modernist shopping mall by the architect
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attracted both criticism and admiration for its lack of ornamentation. Criticism focused on the 'nakedness' of these structures, compared to other pavilions at the exhibition, such as the Pavilion of the Collector by the
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240:, but they were placed subordinate to the painters, and they wanted an exhibit which gave first place to decorative arts. The first Salons of the new group were held in the newly opened Museum of Decorative Arts in the
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pavilion and the Soviet pavilion were distinctly not decorative, they contained furnishings and paintings but these works, including the pavilions, were spare and modern. The modern architecture of Le Corbusier and
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The Society of Decorative Artists lobbied the French Chamber of Deputies, which in 1912 agreed to host an international exhibition of decorative arts in 1915. The plans were put aside in 1915 because of the
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was a large classical block built of concrete and covered with decoration in marble, ceramics and gilded bricks. In the center was an enormous head of a man in bronze by the sculptor Adolfo Wildt.
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or the preceding historic styles. They used geometric forms, straight lines, zigzag patterns, stylized garlands of flowers and baskets of fruit, to create something new and different. The firm of
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displayed were made with rare and expensive materials such as ebony, ivory, mother of pearl, sharkskin, and exotic woods from around the world, but the forms they used were very distinct from
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and they tried to outdo each other with colorful entrances, sculptural friezes, and murals of ceramics and metal. The modernist tower of the Pavilion of Tourism designed by
195:, and on both banks of the Seine. There were 15,000 exhibitors from twenty different countries, and it was visited by sixteen million people during its seven-month run. The
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389:. The tower's sleek lines and lack of ornament were an announcement of the international style that would replace Art Deco. In 1929 Mallet-Stevens led the creation of
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was also a major participant; the country had a large exposition of furniture and design on the main floor of the Grand Palais, and a separate pavilion, designed by
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movement 1918, with the goal of eliminating all decoration in architecture, and replacing hand-made furniture with machine-made furniture. They founded
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stood out above the other pavilions. Inside each pavilion presented rooms with ensembles of furniture, carpets, paintings and other decorative objects.
264:. It was first scheduled for 1922, then postponed because of a shortage of construction materials to 1924 and then 1925, twenty-five years after the
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715:, who designed the Austrian pavilion next to the Seine. The complex included a terrace by the Seine, a tower, a cubic glass and iron exhibit hall by
776:. The small pavilion was a deco version of classicism, pure and simple; it was reflected in a pool, and discreetly ornamented with deco statues.
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362:. The main entrance, called the Gate of Honor, was located next to the Grand Palais. The main axis stretched from the Gate of Honor across the
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among others, fiercely attacked the style, which they said was created only for the wealthy and its form was determined by their tastes. The
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The interior displayed tapestries, glass and decoration in the new style. Belgian artists taking part included the architects Paul Hamesse,
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There were thirteen different gateways into the exposition, which were each designed by a different architect. The main entrance was at the
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Iron and copper grille called "Oasis" by Edgar Brandt. Brandt also designed the ornamental gates at the main entrance of the exposition.
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1055:. The finale was the "Ballet of Ballets" danced by three hundred dancers from all of the Paris ballet companies in white tutus.
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375:. The banks of the Seine were lined with floating restaurants built for the exposition, which became a popular attraction.
358:, the enormous glass and iron pavilion which had been built for the 1900 Universal Exposition. The principal architect was
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The most unusual, most modest, and, in the end, probably the most influential French pavilion was that of the magazine
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The tallest structure in the exposition, and one of the most modernist, was the tower of the Tourism Pavilion by
772:, while the Swedish display in the Grand Palais featured a model of the new art deco city hall of Stockholm, by
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A gigantic banquet and gala was held on 16 June 1925, within the Grand Palais. It featured the American dancer
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was coordinated. The HĂ´tel du Collectionneur, for example, displayed the works of the furniture maker
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A grille with two wings called "The Pheasants", made by Paul Kiss and displayed at the exposition.
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which rebelled against the luxurious decorative styles shown at the exposition, and, along with
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venue for fashion shows, parades, and beauty contests, as well as frequent fireworks displays.
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was one of the most unusual in the exposition. It was created by a young Russian architect,
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959:, showed what an art deco house could look like, with an art Deco painting, sculpture by
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A clock made of white jade, onyx, diamonds, coral, mother of pearl and gold, by
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was not within the site, but it was clearly visible from the exhibition. The
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The main entrance to the exhibition on the Place de la Concorde, designed by
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Exposition Internationale des Arts et Techniques dans la Vie Moderne (1937)
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dressed as gemstones; and short performances by the full companies of the
236:. Decorative artists had been allowed to participate in the previous two
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In 1926, shortly after the end of the Paris Decorative Arts exposition,
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The site chosen for the exposition was the center of Paris, around the
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The main axis of the exposition, from the Gateway of Honor across the
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1138:'s wrote that modernist architecture had arisen from the exhibition.
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Exposition internationale des arts décoratifs et industriels modernes
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Exposition internationale des arts décoratifs et industriels modernes
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Exposition Internationale des Arts décoratifs et industriels modernes
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34:
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International Exposition of Modern Industrial and Decorative Arts
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International Exhibition of Modern Decorative and Industrial Arts
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Russian Avant-Garde: Theories of Art, Architecture, and the City
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The pavilion of Japan by Shichigoro Yamada and Iwakichi Miyamoto
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The HĂ´tel du Collectionneur was a showcase for the furniture of
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518:, in rooms complete with paintings and fireplaces in the same
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in the costume of a diamond, surrounded by the troupe of the
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The salon of the HĂ´tel du Collectionneur, with furniture by
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Modern Architectural Theory: A Historical Survey, 1673-1968
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Benton, Charlotte; Benton, Tim; Wood, Ghislaine (2003).
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The Danish pavilion for presenting porcelain and faience
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Within the pavilion building Le Corbusier exhibited his
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The illuminated crystal fountain at the exposition, by
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https://www.flickr.com/photos/93051314@N00/2904130823/
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world-wide currency and a measure of popular success.
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27:
Specialized exhibition held in Paris, France, in 1925
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presented at the exposition later became known as "
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1750:International Exhibition of Hydropower and Tourism
1736:International Exposition of Sea Fishery Industries
1517:
987:was turned into an illuminated advertisement for
1765:International Exhibition on Urbanism and Housing
1446:Twentieth Century Architecture: A Visual History
1732:Exposition Internationale de l'Est de la France
711:was a major participant, thanks to the work of
1398:, Cambridge University Press, 2005, page 258,
1771:The International Exhibition of Rural Habitat
1679:Lyon Exposition Universelle et Internationale
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848:. The key element of the furnishings was the
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1131:brought a sharp end to the Art Deco period.
649:The British Pavilion by Easton and Robertson
188:
86:
48:
941:A Limoges vase by Camille Fauré (1874-1956)
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1597:
1589:
1298:, Yale University Press, 1993, Page 143,
41:
1718:Exposition internationale urbaine de Lyon
913:displayed in the Maison du Collectionneur
1230:(Studio Vista/Dutton Picturebacks), 1968
978:
497:The Pavilion of the L'Esprit Nouveau by
1712:International Exposition of Electricity
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1334:
1270:
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220:, as well as younger artists including
166:) was a specialized exhibition held in
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260:, then revived after the war ended in
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1740:Exposition nationale coloniale (1922)
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1027:as the Golden Angel, in a costume by
7:
1777:The International Textile Exhibition
1645:French Industrial Exposition of 1844
1640:French Industrial Exposition of 1834
78:International specialized exposition
1418:, Academy Editions, 1995, Page 143.
1723:Exposition internationale des vins
1671:Metz Exposition Universelle (1861)
1449:. Images Publishing. p. 110.
1089:The French Union of Modern Artists
391:The French Union of Modern Artists
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401:Pavilions of the French designers
297:, with a statue in the center by
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346:The view of the exposition from
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203:", after the exposition's name.
1675:International Exposition (1867)
1318:, Yale University Press, 2000,
1296:Paris: An Architectural History
1114:The Art Deco interior designer
750:, the decorator Leon Sneyers.
18:Exposition des Arts DĂ©coratifs
1:
1834:Festivals established in 1925
1696:Exposition Universelle (1900)
1688:Exposition Universelle (1889)
1683:Exposition Universelle (1878)
1661:Exposition Universelle (1855)
559:, named for aviation pioneer
207:The idea and the organization
1394:Dr Harry Francis Mallgrave,
1176:. Metropolitan Museum of Art
1059:The legacy of the exhibition
1727:Exposition coloniale (1906)
1501:. Parkstone International.
1227:Art Deco of the 20s and 30s
929:and Maurice Couët (1923–27)
1855:
1497:Charles, Victoria (2013).
975:Attractions and amusements
967:, and fine craftsmanship.
1814:Art exhibitions in France
1755:Paris Colonial Exposition
1692:Exposition internationale
1516:Duncan, Alastair (1988).
1091:, a group which included
580:The Belgian pavilion, by
266:1900 Universal Exposition
189:
183:and the entrances of the
40:
1546:Exposition Art DĂ©co 1925
1316:Art in France, 1900-1940
1134:Architectural historian
634:The Italian pavilion by
595:The Swedish pavilion by
312:The Tourism Pavilion by
1524:. Thames & Hudson.
537:. They had founded the
1799:World's fairs in Paris
1478:Arwas, Victor (1992).
1121:modernist architecture
1082:Émile-Jacques Ruhlmann
992:
957:Jacques-Emile Ruhlmann
911:Emile-Jacques Ruhlmann
516:Émile-Jacques Ruhlmann
480:Émile-Jacques Ruhlmann
464:Émile-Jacques Ruhlmann
163:
87:
70:Specialized exposition
49:
1829:20th century in Paris
1620:List of world's fairs
1105:Robert Mallet-Stevens
991:during the exhibition
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508:Robert Mallet-Stevens
387:Robert Mallet-Stevens
314:Robert Mallet-Stevens
1200:. Bulfinch. p.
836:The pavilion of the
779:The pavilion of the
723:and Eugen Steinhof.
380:Place de la Concorde
1571: /
1482:. Harry N. Abrams.
1314:Christopher Green,
1294:Anthony Sutcliffe,
1197:Art Deco: 1910–1939
1159:Notes and citations
1071:Konstantin Melnikov
846:Alexander Rodchenko
842:Konstantin Melnikov
698:Konstantin Melnikov
1575:48.8636°N 2.3136°E
993:
825:in that category.
740:Henry van de Velde
622:The Dutch pavilion
482:. and painting by
416:Galeries Lafayette
364:Pont Alexandre III
329:Pont Alexandre III
242:Pavillon de Marsan
1786:
1785:
1508:978-1-84484-864-5
1414:Catherine Cooke,
1349:, pp. 74–75.
1285:, pp. 46–49.
1273:, pp. 20–30.
1211:978-0-8212-2834-0
1174:"French Art Deco"
1148:Art Deco in Paris
1041:Comédie-Française
971:interior design.
961:Antoine Bourdelle
815:Tadeusz Gronowski
733:, the pioneer of
667:Joseph Czajkowski
567:Foreign pavilions
179:the esplanade of
152:
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141:October 1925
16:(Redirected from
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1666:Dijon Exhibition
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828:The pavilion of
819:Zofia Stryjeńska
804:The pavilion of
797:The pavilion of
786:The pavilion of
768:was designed by
764:The pavilion of
753:The pavilion of
748:Victor Bourgeois
692:Pavilion of the
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543:L'Esprit Nouveau
527:L'Esprit Nouveau
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450:department store
446:Pavilion of the
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1430:, p. 8.
1423:
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1371:Charles 2013
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238:Paris Salons
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197:modern style
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185:Grand Palais
176:modern style
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1824:1925 in art
1705:Specialized
1578: /
1548:photographs
1428:Duncan 1988
1116:Paul Follot
1080:-decorator
1045:Paris Opera
1033:Mistinguett
1021:Joan of Arc
1013:Loie Fuller
949:Art Nouveau
781:Netherlands
735:Art Nouveau
721:Anton Hanak
557:Plan Voisin
552:Plan Voisin
230:Paul Follot
1804:Modern art
1793:Categories
1632:Industrial
1563:48°51′49″N
1383:Arwas 1992
1283:Arwas 1992
1256:Arwas 1992
1180:2016-08-29
1154:References
1109:modernists
1029:LĂ©on Bakst
965:Jean Dupas
823:Grand Prix
759:Kay Fisker
484:Jean Dupas
432:Bon Marché
1566:2°18′49″E
448:Printemps
1809:Art Deco
1520:Art déco
1499:Art DĂ©co
1480:Art Deco
1241:Art Deco
1142:See also
1077:ébéniste
1051:and the
1043:and the
821:won the
280:The site
201:Art Deco
118:Timeline
95:Location
75:Category
59:Overview
1654:General
1005:Citroën
989:Citroën
953:Lalique
755:Denmark
727:Belgium
709:Austria
522:style.
248:. The
244:of the
145:1925-10
143: (
138:Closure
130:1925-03
128: (
123:Opening
100:Country
1720:(1914)
1668:(1858)
1624:France
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1103:, and
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766:Sweden
663:Poland
539:Purist
520:modern
246:Louvre
172:France
160:French
103:France
67:-class
53:(1925)
830:Japan
788:Italy
757:, by
696:, by
168:Paris
112:Paris
35:Paris
33:1925
1526:ISBN
1503:ISBN
1484:ISBN
1451:ISBN
1400:ISBN
1320:ISBN
1300:ISBN
1206:ISBN
1129:1939
999:The
983:The
817:and
746:and
533:and
262:1918
232:and
216:and
187:and
154:The
108:City
83:Name
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1127:in
1019:as
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665:by
366:to
331:to
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158:(
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20:)
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