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was also
Tinguely's wife) be included. This caused concerns at the Sous-Direction du Patromoine culturel of the Bureau of Monuments of Paris, which had originally commissioned the sculpture; they feared that the brightly colored works of Niki de Saint Phalle would visually overwhelm the dark-colored works of Tinguely. Officials of the Ministry of Culture and Sous-Direction du Patrimoine persuaded Tinguely to reduce the number of works by Niki de Saint Phalle to four or five, and both the Ministry of Culture and City of Paris then agreed that it would be a joint project by Tinguely and Saint Phalle.
425:"I wanted to have charm, with the colors of Niki, the movement of the water, and a certain attachment of the heart that I gave to my sculptures. I didn't want artifices of color in the California style, with jets of water that were electronically controlled, things mysterious and bizarre. I wanted sculptures like street performers, a little bit like a circus, which was at the heart of Stravinsky's style itself when in 1914 he had his first encounter with jazz, thanks to the recordings which
432:"... the first model that I made for Pierre Boulez, even though it was very small, had lots of colors. I didn't want, after Basel, to install another black machine. Paris has a completely different speed than Basel. It's a city of light, it's practically the center of the world, and there was that superb monstrosity, the Centre Pompidou – it was an enormous provocation, and I couldn't put something monumental next to it..."
441:" began by making a large number of models; hats by the dozen, numbers of elephants, serpents, things, tricks... the Firebird was a found object in the work of Niki de Saint Phalle, but she redrew it, repainted it, until we had exactly what we needed, not too big and with holes to let the wind pass through to avoid it being carried away by the wind which is always blowing in the square of the Beaubourg...<
435:"The only way to do it was to go to the opposite ; to think in terms of psychology, of speed, of movement, of charm, of games, of jokes, of competing with the street performers, the Afro-Cuban orchestras, the fire-eaters, who were in front of the Centre. That's why it had to have colors, the gold of the Firebird. I wanted an alarm clock, an answer to the daylight...."
451:"...Niki de Saint Phalle has never better realized her phantasmagoric menagerie of symbols, painted with knowing truculence. She takes charge of the stage, and that's normal; she has color going for her, as violent and brilliant as the flowing water. Tinguely, who is the creator of the ensemble, dealt with the mechanical components of the work. A sculptor in the
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One sensitive artistic issue had to be resolved: the commission had originally been given to Jean
Tinguely alone, and therefore the work would have been entirely composed of his black-painted mechanical sculptures. But in May 1982, he asked that brightly colored works by Niki de Saint Phalle (who
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had been selected to design the fountain. "Such a work must necessarily have modern lines, marrying with those of the Centre
Pompidou", Chirac said, and he noted the success of a fountain that Tinguely had recently installed. The City of Paris paid two million French francs for the project, which
371:, the Minister of Culture. The financial agreement was formally signed on December 15, 1982, allowing the project to go ahead. Other contributions came from private sponsors: the Société Lyonnaise des eaux (500,000 francs), the Fondation Scaler (150,000 francs), and the Swiss government.
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188:. Within the basin are sixteen works of sculpture inspired by the compositions of Igor Stravinsky. The black mechanical pieces of sculpture are by Jean Tinguely; the brightly colored works are by Niki de Saint Phalle.
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was part of a sculptural program, launched by the City of Paris in 1978, to build seven contemporary fountains with sculpture in different squares of the city. This project also included new fountains at the
306:(Institut de Recherche et Coordination Acoustique/Musique), an organization devoted to promoting modern music and musicology, connected with the Pompidou Center. The founder of IRCAM, composer and conductor
310:, suggested the work of Stravinsky as a theme for the fountain. Because of the offices and rooms below, the fountain was designed to be as lightweight as possible, with very shallow water, a lining of
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tradition, his visual humor plays with absurdity and provocation....Tinguely has made a
Parisian fountain, picturesque and with the charm of a mechanical music box of the eighteenth century.." (
438:"...I studied the place during an entire year. I looked at the sun. I observed the wind. That determined for me the placement of the sculptures, and the orientation of the fountains...."
462:"Niki de Saint Phalle was very beautiful, Madame Claude Pompidou was very dignified, the fountain is droll and gay, and the children laughed, It was a beautiful opening. " (
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s, Directed by
Beatrice de Andia, collection of texts by Dominique Massounie, Pauline Prevost-Marcilhacy and Daniel Rabreau, Collection Paris et son Patrimoine, Paris, 1995
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brought from the United States, or when he wrote an homage to a circus elephant, all made up in colors, which he saw in a circus in Evian or
Lausanne."
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The finished fountain was dedicated on March 16, 1983, by Mayor Chirac, Minister of
Culture Jack Lang, and Madame Pompidou, the widow of President
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Under French law and practice, the French state has the legal obligation to maintain fountains, but artists and their descendants have the
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is a shallow basin of 580 square metres (6,200 sq ft) located in Place
Stravinsky, between the Centre Pompidou and the Church of
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562:, interview with Tinguely by Daniel Abadie, Beaux arts magazine, number 2, May 1983, pg. 36, citation translated by D.R. Siefkin
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be allowed to grow. Tinguely also wanted to use very-low-power electric motors for the fountains, to avoid any danger of
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to control their work. In 1985, Niki de Saint Phalle asked for modifications to be made to one part of the sculpture,
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people wading in the fountains. The sculptures were not attached to the bottom of the basin, but simply placed there.
347:, which had been torn down in 1971, and to re-animate the area with pedestrian streets, squares, and works of art.
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397:. During the ceremony, Chirac and Lang, who were political enemies, avoided looking or speaking to each other.
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ornamented with sixteen works of sculpture, moving and spraying water, representing the works of composer
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343:. It was also a major project by the City of Paris to redevelop the area around the old city markets,
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A few technical issues also needed to be resolved. Tingueley did not want the
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Buildings and structures in the 4th arrondissement of Paris
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Interview with Abadie, Beaux Arts magazine, op. cit.
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Interview with Abadie, Beaux Arts magazine, op. cit.
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Interview with Abadie, Beaux Arts magazine, op. cit.
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302:The basin covers some of the rooms and offices of
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560:Tinguely, l'oiseau de feu et le chapeau suisse
503:, Collection Baccalaureat arts plastiques 2004
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524:Hortense Lyon, La Fontaine Stravinsky, pg. 5
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191:The sculptures in the fountain represent:
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571:Abadie, Beaux Arts magazine op. cit.
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787:Laura Duke Condominas (daughter)
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782:Jean Tinguely (second husband)
754:Queen Califia's Magical Circle
607:Jacques Michel, art critic of
380:water to be chemically treated
331:and within the gardens of the
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777:Harry Mathews (first husband)
808:Tourist attractions in Paris
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16:Fountain in Paris, France
420:Tinguely on the fountain
341:Paris Exposition of 1937
148:) is a whimsical public
70:Fiber-reinforced plastic
823:Monuments to composers
637:La Fontaine Stravinsky
548:La Fontaine Stravinsky
535:La Fontaine Stravinsky
515:, October 25–26, 1981.
501:La Fontaine Stravinsky
206:(The Musical Key of G)
146:La Fontaine Stravinsky
29:La Fontaine Stravinsky
488:Sources and citations
382:, and preferred that
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680:Niki de Saint Phalle
364:Niki de Saint Phalle
162:Niki de Saint Phalle
52:Niki de Saint Phalle
703:Stravinsky Fountain
339:were built for the
324:Stravinsky Fountain
287:Le Chapeau de Clown
182:Stravinsky Fountain
141:Stravinsky Fountain
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22:Stravinsky Fountain
818:Fountains in Paris
477:Fountains in Paris
466:, March 17, 1983).
337:Palais de Chaillot
121:48.8595°N 2.3515°E
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738:Sculpture gardens
711:Nana on a Dolphin
611:, March 19, 1983.
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446:Critical reaction
290:(The Clown's Hat)
264:(The Nightingale)
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261:Le Rossignol
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756:(2000–2002)
748:(1974–1998)
402:moral right
282:(The Heart)
186:Saint-Merri
176:Description
124: /
98:Coordinates
802:Categories
687:Sculptures
345:Les Halles
238:(The Frog)
230:Le Serpent
216:L'Elephant
210:La Spirale
109:48°51′34″N
406:Rossignol
369:Jack Lang
298:(Ragtime)
254:La Sirène
226:(The Fox)
223:Le Renard
112:2°21′05″E
621:Le Matin
609:Le Monde
537:, pg. 12
513:Le Monde
471:See also
464:Le Matin
457:Le Monde
150:fountain
144:(French:
80:near to
77:Location
27:French:
765:Related
695:Sun God
482:Chaos I
318:History
295:Ragtime
280:Le Cœur
268:L'Amour
250:(Death)
248:La Mort
72:, steel
729:(1999)
721:(1999)
713:(1998)
705:(1983)
697:(1983)
550:pg. 27
410:Sirène
276:(Life)
274:La Vie
270:(Love)
90:France
44:Artist
304:IRCAM
170:Paris
168:, in
86:Paris
453:dada
414:Nana
384:moss
362:and
322:The
180:The
160:and
138:The
66:Type
61:1983
58:Year
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172:.
88:,
84:,
672:e
665:t
658:v
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