Picasso’s Guernica was painted for the pavilion. The façade was covered by photomurals designed by Josep Renau. Finnish Pavilion, 1937 Commentary "Throughout the Paris Pavilion, Aalto's first overseas building, there was an immediate sense of the liveliness and originality of his new Finnish architecture. 2 volume(s). Therefore, its recovery chiefly responds to a will to contextualise Guernica, and to acknowledge the reasons behind the painting’s creation. The Spanish Pavilion at the International Exhibition of Art and Technology in Modern Life, Paris, 1937 In the autumn of 1936, the government of the Second Republic regarded participation at the Paris World’s Fair as indispensable, despite the horrific war tearing Spain apart, in its endeavour to verify the Republic’s political project and its will to work for the progress of the nation. In 1937, on the brink of World War II, the World's Fair dedicated to Art and Technology in Modern Life took place in Paris. It included a Spanish Pavilion, from a country that was in the throes of a civil war at the time. - By early June of 1937, the Paris Exposition was already in progress. Photomurals by Josep Renau. Creator: Lincoln, F. S. Title: Paris International Exposition: Eiffel Tower Subject: Exposition Internationale Location: Paris, France Date: 1937 Measurements: 24.5 x 17 cm Housed: Box 5: Job 35: Print 221 Preferred Citation: Fay S. Lincoln Photograph collection, 1920-1968, HCLA 1628, Special Collections Library, Pennsylvania State University. Jan 28, 2014 - World Exposition in Paris, 1937 - Yugoslavia's Pavilion Institutional correspondence, Roxbury, 22 November 1955 London’s Great Exhibition at Crystal Palace preceded it by four years, which spurred the organizers on to create ambitious architectural works like the Palais de l’Industrie and the surviving Théâtre du Rond-Point. The Paris World Fair of 1937 was dedicated to "art and technology in modern life" and so lay in the tradition of the many previous exhibitions. Photomurals by Josep Renau. Photograph, Paris, 25 May 1937 In the ground floor patio were Guernica (1937), by Picasso, and Mercury Fountain (1937), by Alexander Calder. Photograph, Amsterdam, 8 November 1955 The Endurance of the Pavilion of 1937 In the autumn of 1936, the government of the Second Republic regarded participation at the Paris World’s Fair as indispensable, despite the horrific war tearing Spain apart, in its endeavour to verify the Republic’s political project and … In 1937, the International Exposition dedicated to Art and Technology in Modern Life brought together 44 countries in the city of light, allies and enemies alike… In the vast online archives of Dr. Chris Mullen , I came across these rare scans of the entire souvenir booklet and official colorised photo album of the 1937 expo, which took place over 5 months from May to November. And they were, even in their pavilion at the Paris 1937 fair, making no bones about their intention to be an imposing world power. But the most different aspect of this Paris exposition was in its position in world history, a history that would see, within a few years, a foreign power in countrol of the city of lights. The Paris International Exposition of 1937 was the last of six World's Fairs held in Paris. A guide to the collection is available. The official theme of the Paris Exposition was the celebration of modern technology. The building designed by Luis Lacasa and Josep Lluís Sert to represent Spain at the Paris International Exhibition of 1937 was a reference point in principles of contemporary modern architecture, owing to a formulation based on simple lines, the use of basic materials, and the creation of a highly functional exhibition space. Institutional correspondence, Madrid, 31 July, and Cambridge, Massachusetts, 31 August 1981 The years 1936-37 represent a turning point in the relationship between modernity and political action. Lacasa’s and Sert’s pavilion transcended the physical and geographical to become the crucible of an age, foreshadowing the contiguous destination of art, literature and politics in the latter years of the Second Republic. …course, was the mural painting Guernica (named for the Basque town bombed in 1937 by the Fascists), commissioned by the Republican government for the Spanish pavilion at the 1937 World’s Fair in Paris. In addition to making art visible during wartime, its support of Spanish artists and internationally promulgating art, culture and popular Spanish traditions, along with the active reception of everything related to the pavilion and everything that took place inside it, has ensured its memory lives on. Nevertheless it was accentuated in a completely new way by the 'political' pavilions: directly on the banks of the Seine the Nazi-German Speer-Building and the pavilion of Stalinist USSR stood face-to-face as a hostile gesture (see picture below). The original Pavilion marked a crucial moment during the Spanish Civil War (17 July 1936 – 1 April 1939), with the Spanish Republic using it as a platform to … Photograph, Paris, 1937 The Spanish contribution deliberately and consciously expressed both the modernity of the Republic and the life and death struggle in which it was embroiled. At the height of Stalin's Five Year Plans, his forced modernisation of Russia, an indication of the new found confidence and assertiveness of the regime could be seen in Paris. - In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was commissioned by the Spanish Republican government to create a large mural for the Spanish pavilion at the 1937 Paris World's Fair. Luis Araquistáin, Spanish ambassador in Paris, and the writer Max Aub were put in charge of recruiting the country's most prominent artists for the diplomatic mission undertaken by the Pavilion, the design of which was commissioned to the architects Luis Lacasa and Josep Lluis Sert. For the pavilion’s art pieces, Sert called upon his friends Pablo Picasso, Joan Miró, and Alexander Calder. Catalan peasant in revolt, 1937) , took the visitor back to the first floor, where more photomontage by Renau could be seen. D.--Harvard University, 1981). The Pavilions of Nazi Germany and the Soviet Union faced each other in a highly symbolic way on the Varsovie Square. Many of the names involved in this political/artistic project passed away or were forced into exile after the Spanish Civil War. On the other hand, Cubism & Abstract Art (New York, 1936) suggests the de-politicization of the avant-garde upon its arrival in the United States. Institutional correspondence. Albert Speer, Hitler's personal architect, stole plans for the Soviet Pavilion and … Institutional correspondence, Amsterdam, 3 December 1955 See more ideas about Paris, World's fair, Graphic novel. The Exposition Internationale des Arts et Techniques dans la Vie Moderne was held from 25 May to 25 November 1937 in Paris, France. - Set in the heart of London’s commercial art gallery district, Mayoral’s “Art Revolutionaries” is an homage to the Spanish Republic’s Pavilion in the famous Paris Exposition of 1937. The Spanish Pavilion at the Paris World's Fair by Catherine Blanton Freedberg, 1986, Garland Pub. - September 1937 While in Paris, Baba took the women sightseeing, taking a boat ride down the Seine, visiting the Art and Technical Exhibition which was being held at the time, and also the Cathedral of Notre Dame. (ca. edition, in English Sculpture by Alberto Sánchez Pérez. Je poursuis mes recherches sur l'enfance à l'exposition des Arts et Techniques de 1937. Currently, the model of the Pavilion is exhibited next to Guernica at Museo Reina Sofía, suggesting that the painting is not an icon but rather a synthesis, like the rest of the Pavilion, of the avant-garde and reality. The politicians, journalists, critics, historians, staff from museums and institutions, and artists who all visited the pavilion in 1937 were the people who worked to architecturally and symbolically restore it, either immediately or some years later, and were those who absorbed the plastic, aesthetic and political lessons taken from the works on display there, most notably Picasso’s Guernica. Originally presented as the author's thesis (Ph. The Spanish Pavilion of the 1937 Paris International World's Fair, which showcased Pablo Picasso’s Guernica and Joan Miro’s The Reaper for the first time in public, has been recreated in London The pavilion became the perfect structure to deploy an effective propaganda machine, and remained a device inside a political agenda. 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