Les pavillons des vitraux aux expositions internationale de Paris en 1925 et 937

• Autores: Jean-Charles Cappronnier, Verónique David
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 179, 2013, págs. 41-64
• Idioma: francés
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• Resumen

  • The stained glass pavilions at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibitions of Modern Decorative and Industrial Arts) in 1925 and the Exposition Internationale des Arts et des Techniques dans la Vie Moderne (International Exhibition of the Arts and Techniques in Modern-day Life) in 1937 have been neglected by historians. Yet, their study allows a panoramic view of the situation of stained glass in France at a critical moment in its evolution.

    The first pavilion, constructed by Lucien Woog, was part of the class 6 "Art et Industrie de Verre" (Glass Art and Industry) presided over by Jacques Gruber. It took the form of a translucent screen on the edge of the Seine, where 37 stained glass makers, for the most part Parisian, presented 110 highly varied examples of stained glass. The religious works were only moderately modern in their iconography as well as in their style. While in the profane works, the language adopted was much more powerful, taking part in the movement called "Art Deco" as for example the works of Jacques Gruber. Unlike the 1925 pavilion, that of 1937, situated in the heart of the Centre des Métiers (Trades Center) was part of an autonomous class, the class 40 presided over by Auguste Labouret. The architecture, the work of Louis Arretche, Henry Avizou and Jacques Rousselot, was much purified and the presentation of the works was subjected to strict rules. If symbolically, the stained glass pavilion of 1937 announced major upheavals in the changes of statue of the artistes cartonniers (draftsmen of preliminary sketches or cartoons), the entire production held no surprises in either iconographical elements or in terms of style, merely confirming the esthetic positions of 1925. The veritable originality of this exhibition was the organization of the Congrès International de l´Art et de la Technique du Vitrail (International Congress of the Art and the Technique of Stained Glass) by Maurice Brillant under the presidency of Marcel Aubert, member de l´Institut, whose conferences and writings touched upon a great variety of the problems, which became the basis for modern research and are at the very origin of the Corpus Vitrearum Medii Aevi (CVMA) founded in 1952