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Globe's Fair held in Paris, France, from fourteen April to 12 November 1900

1900 Paris
Exposition univ 1900.jpg

Poster
Overview
BIE-course Universal exposition
Category International Recognized Exhibition
Proper name 50'Exposition de Paris 1900
Edifice(s) Grand Palais, Petit Palais, Paris Métro
Area 216 hectares (530 acres)
Visitors 48,130,300
Participant(s)
Business 76,112
Location
Land France
Urban center Paris
Venue Esplanade des Invalides, Gnaw de Mars, Trocadéro, banks of the Seine and Bois de Vincennes
Timeline
Opening 14 April 1900 (1900-04-14)
Closure 12 November 1900 (1900-eleven-12)
Universal expositions
Previous Brussels International (1897) in Brussels
Adjacent Louisiana Purchase Exposition in St. Louis

The Exposition Universelle of 1900, better known in English language as the 1900 Paris Exposition, was a world'southward fair held in Paris, French republic, from 14 April to 12 November 1900, to celebrate the achievements of the past century and to accelerate evolution into the next. It was held at the esplanade of Les Invalides, the Champ de Mars, the Trocadéro and at the banks of the Seine betwixt them, with an boosted section in the Bois de Vincennes, and information technology was visited by more than than 50 one thousand thousand people. Many international congresses and other events were held within the framework of the Exposition, including the 1900 Summertime Olympics.

Many technological innovations were displayed at the Fair, including the Grande Roue de Paris ferris wheel, the Rue de 50'Avenir moving sidewalk, the start e'er regular passenger trolleybus line, escalators, diesel engines, electric cars, dry cell batteries, electric fire engines, talking films, the telegraphone (the get-go magnetic sound recorder), the galalith and the matryoshka dolls. It also brought international attending to the Art Nouveau style. Additionally, it showcased French republic every bit a major colonial power through numerous pavilions congenital on the hill of the Trocadéro Palace.

Major structures built for the Exposition include the M Palais, the Petit Palais, the Pont Alexandre III, the Gare d'Orsay railroad station and the entrances of Paris Métro stations past Hector Guimard; all of them remaining today, including two original entrances by Guimard.

Organization [edit]

The first international exposition was held in London in 1851. The French Emperor Napoleon III attended and was deeply impressed. He commissioned the first Paris Universal Exposition of 1855. Its purpose was to promote French commerce, technology and culture. It was followed by another in 1867, and, after the Emperor's downfall in 1870, another in 1878, jubilant national unity afterwards the defeat of the Paris Commune, and then in 1889, celebrating the centennial of the French Revolution.[1] [2]

Planning for the 1900 Exposition began in 1892, under President Carnot, with Alfred Picard as Commissioner-Full general. Three French Presidents and 10 Ministers of Commerce held office before it was completed. President Carnot died shortly before it was completed. Though many of the buildings were not finished, the Exposition was opened on 14 April 1900 by President Émile Loubet.[3] [2]

  • Opening ceremony on 14 April 1900

Participating Nations [edit]

Countries from around the earth were invited by French republic to showcase their achievements and cultures. Of the fifty-six countries invited to participate with official representation, xl accustomed, plus an boosted number of colonies and protectorates of France, holland, Corking Great britain, and Portugal.[4]

Participating Nations[v]

Austria, Bosnia-Herzegovina and Hungary participated as independent nations, although belonging to Austria-hungary at that time. Finland, although having a national pavilion located at the Rue des Nations, officially participated as part of Russia. Arab republic of egypt, also with an own pavilion, participated as part of Turkey. The few exhibitors from countries without an official presence at the Fair participated under a joint "International Department".[v]

Among the colonies and protectorates present in the Fair were French Algeria, Cambodia, Congo, Dahomey, Guadeloupe, Guiana, Republic of guinea, India, Indochina, Cote d'ivoire, Laos, Madagascar, Martinique, Mayotte, New Caledonia, Oceania, Réunion, Senegal, Somaliland, Sudan, Tonkin, Tunisia, West Africa, Saint Pierre and Miquelon, the Dutch East Indies, British Canada, Ceylon, India and Western Australia and the Portuguese colonies.[5]

Exposition Site [edit]

The site of the Exposition covered 112 hectares (280 acres) along the left and right banks of the Seine from the esplanade of Les Invalides to the Eiffel Tower (congenital for the 1889 Exposition) at the Champ de Mars. It also included the Thou Palais and Petit Palais on the right depository financial institution. An additional section of 104 hectares (260 acres) for agricultural exhibits and other structures was built in the Bois de Vincennes. The full area of the Exposition, 216 hectares (530 acres), was ten times larger than the 1855 Exposition.[iv]

The Exposition buildings were meant to be temporary; they were built on atomic number 26 frames covered with plaster and staff, a kind of inexpensive artificial rock. Many of the buildings were unfinished when the Exposition opened, and almost were demolished immediately after it closed.

  • Aerial view of the Exposition Universelle

  • Map of the Exposition

The Porte Monumentale [edit]

The Porte Monumentale de Paris, located on the Identify de la Concorde, was the main entrance of the Exposition. The architect was René Binet. Information technology was equanimous of towering polychrome ceramic ornament in Byzantine motifs, crowned past a statue 6.5 metres (21 ft) high called La Parisienne. Dissimilar classical statues, she was dressed in mod Paris style. Below the statue was a sculptural prow of a boat, the symbol of Paris, and friezes depicting the workers who built the Exposition. The central curvation was flanked by two slender, candle-like towers, resembling minarets. The gateway was brightly illuminated at night by iii,200 light bulbs and an additional 40 arc lamps. Xl 1000 visitors an hour could laissez passer beneath the curvation to approach the twenty-six ticket booths.[half dozen] [vii]

The Gateway, like the Exposition buildings, was intended to exist temporary, and was demolished as soon as the Exposition was finished. The ceramic frieze depicting the workers of the Exposition was preserved by the head of the ceramics business firm that made information technology, Émile Müller, and moved to what is at present Parc Müller in the town of Breuillet, Essonne.

  • Detail of the Porte Monumentale entrance

The Pont Alexandre 3 [edit]

The Pont Alexandre III was an essential link of the Exposition, connecting the pavilions and palaces on the left and correct banks of the Seine. It was named after Czar Alexander III of Russian federation, who had died in 1894, and celebrated the contempo alliance betwixt France and Russia. The foundation rock was laid by his son, Czar Nicholas Ii in 1896, and the bridge was finished in 1900. Information technology was the work of engineers Jean Resal and Amédée D'Alby and architect Gaston Cousin. The widest and longest of the Paris bridges at the fourth dimension, it was synthetic on a single curvation of steel 108 metres (354 ft) long. Though it was named subsequently the Russian Czar, the themes of the ornamentation were nigh entirely French. At the ends, the bridge was supported by four massive stone pylons 13 metres (43 ft) high, busy with statues of the Renomées (The Renowned), female person figures with trumpets, and gilded statues of the horse Pegasus. At the base of the pedestals are allegorical statues representing the French republic of Charlemagne, the France of the Renaissance, the French republic of Louis XIV and France in 1900.[8] The Russian element was in the center, with statuary of the Nymphs of the Neva River holding a gilded seal of the Russian Empire. At the aforementioned time that the Pont Alexander III was congenital, a similar bridge, the Trinity Span was congenital in Saint-Petersburg, and was defended to French-Russian friendship past French President Félix Faure.

  • View of the Pont Alexandre III toward Les Invalides

  • The Pont Alexandre III with the One thousand Palais (left) and the Petit Palais (right) in the background

  • View of the Seine from the Pont Alexandre III

Thematic pavilions [edit]

To firm the industrial, commercial, scientific, technological and cultural exhibitions, the French arrangement congenital huge thematic pavilions on the esplanade of Les Invalides and the Gnaw de Mars and reused the Galerie des machines from the 1889 Exposition. On the other bank of the Seine, they built the G Palais and the Petit Palais for the fine arts exhibitions.[ix]

The 83,047 French and foreign exhibitors at the Fair were divided into eighteen groups based on their bailiwick affair, which in plow were divided into 121 classes, and based on the class to which they belonged, they were alocated in the respective official thematic pavilion. Each thematic pavilion was divided into national sections, which were the responsibility of the corresponding country and where its exhibitors were located. Some state with a stiff presence in a specific sector, at its own request, was even granted a plot adjoining to the master building to built a pocket-sized pavilion to firm its exhibitors.[9]

The Palaces of Eyes, Illusions and Aquarium [edit]

Twenty-one of the xxx-3 official pavilions were devoted to engineering and the sciences. Amidst the most popular was the Palace of Optics, whose chief attractions included the Great Paris Exposition Telescope, which enlarged the image of the moon ten thousand times. The epitome was projected on a screen 144 square metres (one,550 sq ft) in size, in a hall which seated two thousand visitors. This telescope was the largest refracting telescope at that time. The optical tube assembly was 60 metres (200 ft) long and 1.v metres (4 ft 11 in) in diameter, and was fixed in place due to its mass. Calorie-free from the sky was sent into the tube past a movable 2 metres (6 ft 7 in) mirror.

Another very popular feature of the Palace of Optics was the giant kaleidoscope, which attracted three 1000000 visitors. Other features of the eyes pavilion included demonstrations of X-rays and dancers performing in phosphorescent costumes.

The Palais des Illusions (Palace of Illusions), bordering the Palace of Optics, was an extremely popular exhibition. Information technology was a big hall which used mirrors and electrical lighting to create a show of colorful and bizarre optical illusions. It was preserved later the Exposition in the Musée Grévin[10]

Another scientific allure was the aquarium, the largest in the world at the time, viewed from an underground gallery 722 metres (2,369 ft) long. The water tanks were each 38 metres (125 ft) long, 18 metres (59 ft) wide and 6.v metres (21 ft) deep, and contained a wide option of exotic marine life.

  • Entrance of the Palace of Optics

  • The Palais des Illusions created a show of optical illusions with mirrors and lighting effects.

The Palace of Electricity and the H2o Castle [edit]

The Palace of Electricity and the bordering Water Castle (Chateau d'Eau), designed by architects Eugène Hénard and Edmond Paulin,[7] were among the most popular sights. The Palace of Electricity was built partly incorporating architectural elements of the former Palace of the Champ de Mars from the 1889 Exposition. The Palace was enormous, 420 metres (i,380 ft) long and lx metres (200 ft) broad, and its form suggested a giant peacock spreading its tail. The central belfry was crowned by an enormous illuminated star and a chariot conveying a statue of the Spirit of Electricity 6.5 metres (21 ft) high, holding aloft a torch powered by l,000 volts of electricity, provided by the steam engines and generators inside the Palace. Electrical lighting was used extensively to go on the Fair open up well into the dark. Producing the light for the Exposition consumed 200,000 kilograms (440,000 lb) of oil an hour.[xi] The facade of the Palace and the Water Castle, beyond from it, were lit by an additional 7,200 incandescent lamps and seventeen arc lamps.[12] [7] Visitors could go inside to see the steam-powered generators which provided electricity for the buildings of the Exposition.[seven] [2]

The Water castle, facing the Palace of Electricity, had an equally imposing appearance. Information technology had two large domes, betwixt which was a gigantic fountain, circulating 100,000 litres (22,000 imp gal; 26,000 U.s.a. gal) of water a minute. Thanks to the ability from Palace of Electricity, the fountain was illuminated at nighttime by continually changing colored lights.[eleven]

  • The Palace of Electricity (behind) and the Water Castle (in front)

The Grand Palais and Petit Palais [edit]

The Grand Palais, officially the G Palais des beaux-arts et des arts decoratifs, was built on the right bank upon the site of the Palace of Industry of the 1855 Exposition. It was the work of two architects, Henri Deglane for the main body of the building, and Albert Thomas for the westward fly, or Palais d'Antin. The iron frame of the One thousand Palais was quite modern for its time; information technology appeared light, only in fact, it used 9,000 tonnes (eight,900 long tons; 9,900 short tons) of metal, compared with 7 thousand for the structure of the Eiffel Tower.[13] The facade was in the ornate Beaux-Arts style or Neo-Bizarre style. The more modern interior iron framework, huge skylights and stairways offered decorative elements in the new Art Nouveau style,[7] particularly in the railings of the staircase, which were intricately woven in fluid, organic forms.[2] During the Off-white, the interior served every bit the setting for the exhibitions of paintings and sculptures.[seven] The chief body of the Grand Palais housed the Exposition décennale des beaux-arts de 1889 à 1900 with the paintings of French artists in the north wing, the paintings of artists from other countries in the southward wing and the sculptures in the primal hall, with some outdoor sculptures nearby.[14] The Palais d'Antin, or west wing, housed the Exposition centennale de l'art français de 1800 à 1889.[15]

The Petit Palais, that is facing the K Palais, was designed past Charles Girault.[seven] Much like the One thousand Palais, the facade is Beaux-Arts and Neo-Baroque, reminiscent of the K Trianon and the stable at Chantilly.[7] The interior offers examples of Art Nouveau, particularly in the railings of the curving stairways, the tiles of the floors, the stained glass, and the murals on the ceiling of the arcade around the garden.[7] The entrance murals were painted by Paul-Albert Besnard and Paul Albert Laurens.[7] During the Fair, the Petit Palais housed the Exposition rétrospective de 50'art français des origines à 1800.[16]

The Palaces of Industry, Decoration and Agriculture [edit]

The industrial and commercial exhibits were located inside several big palaces on the esplenade betwixt les Invalides and the Alexander III Bridge. Ane of the largest and almost ornate was the Palais des Manufactures Nationale, whose facade included a colorful ceramic gateway, designed past sculptor Jules Coutan and builder Charles Risler and made by the Sèvres Porcelain manufactory. After the Exposition it was moved to the wall of Foursquare Felix-Déésroulles, next to the Abbey of Saint-Germain-des-Prés, where information technology tin can exist seen today.[17]

The Palace of Article of furniture and Ornament was peculiarly lavish and presented many displays of the new Art Nouveau manner.

The Palace of Agriculture and Food was within the old Galerie des machines, an enormous fe-framed building from the 1889 Exposition. Its well-nigh popular feature was the Champagne Palace, offering displays and samples of French Champagne.

  • The Palace of National Manufacturers (left), with the Italian pavilion in distance

  • United States section at the Palace of Furniture and Decoration

  • Austrian section at the Palace of Furniture and Decoration

  • Pavilion of Agriculture and Food, inside the sometime Palace of Machines of the 1889 Exposition.

  • The Champagne Palace at the Palace of Agronomics and Food

National pavilions [edit]

Fifty-six countries were invited to the Exposition, and forty accepted. The Rue des Nations was created along the banks of the Seine between the esplanade of Les Invalides and the Gnaw de Mars for the national pavilions of the larger countries. Each land paid for its ain pavilion. The pavilions were all temporary, made of plaster and staff on a metal frame and were designed in an architectural style that represented a period in the country'due south history, ofttimes imitating famous national monuments.[ii]

At the Rue des Nations, on the left banking concern of the Seine, on the Quai d'Orsay, overlooking the river, from the Pont des Invalides towards the Pont de l'Alma, were located the national pavilions of Italy, Turkey, the United States, Austria, Bosnia and Herzegovina, Hungary, Swell Britain, Belgium, Norway, Germany, Spain, Monaco, Sweden, Greece, Serbia and Mexico. Behind them, in second line, were located the pavilions of Denmark, Portugal, Peru, Persia, Finland, Luxembourg, Bulgaria and Romania. The other nations were located elsewhere in the Exposition site.[2]

In addition to their ain national pavilion, the countries managed other spaces at the Fair. The industrial, commercial, scientific and cultural exhibitors of each country were distributed amidst the national sections of the unlike official thematic pavilions.[2]

The Rue des Nations [edit]

The pavilion of Turkey was covering four,000 foursquare metres (43,000 sq ft). Information technology was designed past a French architect, Adrien-René Dubuisson, and was a mixture of copies of Islamic architecture from mosques in Istanbul and elsewhere in the Ottoman Empire.[xviii]

The United States pavilion was modest, a variation on the The states Capitol Building designed by Charles Allerton Coolidge and Georges Morin-Goustiaux. The primary U.S. presence was in the commercial and industrial palaces. One unusual aspect of the U.S. presence was The Showroom of American Negroes at the Palace of Social Economy, a articulation projection of Daniel Murray, the Assistant Librarian of Congress, Thomas J. Calloway, a lawyer and the primary organizer of the exhibit, and West. Eastward. B. Du Bois. The goal of the exhibition was to demonstrate progress and commemorate the lives of African Americans at the plow of the century.[nineteen] The exhibit included a statuette of Frederick Douglass, four bound volumes of nigh 400 official patents past African Americans, photographs from several educational institutions (Fisk University, Howard University, Roger Williams Academy, Tuskegee Institute, Claflin University, Berea College, Northward Carolina A&T), and, most memorably, some five hundred photographs of African-American men and women, homes, churches, businesses and landscapes including photographs from Thomas East. Askew.[20]

The pavilions of the Austro-Hungarian domains in the Balkans, Bosnia and herzegovina, offered displays on their lifestyles, consisting of folklore traditions, highlighting peasanthood and the embroidery appurtenances produced in the country.[7] Designed by Karl Panek, it featured murals on the history of Slavic peoples by Alphonse Mucha.

The pavilion of Hungary was designed past Zoltán Bálint and Lajos Jámbor. Its cupola displayed agricultural produce and hunting equipment.[7]

The British Royal pavilion consisted of a mock-Jacobean mansion busy with pictures and furniture, designed by Sir Edwin Lutyens. It was largely used for receptions for of import visitors to the Exposition.[2]

The German pavilion was the tallest, at 76 metres (249 ft), designed by Johannes Radke and built of woods and stained glass. Still, nearly of the German presence at the Exposition was in the commercial pavilions, where they had important displays of German applied science and machinery, every bit well equally models of German steamships and a full-scale model of a German language lighthouse.[ii]

The Royal Pavilion of Kingdom of spain was designed in Neo-Plateresque way by José Urioste Velada. It housed the Retrospective Exhibition of Spanish Art formed by the collection of tapestries, in which thirty-7 pieces made between the 15th and 18th centuries from the Royal Collections were exhibited. The pavilion basement housed a Spanish-themed café-eating place, named La Feria, that was the first eatery in History with a completely electrical kitchen.[21]

Sweden's xanthous and crimson structure covered in pine shingles drew attention with its brilliant colours. It was designed by Ferdinand Boberg.[ii]

The pavilion of Finland, designed by Gesellius, Lindgren, Saarinen, had clean-cut, modernistic architecture.[two]

  • Rue des Nations. From left to right: Pavilions of Belgium, Kingdom of norway, Germany, Spain, Monaco, Sweden, Greece and Serbia.

  • Pavilion of Italy by Carlo Ceppi, Costantino Gilodi and Giacomo Salvadori

  • Pavilion of Turkey by Adrien-René Dubuisson

  • Pavilion of the The states past Coolidge and Morin-Goustiaux

  • Pavilions of Republic of bosnia and herzegovina by Karl Panek (left) and Hungary by Zoltán Bálint and Lajos Jámbor (right)

  • Pavilion of Belgium by Ernest Acker and Gustave Maukels

  • Pavilion of Monaco past Jean Marquet and François Medecin

Nations located elsewhere [edit]

Russian federation had an imposing presence on the Trocadéro hill. The Russian pavilion, designed past Robert Meltzer, was inspired by the towers of the Kremlin and had exhibits and compages presenting creative treasures from Samarkand, Bukhara and other Russian dependencies in Central Asia.[22]

The Chinese pavilion, designed by Louis Masson-Détourbet, was in the grade of a Buddhist temple with staff in Chinese traditional wearing apparel. This pavilion suffered some disruption in Baronial 1900, when anti-Western rebels seized the International delegations in Beijing in the Boxer Rebellion and held them for several weeks until an expeditionary force from the 8-Nation Alliance arrived and recaptured the city. During the disruption at the Fair, a Chinese procession was attacked by angered Parisians.[23]

The Korean pavilion, designed by Eugène Ferret, was by and large stocked past French Oriental collectors, including Victor Collin de Plancy, with a supplement of Korean goods from Korea.[24] One object of note on display was the Jikji, the oldest extant volume printed with movable metal type.[25]

Kingdom of morocco had its pavilion almost the Eiffel Tower and was designed by Henri-Jules Saladin.[22]

  • Pavilion of Russia by Robert Meltzer

  • Pavilion of China by Louis Masson-Détourbet

  • Pavilion of Kingdom of morocco by Henri-Jules Saladin

Colonial pavilions [edit]

An area of several dozen hectares on the hill of the Trocadéro Palace was prepare aside for the pavilions of the colonies and protectorates of France, the Netherlands, Great britain, and Portugal.

The largest space was for the French colonies in Africa, the Caribbean, the Pacific and Southeast Asia. These pavilions featured traditional compages of the countries and displays of local products mixed with mod electric lighting, motility pictures, dioramas, and guides, soldiers, and musicians in local costumes. The French Caribbean area islands promoted their rum and other products, while the French colony of New Caledonia highlighted its exotic varieties of wood and its rich mineral deposits.[22]

The North African French colonies were particularly nowadays; The Tunisian pavilion was a miniature recreation of the Sidi Mahrez Mosque of Tunis. Algeria, Sudan, Dahomey, Guinea and the other French African colonies presented pavilions based on their traditional religious compages and marketplaces, with guides in costume.[22]

The French colonies of Indochina, Tonkin and Kingdom of cambodia also had an impressive presence, with recreations of pagodas and palaces, musicians and dancers, and a recreation of a riverside hamlet from Lao people's democratic republic.[22]

Holland displayed the exotic culture of its crown colony, the Dutch Eastward Indies. The pavilion displayed a true-blue reconstruction of 8th-century Sari temple and also Indonesian vernacular architecture of Rumah Gadang from Minangkabau, W Sumatra.

Attractions [edit]

As well its official scientific, industrial and creative palaces, the Exposition offered an boggling diversity of attractions, amusements and diversions.

Eiffel Tower [edit]

The Eiffel Belfry, that was built every bit the primary entrance of the 1889 Exposition, was the main and central allure of the 1900 Exposition. For this Exposition, it was repainted in shaded tones from yellow-orange at the base of operations to lite yellow at the top, and was fitted with 7,000 electrical lamps. At the same time, the lifts in the eastward and west legs were replaced by lifts running equally far as the second level and the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the 2nd level.[26]

  • Aerial view of the Exposition including the Eiffel Tower.

  • View of the Champ de Mars under the Eiffel Tower

The Grande Roue de Paris [edit]

The Grande Roue de Paris was a very popular attraction. It was a gigantic ferris wheel 110 metres (360 ft) high, which took its name from a similar bicycle created by George Washington Gale Ferris Jr. at the 1893 World's Columbian Exposition in Chicago. It could behave 1,600 passengers in its xl cars in a single voyage. The toll of a ride was 1 franc for a second grade car, and ii francs for a more spacious first-grade machine. Despite the high price, passengers often had to await an hour for a place.[27]

  • The Grande Roue at the Paris Exposition could carry 1600 passengers at once

The moving sidewalk, electric train and electrobus [edit]

The Rue de 50'Avenir (transl.  Street of the future) moving sidewalk was a very popular and useful allure, given the large size of the Exposition. Information technology ran along the edge of the Exposition, from the esplanade of Les Invalides to the Gnaw de Mars, passing through nine stations forth the style, where passengers could board. The fare was an average of fifty centimes. The sidewalk was accessed from a platform 7 metres (23 ft) above the ground level. The passengers stepped from the platform onto the moving sidewalk traveling at 4.2 kilometres per hr (ii.6 mph), so onto a more rapid sidewalk moving at 8.5 kilometres per hour (5.3 mph). The sidewalks had posts with handles which passengers could hold onto, or they could walk. It was designed by architect Joseph Lyman Silsbee and engineer Max E. Schmidt.[28]

A Decauville electric train followed the same route, running at an average speed of 17 kilometres per hour (eleven mph) in the contrary direction of the moving sidewalk. The track rails was sometimes at 7 metres (23 ft) high like the movable sidewalks, sometimes at ground level and sometimes underground.[29]

An experimental rider electrobus line, designed by Louis Lombard-Gérin, ran in the Bois de Vincennes from 2 August to 12 November 1900. It was a 2.5 kilometres (one.6 mi) long circular route connecting the recently opened Porte de Vincennes metro station with Lac Daumesnil. It was the outset trolleybus in regular passenger service in History.[30]

  • Quai d'Orsay-Pont des Invalides station of the moving sidewalk virtually the Pavilion of Italian republic

  • Viaducts of the electrical train (left) and the moving sidewalk (right)

  • The outset e'er trolleybuses in regular passenger service (Bois de Vincennes)

The Globe Céleste [edit]

The Earth Céleste was an immense globe-shaped planetarium which offered a presentation on the nighttime sky. The world, designed past Napoléon de Tédesco, was 45 metres (148 ft) in diameter, and the blue and gold exterior was painted with the constellations and the signs of the zodiac. It was placed atop a masonry back up eighteen metres (59 ft) loftier, supported by four columns. A flower garden on the support surrounded the world. Spectators seated in armchairs inside watched a presentation on the stars and planets projected overhead.

The sphere was the scene of a fatal accident on 29 Apr 1900 when one of admission ramps, hastily made of a newly introduced textile, reinforced concrete, collapsed onto the street beneath, killing nine persons. Following the accident the French government established the start regulations for the use of reinforced concrete.

  • The World Céleste was featured in an advertisement for Suchard Chocolate

Motion Pictures [edit]

The Lumière brothers, who had made the first public projections of a motion-picture show in 1895, presented their films on a colossal screen, 21 metres (69 ft) by 16 metres (52 ft), in the Gallery of Machines. Another innovation in movement pictures was presented at the Exposition at the Phono-Cinema Theater; a primitive talking move picture, where the image on the screen was synchronized to the sound from phonographs.[31]

An even more than ambitious experiment in motility pictures was the Cinéorama of Raoul Grimoin Sanson, which simulated a voyage in a balloon. The pic, projected on a circular screen 93 metres (305 ft) in circumference by x synchronized projectors, depicted a landscape passing beneath. The spectators sabbatum in the centre higher up the projectors, in what resembled the handbasket suspended beneath a large airship.[31]

Some other pop attraction was the Mareorama, which simulated a voyage by ship from Villefranche to Constantinople. The viewers stood on the railing of a send simulator, watching painted images pass by of the cities and seascapes en route. The illusion was aided past machinery that rocked the send, and fans which blew gusts of wind.[32]

  • Affiche for the Phono-Cinema Theater

  • The Cinéorama, a imitation voyage in a airship with motion pictures projected on a round screen.

  • The Mareorama simulated a sea voyage, complete with rocking ship and unrolling painted scenery.

World live recreations [edit]

50'Andalousie au temps des Maures (transl.  Andalusia In The Time Of The Moors) was a 5,000 thou2 (54,000 sq ft) Castilian-themed open up air attraction with folkloric live performances at Quai Debilly, at the western terminate of Trocadéro, on the right bank of the Seine, featuring total-scale moorish architecture reproductions from the Alhambra, Córdoba, Toledo, the Alcázar of Seville and a 80 m (260 ft) tall reproduction of the Giralda. It was a French-produced attraction that had no relation with the official representation of Kingdom of spain at the Fair.[33]

Le Vieux Paris (transl.  Sometime Paris) was a recreation of the streets of sometime Paris, from the Middle Ages to the 18th century, with recreations of historic buildings and streets filled with performers and musicians in costumes. It was built following an idea by Albert Robida.[34]

The Swiss Village, at the edge of the Exposition near Avenue de Sufren and Motte-Piquet, was a recreation of a Swiss mountainside village, complete with a 35 metres (115 ft) cascade, a lake and collection of thirty-five chalets.[34]

The Panorama du Tour du Monde was an animated panorama journey from Europe to Nippon in a building by Alexandre Marcel in the architectural styles of Bharat, China, Cambodia, Japan and Renaissance Europe. It consisted in panoramic paintings by Louis Dumoulin in front of which groups of native people, dressed appropriately, move, play, dance, stroll or work. The company traveled through representations of Fuenterrabía (Spain), the Pnyx hill in Athens (Greece), the cemetery of Stamboul and the Gilded Horn of Constantinople (Turkey), Syria, the Suez Canal (Arab republic of egypt), Ceylon, the Angkor Wat temple (Cambodia), Shanghai (Communist china) and Nikkō (Japan). The visit continued by showing dioramas of Rome, Moscow, New York and Amsterdam and ended with a mobile panorama of a boat trip along the declension of Provence, from Marseille to La Ciotat. It was funded and sponsored by the Compagnie des messageries maritimes.[35]

Other recreations with costumed vendors and musicians elsewhere the Exposition included recreations of the bazaars, souks and street markets of Algiers, Tunis and Laos, a Venetian canal with gondolas, a Russian village and a Japanese tea house.[34]

  • Le Vieux Paris outside

  • Le Vieux Paris

  • The Swiss Hamlet

  • Panorama du Tour du Monde

Theatres and Music Halls [edit]

The Exposition had several big theatres and music halls, the largest of which was the Palais des Fêtes, which had fifteen thousand seats, and offered programs of music, ballet, historical recreations and various spectacles. A carve up thoroughfare of the Exposition, the Rue de Paris, was lined with amusements, including music venues, a comedy theater, marionettes, American jazz, a K Guignol theater, and the celebrated "Backwards House", which had its furniture on the ceiling, its chandeliers on the floor, and windows which gave reverse images. Other diversions elsewhere in and around the Exposition included an orchestra from Madagascar, a Comedy Theater, and the Columbia Theater at Port Maillot, with acts ranging from panoramas of life in the Orient to a water ballet. These diversions were popular but expensive; entry to the One-act Theater cost up to 5 francs.[36]

The about celebrated actress during the Exposition was Sarah Bernhardt, who had her own theater, The Théâtre Sarah Bernhardt (now the Théâtre de la Ville), and premiered i of her about famous roles during the Exposition. This was L'Aiglon, a new play by Edmond Rostand in which she played the Duc de Reichstadt, the son of Napoleon Bonaparte, imprisoned by his unloving mother and family until his melancholy death in the Schönbrunn Palace in Vienna. The play concluded with a memorable death scene; co-ordinate to i critic, she died "as dying angels would die if they were allowed to."[37] The play ran for nearly a year, with standing-room places selling for as much as 600 gold francs.[38]

Some other popular diversion during the Exposition was the theater of the American dancer, Loie Fuller, who performed a famous Serpentine trip the light fantastic toe in which she waved large silk scarves which seemed to envelop her into a cloud. Her performance was widely reproduced in photographs, paintings and drawings past Fine art Nouveau artists and sculptors, and were captured in very early motion pictures.[two] She was filmed on ten 70mm projectors that created a 330-degree picture, patented by Cinéorama.[ii]

  • The dancer Loie Fuller had her own theater in Paris during the 1900 Exposition

  • Sarah Bernhardt equally L'Aiglon, the son of Napoleon Bonaparte, played to full houses in her theater during the Exposition.

Events [edit]

Many international congresses and other events were held in Paris in 1900 inside the framework of the Exposition. A large area inside the Bois de Vincennes was set aside for sporting events, which included, amid others, many of the events of the 1900 Summer Olympics. A chess tournament was also held.

1900 Summertime Olympics Games [edit]

The 1900 Summer Olympics were the second modern Olympics games held, and the first ones held outside Greece. Betwixt fourteen May and 28 Oct 1900, an enormous number of sporting activities were held along the Exposition. The sporting events rarely used the term of "Olympic". Indeed, the term "Olympic Games" was replaced by "Concours internationaux d'exercices physiques et de sport" (transl.  "International physical exercises and sports competition") in the official report of the Exposition. The press reported competitions variously as "International Championships", "International Games", "Paris Championships", "World Championships" and "Grand Prix of the Paris Exposition". The International Olympic Committee had no real command over the organisation, no official estimation has ever been made and various sources list differing events, further adding to the confusion that was Paris 1900.[39]

997 competitors took part in nineteen different sports, including women competing for the first fourth dimension.[40] A number of events were held for the first and just time in Olympic history, including car and motorcycle racing, ballooning, cricket, croquet, a 200 metres (660 ft) swimming obstruction race and underwater pond.[41] France provided 72% of all athletes (720 of the 997) and won the almost gold, silver and bronze medal placings. The U.s.a. athletes won the 2nd largest number, with merely lxx-five of the 997 athletes.[42] The pigeon race was won by a bird which flew from Paris to its home in Lyon in four and a one-half hours. The free balloon competition race was won by a balloon which traved ane,925 kilometres (1,196 mi) from Paris to Russian federation in 35 hours and 45 minutes.[43]

  • Gymnasts at opening anniversary (Bois de Vincennes)

  • Hélène Pévost, French women'due south lawn tennis champion at the 1900 Paris Olympics, the commencement games in which women competed

  • A combined Swedish-Danish squad defeated France in the Olympic Tug-of-War competition

  • Start of the balloon event at the 1900 Summer Olympics (Bois de Vincennes)

Banquet des maires [edit]

Some other special event at the Exposition was a gigantic banquet hosted by the French President, Émile Loubet, for twenty,777 mayors of France, People's democratic republic of algeria and towns in French colonies, hosted on 22 September 1900 in the Tuileries Gardens, inside two enormous tents.[43] The dinner was prepared in eleven kitchens and served to 606 tables, with the orders and needs of each table supervised by phone and vehicle.[two]

Medals and Awards ceremony [edit]

Michigan Stove Company label

The organizers of the Exposition were not miserly in recognizing the 83,047 exhibitors of products, about half of whom came from France, and 7,161 from the United States. The awards ceremony was held on 18 August 1900, and was attended by xi,500 persons. three,156 grand prizes were handed out, viii,889 gold medals, 13,300 silver medals, 12,108 statuary medals, and 8,422 honorable mentions. Many of the participants, such as Campbell'southward Soup or Michigan Stove Visitor, added the Paris honor to the advertisements and labels of their products.[44]

Admission charges and price [edit]

The toll of an admission ticket was 1 Franc. At the time, the average hourly wage for Paris workers was between twoscore and 50 centimes. In addition, most popular attractions charged an admission fee, usually between fifty centimes and Franc. The average toll of a simple meal at the Exposition was 2.50 Francs, the half-day wages of a worker.[45] The amount budgeted for the Paris Exposition was one hundred one thousand thousand French Francs; twenty million from the French State, xx million from the City of Paris, and the remaining sixty one thousand thousand expected to come from admissions, and backed past French banks and fiscal institutions.[46]

The official final cost was 119 million Francs, while the total amount actually collected from admission fees was 126 million Francs. However, there were unplanned expenses of 22 million Francs for the French State, and 6 1000000 Francs for the City of Paris, bringing the full price to 147 1000000 Francs, or a arrears of 21 meg Francs.[46] The deficit was to a degree offset by the long-term additions to the city infrastructure; new buildings and bridges, including the Thou and Petit Palais, the Pont Alexander III and the Passerelle Debilly; and additions to the ship organisation; The Paris Métro, the funicular railway on Montmartre, and ii new train stations, the Gare d'Orsay and the Gare des Invalides, and the new facade and enlargement and redecoration of the Gare de Lyon and other stations.

The Exposition was and then expensive to organize and run that the cost per company ended up being about six hundred francs more than the price of admission. The exhibition lost a grand total of 82,000 francs after half dozen months in functioning. Many Parisians had invested money in shares sold to heighten coin for the event and therefore lost their investment. With a much larger than expected turnout the exhibit sites had gone up in value. Standing to pay rent for the sites became increasingly hard for concessionaires as they were receiving fewer customers than predictable. The concessionaires then went on strike, which ultimately resulted in the closure of a big function of the exposition. To resolve the matter, the concessionaires were given a fractional refund of the rent they had paid.[2]

Art Nouveau at the Exposition [edit]

The Art Nouveau ("New Art") style began to appear in Kingdom of belgium and French republic in the 1880s and became fashionable in Europe and the United States during the 1890s.[47] Information technology was highly decorative and took its inspiration from the natural globe, peculiarly from the curving lines of plants and flowers and other vegetal forms. The compages of the Exposition was largely of the Belle Epoque way and Beaux-Arts style, or of eclectic national styles. Fine art Nouveau ornamentation appeared in the interiors and ornamentation of many of the buildings, notably the interior ironwork and decoration of the Monumental gateway of the Exposition, the Grand Palais and the Petit Palais, and in the portal of the Palace of National Industries.

The Art Nouveau manner was very popular in the pavilions of decorative arts. The jewelry firm of Fouquet and the glass and crystal mill of Lalique all presented collections of Art Nouveau objects.[48] The Sèvres Porcelain Manufactory created a series of monumental swan vases for the Exposition, likewise equally the monumental archway to the Palace of National Manufacturers.[48]

Many Exposition posters also made use of the Art Nouveau style. The piece of work of the virtually famous Art Nouveau poster artist, Alfons Mucha, had many forms at the Exposition. He designed the posters for the official Austrian participation in the Exposition, painting murals depicting scenes from the history of Bosnia as well equally the card for the restaurant at the Bosnian pavilion, and designed the bill of fare for the official opening feast. He produced displays for the jeweler Georges Fouquet and the perfume maker Houbigant, with statuettes and panels of women depicting the scents of rose, orange bloom, violet and buttercup. His more serious art works, including his drawings for Le Pater, were shown in the Austrian pavilion and in the Austrian section of the One thousand Palais. Some of his murals tin can be seen now in the Petit Palais.[49]

The virtually famous advent was in the edicules, or entrance coverings, of the stations of the Paris Métro designed by Hector Guimard. Most were removed not long after the Exposition, but two original edicules remain. It too appeared in the interior ornament of many popular restaurants, notably the Pavillon Bleu at the Exposition, Maxim's, and the Le Railroad train Bleu restaurant of the Gare de Lyon,[50] and in the portal of the Palace of National Manufacturers made by the Sèvres Porcelain Factory. [47]

The Exposition was a showcase not only of French Art Nouveau, but too the variations that had appeared in other parts of Europe, including the piece of furniture of the Belgian builder and designer Victor Horta, designs of the High german Jugendstil by Bruno Möhring, and of the Vienna Secession of Otto Wagner. Their display at the Exposition brought the new way international attention.[fifty]

  • Nymph lamp by Egide Rombaux & François Hoosemans fabricated for the Exposition

  • Carte by Alfons Mucha for the eating house of the Bosnia and herzegovina pavilion

  • The Bigot pavilion, showcasing the piece of work of Art Nouveau ceramics manufacturer Alexandre Bigot

Legacy [edit]

Near of the palaces and buildings constructed for the Exposition Universelle were demolished subsequently the determination of the Exposition and all items and materials that could be salvaged were sold or recycled. They were built largely of wood and covered with staff, which was formed into columns, statuary, walls, stairs. A few of the major structures built for the Exposition were preserved, including the Grand Palais and the Petit Palais, and the two major bridges, the Pont Alexandre 3 and the Passerelle Debilly, though the latter was later dismantled and moved a few dozen meters from its original placement.[51]

Virtually of the Art Nouveau metro station edicules designed by Hector Guimard were removed soon later on the Exposition airtight, but two of the originals notwithstanding exist, including one at its original location, at the Porte Dauphine metro station.

The monumental portal of the Palace of National Manufacturers, made by the Sèvres Manufactory, was preserved and moved to Square Felix-Desruelles, next to the Abbey of Saint-Germain-des-Prés.

A 2.87 metres (9 ft 5 in) copy of the Statue of Liberty past Frédéric Auguste Bartholdi exhibited at the Fair, was placed in the Luxembourg Gardens in 1905 at the asking of his widow.

After visiting the Panorama du Tour du Monde, King Leopold Ii of Belgium deputed its architect, Alexandre Marcel, to build a Japanese belfry and a Chinese pavilion in the Royal Domain of Laeken, Brussels, Belgium. Marcel rebuilt there the Japanese ruddy pagoda of the Tour du Monde (now known equally the Japanese Tower) and moved the original entry pavilion to the tower from Paris. He also congenital the Chinese Pavilion whose wooden panelling was sculpted in Shanghai. Both structures are at present part of the Museums of the Far East.[52]

One of the nearly curious vestiges is La Ruche, at 2 Passage de Dantzig (15th arrond.). This is a three-story edifice constructed entirely out of bits and pieces of Exposition buildings, purchased at auctions by sculptor Alfred Boucher. The iron roof, made by Gustave Eiffel, originally covered the kiosk of the Wines of Médoc, in the palace of agronomics and foods. The statues of women in theatrical costumes by the front end door came from the Indochina pavilion, while the ornamental atomic number 26 gate at the entrance was office of the Palace of Women. In the years after the Exposition, La Ruche served as the temporary studio and home of dozens of young artists and writers including Marc Chagall, Henri Matisse, Amedeo Modigliani, Fernand Léger and the poet Guillaume Apollinaire. It was threatened with sabotage in the 1960s but was saved by culture minister André Malraux. Information technology is at present a historical monument.[53]

  • Ceramic gateway of Sèvres Porcelain from the Palace of National Manufacturers, now on Square Félx-Desruelles

  • La Ruche, an artist'southward colony composed of pieces of different Exposition buildings

Criticism [edit]

The Exposition had numerous critics from different points of view. The monumental gateway was described as "lacking in sense of taste" and was considered by some critics to be the ugliest of all the exhibits.[7] Calculation to their dislike of La Porte Monumentale Paris was the Parisienne, fabricated by Moreau-Vauthier.[seven] The Parisienne was referred to by some every bit "the triumph of prostitution" because of her flowing robe and modernized effigy and was criticized by many visitors to the triumphal gateway.[two]

The structure of the entrance belfry as a whole was adorned with Byzantine motifs and Western farsi ceramic ornamentation, but the true inspiration behind the slice was non of cultural groundwork.[7] Binet sought inspiration from science, tucking the vertebrae of a dinosaur, the cells of a beehive, rams, peacocks, and poppies into the design alongside other animalistic stimuli.[vii]

La Porte Monumental Paris is considered to be a structure of the Salammbô style and 'the near typically 1900 monument of the unabridged exhibition'.[seven] The controversial gateway became known as La Salamanda amongst the public because it resembled the stocky and intricately designed salamander-stoves of the time, only adding to its ridicule.[2]

Movement flick footage [edit]

Short silent actuality films documenting the Exposition by French managing director Georges Méliès and by Edison Manufacturing Visitor producer James H. White, accept survived.

1900 Paris Exposition footage montage

See also [edit]

  • Art Nouveau in Paris
  • French Colonial Empire
  • Paris in the Belle Époque

References [edit]

  1. ^ Ageorges, Sylvain, Sur les traces des Exposition universelles (2006) pp. 12-15
  2. ^ a b c d e f thou h i j thou l m northward o p q Allwood, John (1977), The Peachy Exhibitions, Slap-up Uk: Cassell & Collier Macmillan Publishers, pp. 7–107.[ page range too wide ]
  3. ^ Mabire, Jean Christophe (2000) pg. 31
  4. ^ a b Ageorges (2006) pages 104-105
  5. ^ a b c Exposition universelle internationale de 1900 à Paris. Rapport général administratif et technique (Written report) (in French). Vol. 8. Paris: Ministry of Commerce, Industry, Posts and Telegraphs. France. 1902. p. 640. Retrieved 16 November 2021.
  6. ^ Ageorges, Sylvan. Sur les traces des Expositions Universelles (2004), pg. 238
  7. ^ a b c d e f g h i j k l m n o p q Jullian, Philipe (1974), The Triumph of Art Nouveau: Paris Exhibition 1900, New York, New York: Larousse & Co, pp. 38–83.
  8. ^ Ageorges (2006) pg. 118
  9. ^ a b Brown, Robert Due west (2008). "Paris 1900". Encyclopedia of Earth's Fairs and Expositions. McFarland & Visitor. p. 150.
  10. ^ Mabire (2000) pg. 89
  11. ^ a b Mabire (2000), pg. 116
  12. ^ Ageorges (2006) pg. 110
  13. ^ Ageorges (2006) pp. 113-114
  14. ^ Exposition Universelle de 1900 - Catalogue illustré officiel de 50'exposition décennale des BEAUX-ARTS de 1889 à 1900 (in French). Ludovic Baschet, éditeur. 1900.
  15. ^ Exposition Universelle de 1900 - Catalogue illustré officiel de l'exposition centennale de 50'Art français de 1800 à 1889 (in French). Ludovic Baschet, éditeur. 1900.
  16. ^ Exposition Universelle de 1900 - Catalogue illustré officiel de 50'exposition rétrospective de l'art français des origines à 1800 (in French). Ludovic Baschet, éditeur. 1900.
  17. ^ Ageorges (2006) pg. 127
  18. ^ Ageorges (2006) pg. 123
  19. ^ David Levering Lewis, "A Pocket-size Nation of People: Westward.Due east.B. Du Bois and Black Americans at the Turn of the Twentieth Century", A Small-scale Nation of People: W. E. B. Du Bois and African American Portraits of Progress. New York: Amistad, 2003. 24–49.
  20. ^ Thomas Calloway, "The Negro Exhibit", in U.S. Commission to the Paris Exposition, Report of the Commissioner-General for the U.s.a. to the International Universal Exposition, Paris, 1900, Vol. 2 (Washington, D.C: Authorities Press Office, 1901).
  21. ^ Lasheras Peña, Ana Belén (2 March 2010). España en París. La imagen nacional en las Exposiciones Universales, 1855-1900 (Thesis) (in Spanish). University of Cantabria. pp. 449–474.
  22. ^ a b c d east Mabire (2000), pp. 62-63
  23. ^ Ageorges (2006) pp. 116-117
  24. ^ Gers, Paul. "Paris 1900 - Korea - Foreign Nations and Colonies". worldfairs.info.
  25. ^ "Les points sur les i - Madame Choi". 28 July 2006.
  26. ^ Vogel, Robert M. (1961). "Elevator Systems of the Eiffel Tower, 1889". United States National Museum Bulletin. Washington, D.C.: Smithsonian Establishment. 228: xx–21.
  27. ^ Mabire (2000) pg. 86
  28. ^ Mabire (2000) pp. 87-89
  29. ^ Blaizot, Denis (26 May 1900). "Les trottoirs roulants de l'Exposition". La Revue Scientifique (in French).
  30. ^ Martin, Henry (1902). Lignes Aeriennes et Trolleys pour Auto sur Route (Report) (in French). Libraire Polytechnique Ch. p. 29.
  31. ^ a b Ageorges (2006) pg. 110-111
  32. ^ Ageorges (2006) pg. 112
  33. ^ Benjamin, Roger (2005). "Andalusia In The Time Of The Moors: Regret and Colonial Presence in Paris, 1900". Edges of Empire: Orientalism and Visual Culture. Oxford: Blackwell. pp. 181–205.
  34. ^ a b c Mabire (2000) pg. 177
  35. ^ Rousselet, Louis. "Paris 1900 - World Bout Panorama". worldfairs.info.
  36. ^ Mabire (2000) pg. lxxx-81
  37. ^ Skinner 1967, pp. 260–261. sfn mistake: no target: CITEREFSkinner1967 (assist)
  38. ^ Tierchant 2009, pp. 287–288. sfn fault: no target: CITEREFTierchant2009 (assistance)
  39. ^ Mallon, Beak (2009). The 1900 Olympic Games: Results for All Competitors in All Events, with Commentary. McFarland & Company. p. 11. ISBN9780786440641 . Retrieved 15 Nov 2021.
  40. ^ "The Olympic Summertime Games Factsheet" (PDF). International Olympic Committee. Archived (PDF) from the original on 6 September 2015. Retrieved v August 2012.
  41. ^ Journal of Olympic History, Special Outcome – December 2008, The Official Publication of the International Society of Olympic Historians, p. 77, past Karl Lennartz, Tony Bijkerk and Volker Kluge
  42. ^ "1900 Paris Medal Tally". Archived from the original on April 26, 2019. Retrieved April 26, 2019.
  43. ^ a b Mabire (2000) pg. 46
  44. ^ Mabire (1900) pg. 44
  45. ^ Ageorges (2006), pg. 105
  46. ^ a b Mabire (2000), pp. 51
  47. ^ a b Gontar, Cybele. (2006), "Art Nouveau", Heilbrunn Timeline of Art History. Retrieved from: http://www.metmuseum.org/toah/hard disk drive/artn/hd_artn.htm
  48. ^ a b "ArtfixDaily.com ArtGuild Members". world wide web.artfixdaily.com . Retrieved 2015-eleven-24 .
  49. ^ Sato 2015, p. 64.
  50. ^ a b Philippe Jullian, The Triumph of Art Nouveau: Paris exhibition, 1900 (London: Phaidon, 1974).
  51. ^ Ageorges (2006) p. 130
  52. ^ "History of The Museums of the Far E". Museums of the Far Due east.
  53. ^ Ageorges (2006) pp. 124-125

Bibliography [edit]

  • Ageorges, Sylvain (2006), Sur les traces des Expositions Universelles (in French), Parigramme. ISBN 978-28409-6444-5
  • Fahr-Becker, Gabriele (2015). L'Art Nouveau (in French). H.F. Ullmann. ISBN 978-3-8480-0857-5.
  • Lahor, Jean (2007) [1901]. 50'Art nouveau (in French). Baseline Co. Ltd. ISBN 978-1-85995-667-0.
  • Mabire, Jean-Christophe, L'Exposition Universelle de 1900 (in French) (2019), L.Harmattan. ISBN 27384-9309-2
  • Sato, Tamako (2015). Alphonse Mucha - the Creative person as Visionary. Cologne: Taschen. ISBN978-3-8365-5009-iii.

Further reading [edit]

  • Alexander C. T. Geppert: Fleeting Cities. Regal Expositions in Fin-de-Siècle Europe, Basingstoke/New York: Palgrave Macmillan, 2010.
  • Richard D. Mandell, Paris 1900: The smashing globe's off-white (1967)
  • Le Panorama : Exposition universelle 1900 (in French). Paris: Ludovic Baschet, éditeur. 1900. Retrieved six December 2021.
  • Liste des récompenses : Exposition universelle de 1900, à Paris (Report) (in French). Paris: Ministry building of Commerce, Industry, Posts and Telegraphs. French Democracy. 1901. Retrieved 6 December 2021.

External links [edit]

  • 1900 Paris at the BIE
  • Exposition Universelle 1900 in Paris. Photographs at L'Fine art Nouveau
  • Universal and International Exhibition of Paris 1900 at worldfairs.info
  • Inventing Entertainment: The Early Move Pictures and Audio Recordings of the Edison Companies: "exposition universelle internationale de 1900 paris, france" (search results). A set of films by Edison from the Expo 1900
  • 1900 Palace of Electricity. Thomas A. Edison. Archived from the original on 2021-11-17. Retrieved 2009-05-20 . 1900-08-09 1 infinitesimal moving picture pan shot from Champ de Mars
  • 1900 Panoramic view of the Place de l'Concord. Thomas A. Edison. Archived from the original on 2021-11-17. Retrieved 2009-05-20 . 1900-08-29 ane minute 39 seconds moving-picture show pan shot from Place de la Concorde
  • 1900 Esplanade des Invalides. Thomas A. Edison. Archived from the original on 2021-eleven-17. Retrieved 2009-05-20 . 1900-08-09 two minute film pan shot from Esplanade des Invalides and 10 seconds of Chateau d'Eau from Tour Eiffel
  • "Unrecognizable Paris: The Monuments that Vanished", an article at Messy Nessy Cabinet of Chic Curiosities
  • The Burton Holmes lectures; v.2. Round about Paris. Paris exposition at Net Archive

Coordinates: 48°51′22″N two°17′52″E  /  48.8561°Northward two.2978°East  / 48.8561; 2.2978

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Source: https://en.wikipedia.org/wiki/Exposition_Universelle_%281900%29

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