The Elusive Faces of Modernity
Jacques Gréber and the Planning of the 1937 Paris World Fair
Bibliographic Data
| ID | 5835200 |
|---|---|
| Authors | Danilo Udovički-Selb (corresponding author), Danilo François Udovicki-Selb |
| Year | 2001 |
| Volume | 29 |
| Issue | 2 |
| Pages | 20-35 |
| Publication date | 2001-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Urban History Review (JOURNAL) |
| Journal identifiers | ISSN: 0703-0428 • E-ISSN: 1918-5138 |
| Publisher | University of Toronto Press Inc. (UTPress) (PUBLISHER) |
| DOI | 10.7202/1019203ar |
| OpenAlex | W2148582962 |
| Language | EN |
| Citations received | 3 |
The occasion of the first commission that Jacques Gréber received to plan the new city centre of Ottawa-the 1937 Paris International Exposition-was the scene of the first encounter between the proponents of the New Architecture and the tenets of the "Retour à l'Ordre." The last in the long tradition of French "Universelles, " with their common eighteenth-century Illuminist legacy, the exposition Gréber planned was the first to open its doors widely to the most radical modern arts. This article argues that Gréber based the exposition on a double refusal: On the one hand, the refusal to introduce a unique controlling style, as had been the case in all previous French fairs, and on the other the refusal to represent modernity in any single-minded form. This pluralist approach announced in France the end of modernity understood as an issue of style altogether
Exposition (narrative · Cultural Identity and Heritage · Historical Art and Culture Studies · Historical Studies and Socio-cultural Analysis
| Citations per year | 0.12 |
|---|---|
| Citation span | 2000 - 2025 (26) |
| Highly cited | No |