Like a number of its predecessors and successors, the main object of the international 1900 Paris exhibition was to proclaim French preeminence in decorative arts, in this case, Art Nouveau, which had increased worldwide in the previous decade. One of the critical goals of the organisers was to stress the continuity between past and present-day French cultural achievements.
This viewpoint was demonstrated by the contents of the Union Centrale des Arts Décoratifs (UCAD) Pavilion, which included works by leading French workshops and designers such as Hector Guimard, Louis Majorelle and Émile Gallé, Samuel Bing, whose Parisian gallery, L’Art Nouveau, had given the movement its name, was another noted pavilion. His six-roomed Pavillion showed French designers’ furniture and decorations, most notably Georges du Feure, Eugène Gaillard, and Édouard Colonna.
French manufacturers of decorative arts, including Sèvres Porcelain with designs by Guimard and others, and Gobelins Tapestryworks, were also prominent among the displays. The widespread use of electricity for the Château d’Eau and Pavilion d’Électricité fountains was a key modern aspect of the show.
Oxford University Press. (2004). A Dictionary of Modern Design (2nd ed.).
You may also be interested in
As an alternative to a conservative official salon, the Salon d’Automne was founded. It was also an alternative to the Salon des Indépendants, which was liberal but had a non-jury policy that sometimes contributed to mediocrity.
The Gothenburg Tercentennial Jubilee Exhibition (Swedish Jubileumsutställningen I Göteborg) was a world fair held in Gothenburg, Sweden in 1923, marking the 300th anniversary of the city’s establishment. The fair, which opened on 8 May, lasted until 30 September. Liseberg, an established gardening area, was one site.