Всемирная выставка в Париже 1900 года

World's Fair held in Paris, France, from 14 April to 12 November 1900

The Exposition Universelle of 1900 (ɛkspozisjɔ̃ ynivɛʁsɛl), better known in English as the 1900 Paris Exposition, was a world's fair held in Paris, France, from 14 April to 12 November 1900, to celebrate the achievements of the past century and to accelerate development into the next. It was the sixth of ten major expositions held in the city between 1855 and 1937. It was held at the esplanade of Les Invalides, the Champ de Mars, the Trocadéro and at the banks of the Seine between them, with an additional section in the Bois de Vincennes, and it was visited by more than fifty million people. Many international congresses and other events were held within the framework of the exposition, including the 1900 Summer Olympics. Many technological innovations were displayed at the Fair, including the Grande Roue de Paris ferris wheel, the Rue de l'Avenir moving sidewalk, the first ever regular passenger trolleybus line, escalators, diesel engines, electric cars, dry cell batteries, electric fire engines, talking films, the telegraphone (the first magnetic audio recorder), the galalith and the matryoshka dolls. It also brought international attention to the Art Nouveau style. Additionally, it showcased France as a major colonial power through numerous pavilions built on the hill of the Trocadéro Palace. Major structures built for the exposition include the Grand Palais, the Petit Palais, the Pont Alexandre III, the Gare d'Orsay railroad station and the Paris Métro Line 1 with its entrances by Hector Guimard; all of them remaining today, including two original canopied entrances by Guimard.

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, celebrating national unity after the defeat of the Paris Commune, and then in 1889, celebrating the centennial of the French Revolution. Planning for the 1900 Exposition began in 1892, under President Carnot, with Alfred Picard as Commissioner General. Three French Presidents and ten 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. Among the colonies and protectorates present in the Fair were French Algeria, Cambodia, Congo, Dahomey, Guadeloupe, Guiana, Guinea, India, Indochina, Ivory Coast, 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. The exposition buildings were meant to be temporary; they were built on iron frames covered with plaster and staff, a kind of inexpensive artificial stone. Many of the buildings were unfinished when the exposition opened, and most were demolished immediately after it closed.

The Porte Monumentale de Paris, located on the Place de la Concorde, was the main entrance of the exposition. The architect of the monument overall was René Binet, although many others contributed to the constituent parts. His overall design was inspired by the biological studies of Ernst Haeckel. It was composed of towering polychrome ceramic decoration in Byzantine motifs, crowned by a statue high called La Parisienne. Unlike classical statues, she was dressed in modern Paris fashion. La Parisienne was executed by sculptor Paul Moreau Vauthier who collaborated with Paris' pre eminiment haute couturier of the day, Jeanne Paquin, who designed the figure's fashionable attire. 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 arch was flanked by two slender, candle like towers, resembling minarets. The gateway was brightly illuminated at night by 3,200 light bulbs and an additional forty arc lamps. Forty thousand visitors an hour could pass beneath the arch to approach the twenty six ticket booths. Above the ticket booth windows, the names of provincial cities were inscribed, symbolically enacting a hierarchical relation between Paris and the provinces. The structure of the entrance tower as a whole was adorned with Byzantine motifs and Persian ceramic ornamentation, but the true inspiration behind the piece was not of cultural background. 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 same time that the Pont Alexander III was built, a similar bridge, the Trinity Bridge was built in Saint Petersburg, and was dedicated to French Russian friendship by French President Félix Faure.

To house the industrial, commercial, scientific, technological and cultural exhibitions, the French organization built huge thematic pavilions on the esplanade of Les Invalides and the Champ de Mars and reused the Galerie des machines from the 1889 Exposition. On the other bank of the Seine, they built the Grand Palais and the Petit Palais for the fine arts exhibitions.

Twenty one of the thirty three official pavilions were devoted to technology and the sciences. Among the most popular was the Palace of Optics, whose main attractions included the Great Paris Exposition Telescope, which enlarged the image of the moon ten thousand times. The image was projected on a screen 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 long and in diameter, and was fixed in place due to its mass. Light from the sky was sent into the tube by a movable mirror. Another very popular feature of the Palace of Optics was the giant kaleidoscope, which attracted three million visitors. Other features of the optics pavilion included demonstrations of X rays and dancers performing in phosphorescent costumes. The Palais des Illusions (Palace of Illusions), adjoining the Palace of Optics, was an extremely popular exhibition. It was a large hall which used mirrors and electric lighting to create a show of colorful and bizarre optical illusions. It was preserved after the exposition in the Musée Grévin. Another scientific attraction was the aquarium, the largest in the world at the time, viewed from an underground gallery long. The water tanks were each long, wide and deep, and contained a wide selection of exotic marine life.

The Palace of Electricity and the adjoining Water Castle (Chateau d'Eau), designed by architects Eugène Hénard and Edmond Paulin, The facade of the Palace and the Water Castle, across from it, were lit by an additional 7,200 incandescent lamps and seventeen arc lamps. The facade was in the ornate Beaux Arts style or Neo Baroque style. The more modern interior iron framework, huge skylights and stairways offered decorative elements in the new Art Nouveau style, The Palais d'Antin, or west wing, housed the Exposition centennale de l'art français de 1800 à 1889. The Petit Palais, that is facing the Grand Palais, was designed by Charles Girault.

The industrial and commercial exhibits were located inside several large palaces on the esplanade between les Invalides and the Alexander III Bridge. One of the largest and most ornate was the Palais des Manufactures Nationale, whose facade included a colorful ceramic gateway, designed by sculptor Jules Coutan and architect Charles Risler and made by the Sèvres Porcelain manufactory. After the exposition it was moved to the wall of Square Felix Déésroulles, next to the Abbey of Saint Germain des Prés, where it can be seen today. The Palace of Furniture and Decoration was particularly lavish and presented many displays of the new Art Nouveau style. The Palace of Agriculture and Food was inside the former Galerie des machines, an enormous iron framed building from the 1889 Exposition. Its most popular feature was the Champagne Palace, offering displays and samples of French Champagne.

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 Champ de Mars for the national pavilions of the larger countries. Each country paid for its own 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's history, often imitating famous national monuments. The United States pavilion was modest, a variation on the United States Capitol Building designed by Charles Allerton Coolidge and Georges Morin Goustiaux. The main U. S. presence was in the commercial and industrial palaces. One unusual aspect of the U. S. presence was The Exhibit of American Negroes at the Palace of Social Economy, a joint project of Daniel Murray, the Assistant Librarian of Congress, Thomas J. Calloway, a lawyer and the primary organizer of the exhibit, and W. E. B. Du Bois. The goal of the exhibition was to demonstrate progress and commemorate the lives of African Americans at the turn of the century. The exhibit included a statuette of Frederick Douglass, four bound volumes of nearly 400 official patents by African Americans, photographs from several educational institutions (Fisk University, Howard University, Roger Williams University, Tuskegee Institute, Claflin University, Berea College, North 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 E. Askew. 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 goods produced in the country. Sweden's yellow and red structure covered in pine shingles drew attention with its bright colours. It was designed by Ferdinand Boberg. The pavilion of Finland, designed by Gesellius, Lindgren, Saarinen, had clean cut, modern architecture. The Korean pavilion, designed by Eugène Ferret, was mostly stocked by French Oriental collectors, including Victor Collin de Plancy, with a supplement of Korean goods from Korea. One object of note on display was the Jikji, the oldest extant book printed with movable metal type. Morocco had its pavilion near the Eiffel Tower and was designed by Henri Jules Saladin. The North African French colonies were especially present; 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 architecture and marketplaces, with guides in costume.

The Grande Roue de Paris was a very popular attraction. It was a gigantic ferris wheel high, which took its name from a similar wheel created by George Washington Gale Ferris Jr. at the 1893 World's Columbian Exposition in Chicago. It could carry 1,600 passengers in its forty cars in a single voyage. The cost of a ride was one franc for a second class car, and two francs for a more spacious first class car. Despite the high price, passengers often had to wait an hour for a place.

The Rue de l'Avenir moving sidewalk was a very popular and useful attraction, given the large size of the exposition. It ran along the edge of the exposition, from the esplanade of Les Invalides to the Champ de Mars, passing through nine stations along the way, where passengers could board. The fare was an average of fifty centimes. The sidewalk was accessed from a platform above the ground level. The passengers stepped from the platform onto the moving sidewalk traveling at , then onto a more rapid sidewalk moving at 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. A Decauville electric train followed the same route, running at an average speed of in the opposite direction of the moving sidewalk. The rail track was sometimes at high like the movable sidewalks, sometimes at ground level and sometimes underground. An experimental passenger electrobus line, designed by Louis Lombard Gérin, ran in the Bois de Vincennes from 2 August to 12 November 1900. It was a long circular route connecting the recently opened Porte de Vincennes metro station with Lac Daumesnil. It was the first trolleybus in regular passenger service in History.

The Globe Céleste was an immense globe shaped planetarium which offered a presentation on the night sky. The globe, designed by Napoléon de Tédesco, was 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 support high, supported by four columns. A flower garden on the support surrounded the globe. 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 April 1900 when one of access ramps, hastily made of a newly introduced material, reinforced concrete, collapsed onto the street below, killing nine persons. Following the accident the French government established the first regulations for the use of reinforced concrete.

The Lumière brothers, who had made the first public projections of a motion picture in 1895, presented their films on a colossal screen, by , in the Gallery of Machines. Another innovation in motion pictures was presented at the exposition at the Phono Cinema Theater; a primitive talking motion picture, where the image on the screen was synchronized to the sound from phonographs. An even more ambitious experiment in motion pictures was the Cinéorama of Raoul Grimoin Sanson, which simulated a voyage in a balloon. The film, projected on a circular screen in circumference by ten synchronized projectors, depicted a landscape passing below. The spectators sat in the center above the projectors, in what resembled the basket suspended beneath a large balloon.

L'Andalousie au temps des Maures was a Spanish themed open air attraction with folkloric live performances at Quai Debilly, at the western end of Trocadéro, on the right bank of the Seine, featuring full scale moorish architecture reproductions from the Alhambra, Córdoba, Toledo, the Alcázar of Seville and a tall reproduction of the Giralda. It was a French produced attraction that had no relation with the official representation of Spain at the Fair. Le Vieux Paris was a recreation of the streets of old 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. There were also several recreations depicting picturesque or touristic regions of France, including exhibitions from Provence, Bretagne, Poitou, Berry and Auvergne, using their pre revolutionary provincial names rather than their departments. Provence was represented by two reconstructions, a Provençal farmhouse or mas and a reconstruction called Vieil Arles which reconstructed certain Roman ruins and part of the town's cathedral. 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 cascade, a lake and collection of thirty five chalets. 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. The most 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 one of her most 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 ended with a memorable death scene; according to one critic, she died "as dying angels would die if they were allowed to." The play ran for nearly a year, with standing room places selling for as much as 600 gold francs. Another popular diversion during the exposition was the theater of the American dancer, Loie Fuller, who performed a famous Serpentine dance 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 by Art Nouveau artists and sculptors, and were captured in very early motion pictures. According to the IOC, 997 competitors took part in nineteen different sports, including women competing for the first time. A number of events were held for the first and only time in Olympic history, including automobile and motorcycle racing, ballooning, cricket, croquet, a swimming obstacle race and underwater swimming. France provided 72% of all athletes (720 of the 997) and won the most gold, silver and bronze medal placings. The United States athletes won the second largest number, with just seventy five of the 997 athletes. The pigeon race was won by a bird which flew from Paris to its home in Lyon in four and a half hours. The free balloon competition race was won by a balloon which travelled from Paris to Russia in thirty five hours and forty five minutes.

Another special event at the exposition was a gigantic banquet hosted by the French President, Émile Loubet, for 20,777 mayors of France, Algeria and towns in French colonies, hosted on 22 September 1900 in the Tuileries Gardens, inside two enormous tents.

The cost of an admission ticket was one franc. At the time, the average hourly wage for Paris workers was between forty and fifty centimes. In addition, most popular attractions charged an admission fee, usually between fifty centimes and a franc. The average cost of a simple meal at the exposition was 2.50 francs, the half day wages of a worker. The amount budgeted for the Paris Exposition was one hundred million francs; twenty million from the French State, twenty million from the City of Paris, and the remaining sixty million expected to come from admissions, and backed by French banks and financial institutions. 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 twenty two million francs for the French State, and six million francs for the City of Paris, bringing the total cost to 147 million francs, or a deficit of twenty one million francs. It was highly decorative and took its inspiration from the natural world, particularly from the curving lines of plants and flowers and other vegetal forms. The architecture of the exposition was largely of the Belle Epoque style and Beaux Arts style, or of eclectic national styles. Art Nouveau decoration appeared in the interiors and decoration 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 style was very popular in the pavilions of decorative arts. The jewelry firm of Fouquet and the glass and crystal manufactory of Lalique all presented collections of Art Nouveau objects. The Sèvres Porcelain Manufactory created a series of monumental swan vases for the exposition, as well as the monumental entrance to the Palace of National Manufacturers. and in the portal of the Palace of National Manufacturers made by the Sèvres Porcelain Manufactory. The Compagnie du chemin de fer métropolitain de Paris (CMP) installed a total of 141 of the Art Nouveau metro station entrances designed by Hector Guimard –with and without canopy– between 1900 and 1913. In 1978, the eighty six entrances that still existed were protected as historical monuments and have been preserved to this day, including two original canopied ones: at Porte Dauphine, on its original site and with the wall panels, and at Abbesses (moved from [[Hôtel de Ville (Paris Métro) in 1974). A third canopied entrance at Châtelet is a 2000 recreation. None of the three pavilion type entrances designed by Guimard have survived. 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 copy of the Statue of Liberty by Frédéric Auguste Bartholdi exhibited at the Fair, was placed in the Luxembourg Gardens in 1905 at the request of his widow. After visiting the Panorama du Tour du Monde, King Leopold II of Belgium commissioned the architect of the building, Alexandre Marcel, to build a Japanese tower and a Chinese pavilion in the Royal Domain of Laeken, Brussels, Belgium. Marcel rebuilt there the Japanese red pagoda of the Panorama du Tour du Monde (now known as the Japanese Tower) and moved there the original entry pavilion to the tower from Paris. He also built the Chinese Pavilion whose wooden panelling was sculpted in Shanghai. Both structures are now part of the Museums of the Far East. One of the most curious vestiges is La Ruche, at 2 Passage de Dantzig (15th arrondissement). This is a three story building 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 agriculture and foods. The statues of women in theatrical costumes by the front door came from the Indochina pavilion, while the ornamental iron gate at the entrance was part 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 demolition in the 1960s but was saved by culture minister André Malraux. It is now a historical monument.

The exposition had numerous critics from different points of view.

Response to the monumental gateway was mixed, with some critics comparing it to a pot bellied stove. It was described as "lacking in taste" and was considered by some critics to be the ugliest of all the exhibits. La Porte Monumental is considered to be a structure of the Salammbô style and 'the most typically 1900 monument of the entire exhibition'.

Short silent actuality films documenting the exposition by French director Georges Méliès and by Edison Manufacturing Company producer James H. White, have survived.