Between 1900 and 1913, Hector Guimard was responsible for the first generation of entrances to the underground stations of the Paris Métro. His Art Nouveau designs in cast iron and glass dating mostly to 1900, and the associated lettering that he also designed, created what became known as the Métro style (style Métro) and popularized Art Nouveau. However, arbiters of style were scandalized and the public was also less enamored of his more elaborate entrances. In 1904 his design for the Opéra station at Place de l'Opéra was rejected and his association with the Métro ended; many of his station entrances have been demolished, including all three of the pavilion type (at Bastille and on Avenue de Wagram at Étoile). Those that remain are now all protected historical monuments, one has been reconstituted, and some originals and replicas also survive outside France.
The initial network of the Paris Métropolitain (soon commonly abbreviated to "Métro") was planned and built at one time in order to minimize disruption to the city from on-going construction and to open Line 1 and two branches in time for the Exposition Universelle in 1900. A design competition was held for the above-ground components, to alleviate the public's fear that they would mar the cityscape with an industrial appearance. The new entrances were stipulated to be "as elegant as possible but above all very light, prioritising iron, glass and ceramic". [1] However, the submitted entries were all too bulky for many of the sidewalk sites. [2] [3] Adrien Bénard, the financier whose bank was underwriting the construction, liked the new Art Nouveau style and therefore instead persuaded the Compagnie du chemin de fer métropolitain de Paris (CMP) to appoint the still young Hector Guimard to design the entrances to the underground stations, [4] [5] while the elevated stations were designed by Jean-Camille Formigé, chief architect of the City of Paris. [6]
Rather than stone, Guimard used cast iron set in concrete both to reduce costs and to suit the sinuous Art Nouveau forms; [3] [6] they were painted in a green emulating weathered brass. [7] (For a renovation that began in 1999, the RATP, the Paris transportation authority, restored the entrances to two slightly different shades: at sites with a lot of vegetation, vert wagon ('train-car green'), the dark green used for Parisian public works at the turn of the 20th century, and at fully urban sites, a slightly bluer shade, vert allemand ('German green'). [8] ) He designed standardized components, including railing cartouches incorporating the letter "M" and signs in his own distinctive lettering reading "Métropolitain" or, at narrow entrances, "Métro"; later the use of the lettering was extended to a holder for a system map and for advertising (porte-plan) with the station name above. In addition to speed (the first set of entrances were installed within six months of their design) [9] and relatively low cost in manufacture and adaptation to different sizes and locations of entrances, all of this gave the system a stylistic identity. [6] [10]
Three of the entrances took the form of free-standing pavilions or small stations, [5] including waiting rooms: one at Bastille and two on Avenue de Wagram at Étoile. These were in a style influenced by Japanese pagodas. At Étoile Guimard provided exterior doors for elevators, although the elevators were not built. [10] Eight simpler but still elaborate structures, labeled "Édicule B" by Guimard, were installed at the termini of Line 1 as originally opened and at two other major stations. These consisted of three-sided glass-roofed structures enclosing the stairway, with a projecting canopy. [10] [11] [12] A variation on this format, "Édicule A", lacked the canopy and was erected at two stations, Saint-Paul and Reuilly – Diderot. [10] These édicule types of entrance, which have come to be called libellules because they resemble dragonflies, in some cases had decorated wall panels surfaced in reconstituted lava. [11] The great majority of the entrances built (154) were unroofed enclosures, dubbed an entourage. A transitional form between the entourage and the édicule, railings with a roof and canopy, was used for one entrance at the Gare de Lyon métro station. [13]
At many of the entourages, the top of the steps is surmounted by a "Métropolitain" or "Métro" sign in a holder that extends between two risers in the form of sinuous stalks, [14] traditionally compared to lily-of-the-valley (brin de muguet), each bearing a light in the form of a red-orange globe reminiscent of an eye [3] [10] or a flower. [15] [16] [17] These were not ready until 1901, the year after the system first opened, and Guimard varied the "Métropolitain" lettering somewhat between stations and twice revised the design, which reached its final form in 1902. [18]
The Guimard entrances received a generally warm reception. [10] Salvador Dalí later called them "those divine entrances to the Métro, by grace of which one can descend into the region of the subconscious of the living and monarchical aesthetic of tomorrow". [3] [19] By way of what became known as le style Métro, [6] they popularized Art Nouveau, which had been a style known largely to connoisseurs of the avant garde. [20]
However, critics and many of the public were hostile to the libellules in particular, and criticized the green as "German" and the lettering as "un-French" [6] and, according to critic André Hallays in Le Temps, "confus[ing to] little children who are trying to learn their letters and ... stupefy[ing to] foreigners". [21] On the Champs-Élysées, for example at Marbeuf (now part of Franklin D. Roosevelt), simple stone walls with discreet carved signage were used instead, [10] and a plain design was also used at Bourse. [22] [23] Unhappiness with Guimard's 1904 design for the Opéra station, [24] described in Le Figaro as having "contorted ramps" and "enormous frog-eye lamps", [25] and increasing costs led to the CMP severing its relationship with him. [5] [22] The entrance at Opéra was instead designed by Joseph-Marie Cassien-Bernard , in classical marble. [22] [25] The CMP bought Guimard's molds and rights [22] and a total of 141 of his entrances were ultimately produced, the last in 1913. [20]
The CMP continued in later years to replace some of Guimard's designs with more sober entrances by Cassien-Bernard, often a plain balustrade in white stone, for example at Gare de l'Est, Madeleine, Montparnasse, and Saint-François-Xavier. [23] Modernization beginning after World War I also led to the demolition of many, especially the more elaborate. [26] Shortly before World War II, it was suggested that those remaining should be scrapped for their metal. [3] Art Nouveau had only briefly been in fashion and only became popular once more in the last quarter of the 20th century. [6]
Ninety-one Guimard entrances survived until 1970. [20] Eighty-six are still extant and protected as historical monuments; six were protected in 1965, the remainder in 1978. [27] These include two original Type B édicules: at Porte Dauphine, on its original site and with the wall panels, and at Abbesses (moved from Hôtel de Ville in 1974). A third Type B of varying form at Châtelet is a 2000 recreation. [8] The remainder of the preserved entrances are simple enclosures or entourages, with or without the light and sign arch. In addition, two sides of an entourage form an entryway to the headquarters building of the RATP.
Some subway systems and museums outside France have examples of Guimard Métro entrances, mostly replicas presented by the RATP in exchange for art works.
The Paris Métro, short for Métropolitain, is a rapid transit system serving the Paris metropolitan area in France. A symbol of the city, it is known for its density within the capital's territorial limits, uniform architecture and historical entrances influenced by Art Nouveau. The system is 245.6 kilometres (152.6 mi) long, mostly underground. It has 321 stations of which 61 have transfers between lines. Operated by the Régie autonome des transports parisiens (RATP), it has sixteen lines, numbered 1 to 14, with two lines, Line 3bis and Line 7bis, named because they used to be part of Line 3 and Line 7, respectively. Three lines are automated. Lines are identified on maps by number and colour, with the direction of travel indicated by the terminus.
Hector Guimard was a French architect and designer, and a prominent figure of the Art Nouveau style. He achieved early fame with his design for the Castel Beranger, the first Art Nouveau apartment building in Paris, which was selected in an 1899 competition as one of the best new building facades in the city. He is best known for the glass and iron edicules or canopies, with ornamental Art Nouveau curves, which he designed to cover the entrances of the first stations of the Paris Metro.
Tuileries is a station on Line 1 of the Paris Métro. Located in the 1st arrondissement, it serves the Jardin des Tuileries.
Palais Royal–Musée du Louvre is a station on Line 1 and Line 7 of the Paris Métro. Situated in the heart of the 1st arrondissement, it most notably serves the Palais-Royal, Comédie-Française and Louvre.
Hôtel de Ville is a rapid transit station on lines 1 and 11 of the Paris Métro. It is named after the nearby Hôtel de Ville de Paris and is located within the fourth arrondissement of Paris.
Porte Dauphine is the western terminus of Line 2 of the Paris Métro. It is situated in the 16th arrondissement. Avenue Foch station, served by the RER C line, is located nearby, as is Paris Dauphine University.
Victor Hugo is a station on Paris Métro Line 2. It is named after the author Victor Hugo, and located directly underneath Place Victor Hugo in the 16th arrondissement of Paris.
Pigalle is a station on lines 2 and 12 of the Paris Métro, named after the Place Pigalle, which commemorates the sculptor Jean-Baptiste Pigalle (1714–1785) on the border of the 9th and the 18th arrondissement. The station is located under the Boulevard de Clichy in Montmartre and serves the famous Pigalle red-light district.
Sentier is a station on Line 3 of the Paris Métro in the 2nd arrondissement.
Cadet is a station on Line 7 of the Paris Métro. It is named after rue Cadet, itself named after M. Cadet de Chambine, owner of much of the land through which the street passes. The street was called rue de la Voirie before being renamed.
Abbesses is a station on Paris Métro Line 12, in the Montmartre district and the 18th arrondissement. Abbesses is the deepest station in the Paris Métro, at 36 metres (118 feet) below ground, and is located on the western side of the butte (hill) of Montmartre. Access to the platforms is by elevator or the decorated stairs.
Château d'Eau is a station on Line 4 of the Paris Métro. Located in the 10th arrondissement, it features two entrances by Hector Guimard which were classified as a monument historique on 29 May 1978 by the Ministry of Culture.
Paris Métro Line 12 is one of the sixteen lines of the Paris Métro. It links Issy-les-Moulineaux, a suburban town southwest of Paris, to Aubervilliers, in the north. With around 54 million passengers per year, Line 12 was the twelfth busiest line of the network in 2021. It has several major stops, such as Madeleine, Concorde, Porte de Versailles and two national railway stations, Gare Montparnasse and Gare Saint-Lazare. The service runs every day of the week, and the line uses MF 67 series trains, the network's standard since the early 1970s.
Saint-Sébastien–Froissart is a station on Line 8 of the Paris Métro, at the limit between the 3rd and 11th arrondissements. It is named after two streets leading to the Boulevard des Filles du Calvaire, under which it is situated: Rue Saint-Sébastien and Rue Froissart.
From the original plain white tilework and Art Nouveau entrances, the architecture of Paris Métro stations has evolved with successive waves of building and renovation.
An Entrance to the Paris Métropolitain is a sculpture by Hector Guimard, conceived in 1902 and fabricated between 1902 and 1913. Guimard designed 141 entrances to the Paris Métro of varying types, 86 of which are still standing. One is featured at the National Gallery of Art Sculpture Garden in Washington, D.C.
The architecture of Paris created during the Belle Époque, between 1871 and the beginning of the First World War in 1914, was notable for its variety of different styles, from neo-Byzantine and neo-Gothic to classicism, Art Nouveau and Art Deco. It was also known for its lavish decoration and its imaginative use of both new and traditional materials, including iron, plate glass, colored tile and reinforced concrete. Notable buildings and structures of the period include the Eiffel Tower, the Grand Palais, the Théâtre des Champs-Élysées, the Gare de Lyon, the Bon Marché department store, and the entries of the stations of the Paris Metro designed by Hector Guimard.
Entourage Guimard is an art installation and Square-Victoria-OACI station entrance designed by Hector Guimard in Montreal's Victoria Square, in Quebec, Canada.
The Art Nouveau movement of architecture and design flourished in Paris from about 1895 to 1914, reaching its high point at the 1900 Paris International Exposition. with the Art Nouveau metro stations designed by Hector Guimard. It was characterized by a rejection of historicism and traditional architectural forms, and a flamboyant use of floral and vegetal designs, sinuous curving lines such as the whiplash line, and asymmetry. It was most prominent in architecture, appearing in department stores, apartment buildings, and churches; and in the decorative arts, particularly glassware, furniture, and jewelry. Besides Guimard, major artists included René Lalique in glassware, Louis Majorelle in furniture, and Alphonse Mucha in graphic arts, It spread quickly to other countries, but lost favor after 1910 and came to an end with the First World War.
The whiplash or whiplash line is a motif of decorative art and design that was particularly popular in Art Nouveau. It is an asymmetrical, sinuous line, often in an ornamental S-curve, usually inspired by natural forms such as plants and flowers, which suggests dynamism and movement. It took its name from a woven fabric panel "Cyclamen", by the German artist Hermann Obrist (1895) which depicted the stems and roots of the cyclamen plant, which critics dubbed "Coup de Fouet" ('whiplash'). The panel was later reproduced by the textile workshop of the Darmstadt Artists Colony.