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Comment la publicité, activité encore balbutiante vers 1900, devient-elle en quelques décennies une profession disposant de son propre pavillon à l'Exposition internationale des arts et des techniques dans la vie moderne de Paris en 1937 ? Comment s'organisent les publicitaires, sur quelles autres professions prennent-ils modèle ? Quelle est la nature de leurs relations avec les milieux d'affaires, les « rationalisateurs » ou les affichistes ? Comment répondent-ils aux critiques de la publicité murale qui envahit les murs ? Analysant les pratiques collectives des publicitaires et l'apparition de nouvelles techniques commerciales dans la première moitié du xxe siècle, Marie-Emmanuelle Chessel montre comment publicitaires, industriels, commerçants, affichistes, voire détracteurs, participent, parfois de manière conflictuelle, à l'invention de la publicité moderne. Cet ouvrage nous fait voyager dans une France en mutation, confrontée aux valeurs naissantes liées à l'arrivée de la société de consommation.

Economic history --- publicité --- réclame --- grands magasins --- Exposition internationale

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Books --- History --- Exhibitions --- Exposition internationale des arts décoratifs et industriels modernes

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History of civilization --- anno 1930-1939 --- Paris --- Art --- -Art and society --- -Art, Modern --- -Ethnological museums and collections --- -Exhibitions --- -Surrealism --- -Exhibits --- Expositions --- Industrial arts --- Industrial exhibitions --- International exhibitions --- Technology --- World's fairs --- Sales promotion --- Fairs --- Ethnological collections --- Ethnology --- Anthropological museums and collections --- Modern art --- Art and sociology --- Society and art --- Sociology and art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Superrealism --- Surrealism in art --- Arts, Modern --- Exhibitions --- -History --- History --- Museums --- Social aspects --- Exposition internationale, Paris, France, 1937 --- -Exposition internationale, Paris, France, 1937 --- -Superrealism --- Exhibits --- Expos (Exhibitions) --- -Museums --- Art and society --- Art, Modern --- Ethnological museums and collections --- Surrealism --- Exhibitions&delete& --- Exposition internationale --- Exhibition International --- Exposición Internacional de París --- Exposición Universal de 1937 --- Exposición Universal de París en 1937 --- Exposition "Arts et techniques 1937" --- Exposition de Paris --- Exposition des arts et techniques à Paris --- Exposition internationale "Art et technique" de Paris --- Exposition internationale d'arts et techniques de Paris --- Exposition internationale de 1937 --- Exposition internationale de Paris --- Exposition internationale des arts et des techniques dans la vie moderne --- Exposition internationale des arts et techniques --- Internationale Ausstellung --- Mezhdunarodnai︠a︡ vystavka v Parizhe --- Międzynarodowa Wystawa "Sztuka i Technika w Życiu Współczesnym" --- Paris. --- Paris Exposition of Arts and Techniques --- Paris World-Exhibition --- Parizhskai︠a︡ mezhdunarodnai︠a︡ vystavka --- Weltausstellung --- Expo (International Exhibitions Bureau) --- Art [Modern ] --- 20th century --- France --- Art, Modern - 20th century - Exhibitions - History. --- Art - Exhibitions - History - 20th century. --- Ethnological museums and collections - France - History. --- Exhibitions - France - History - 20th century. --- Surrealism - France - Exhibitions - History - 20th century. --- Art and society - France - History - 20 century. --- Nieuwe Ploeg (Group of artists) --- Art, Primitive

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"Attracting over fifteen million visitors, the 1925 Paris Expo had an ambitious goal to create a new modernist style which would reflect the great scientific, industrial, and technological advances that produced a new spirit known as "modern." In April in Paris, author Irena R. Makaryk explores the theatre arts' vital cultural and political impact at this celebrated international exhibition. Drawing extensively from unexplored archival documents from France, Austria, and North America, April in Paris is the first major study to focus on theatre arts at the 1925 Paris Expo and the audacious Soviet contributions to this fair. Turning a spotlight on the uses and representations of theatricalized spaces, Makaryk analyses their political challenge at a time when relations between the West and the USSR were rife with tension. Copiously illustrated with beautiful colour and black and white illustrations, this book elucidates the complex role of the international fair as a catalyst for spirited cultural debate and for aesthetic change."--

Exhibitions --- Theater --- Aesthetics, Modern --- Political aspects --- History --- Political aspects. --- Exposition internationale des arts décoratifs et industriels modernes --- France --- Art Deco. --- Paris. --- Soviet. --- avant-garde. --- cultural politics. --- international. --- modernism. --- space. --- theatre. --- world's fairs.

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Cette image brutale et cadenassée du " rideau de fer ", qui renvoie à l'assemblage, plus ou moins articulé, de plaques d'acier d'une devanture de garage ou de magasin, évoque avant tout l'opacité, l'occultation d'une partie de l'Europe aux yeux de l'autre, la longue éclipse de leur connaissance mutuelle sous la dépendance de la propagande, des services secrets et des phantasmes idéologiques réciproques. A rebours de ces constructions biaisées, cet ouvrage jalonne un chantier historiographique passionnant qui met en lumière la réalité et la complexité des mondes de l'architecture et de l'urbanisme dans l'ex Europe soviétique. Il montre à quel point le monolithisme de façade de ce " Bloc de l'Est " cache en fait une pluralité insoupçonnée de phénomènes interconnectés, analysés en nombre dans les différents chapitres : expériences projectuelles, organisations collectives, circulations d'acteurs et de modèles, scènes d'échanges et de confrontation, foyers de réflexions et de recherches, médias alternatifs. The brutal and locked image of the "iron curtain" refers to the more or less articulated assemblage of the metal plates in front of a garage or a shop. Most of all, it evokes the opacity, the concealment of a part of Europe to the eye of the other, the long eclipse of their mutual knowledge Under the dependency of the propaganda, secret services and reciprocal ideological fantasies. Backwards from these biased constructions, this book ponctuates a fascinating historiographical work that sheds light on the reality and complexity of the worlds of architecture and urban planning in the former Soviet Europe. It shows the extend to which the façade monolithist of the Eastern Block truly hides an unsuspected plurality of interconnected phenomenon, analysed by numbers in the various chapters: project expériences, group organisations, circulation of actors and models, scènes of exchange and confrontation, hearts of discussions and research, alternative media.

Architectuur --- 72.038(4) --- Architectuur ; Centraal-Europa ; Oost-Europa ; 20ste eeuw --- Architectuur en stedenbouw ; post-Sovjetstaten --- Biennale van Venetië (2016) ; 15de internationale architectuurtentoonstelling --- Sovjet-Unie --- Architectuurgeschiedenis ; 1950 - 2000 ; Europa --- 72.036 --- Centraal-Europa --- 20ste eeuw (architectuur) --- Modernisme (architectuur) --- Architecture --- Biennale de Venise --- Architects --- Architectes --- History. --- History --- Exhibitions. --- Histoire --- Expositions --- Exposition internationale d'architecture --- Histoire de l'architecture --- Europe centrale