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Exposition Universelle (1855)

From Wikipedia, the free encyclopedia
World's Fair held in Paris, France, from 15 May to 15 November 1855
1855Paris
Overview
BIE-classUniversal exposition
CategoryHistorical Expo
NameExposition Universelle des produits de l'Agriculture, de l'Industrie et des Beaux-Arts de Paris 1855
Building(s)Palais de l'Industrie
Area15.2 hectares (38 acres)
Visitors5,162,330
Participant(s)
Countries27
Location
CountryFrance
CityParis
VenueJardins des Champs-Élysées
Coordinates48°52′0″N2°18′47″E / 48.86667°N 2.31306°E /48.86667; 2.31306
Timeline
Opening15 May 1855 (1855-05-15)
Closure15 November 1855 (1855-11-15)
Universal expositions
PreviousGreat Exhibition inLondon
Next1862 International Exhibition inLondon

TheExposition Universelle of 1855 (French pronunciation:[ɛkspozisjɔ̃ynivɛʁsɛl]), better known in English as the1855 Paris Exposition, was aworld's fair held on theChamps-Élysées inParis,France, from 15 May to 15 November 1855. Its full official title was theExposition Universelle des produits de l'Agriculture, de l'Industrie et des Beaux-Arts de Paris 1855.[1] It was thefirst of ten major expositions held in the city between 1855 and 1937.[a] Nowadays, the exposition's sole physical remnant is theThéâtre du Rond-Point des Champs-Élysées, designed by architectGabriel Davioud, which originally housed the Panorama National.

History

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The exposition was a major event inFrance, then newly under the reign ofEmperorNapoleon III.[2] It followedLondon'sGreat Exhibition of 1851 and attempted to surpass that fair'sCrystal Palace with its ownPalais de l'Industrie.

The arts displayed were shown in a separate pavilion onAvenue Montaigne.[3] There were works from artists from 29 countries, including French artistsFrançois Rude,Ingres,Delacroix[3] andHenri Lehmann,[4] and British artistsWilliam Holman Hunt andJohn Everett Millais.[3] However,Gustave Courbet, having had several of his paintings rejected, exhibited in a temporaryPavillon du Réalisme adjacent to the official show.

According to its official report, 5,162,330 visitors attended the exposition, of whom about 4.2 million entered the industrial exposition and 900,000 entered the Beaux Arts exposition.[1] Expenses amounted to upward of $5,000,000, while receipts were scarcely one-tenth of that amount. The exposition covered 16 hectares (40 acres) with 34 countries participating.[1]

For the exposition, Napoleon III requested a classification system for France's bestBordeaux wines which were to be on display for visitors from around the world. Brokers from the wine industry ranked the wines according to a château's reputation and trading price, which at that time was directly related to quality. The result was the importantBordeaux Wine Official Classification of 1855.[5]

Inventions and Innovations

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The 1855 exposition featured many early versions of modern inventions. The exposition featured the first everlawn mower, Moore'swashing machine, the first non-industrialsewing machine, one of the first oil-powered vehicles,Samuel Colt’s revolver, andEdouard Loysel de Santais’ hydrostatic percolator which could produce 50,000 cups of coffee in a day.[6]

See also

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Footnotes

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  1. ^This includes six world expositions (in 1855, 1867, 1878, 1889, 1900 and 1937), two specialized expositions (in 1881 and 1925) and two colonial expositions (in 1907 and 1931).

References

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  1. ^abcExposition Universelle."1855, exposition universelle des produits de l'agriculture, de l'industrie et des beaux-arts". Exposition Universelle. Retrieved9 January 2012.
  2. ^Art Nouveau."L' Exposition Universelle de 1855 à Paris". L'art nouveau. Retrieved9 January 2011.
  3. ^abcRatcliffe, Barrie M. (2008). "Paris 1855". In Findling, John E.; Pelle, Kimberley D. (eds.).Encyclopedia of World's Fairs and Expositions. McFarland & Company, Inc. p. 23.ISBN 978-0-7864-3416-9.
  4. ^Océanides grief of the foot of the rock where Prometheus was chained,Fitzwilliam Museum, 2014
  5. ^Peppercorn, David (2003).Bordeaux. London: Mitchell Beazley. p. 83.ISBN 1-84000-927-6.
  6. ^"Expo 1855 Paris".

Further reading

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  • Elizabeth M. L. Gralton, 'Lust of the Eyes: The Anti-Modern Critique of Visual Culture at the Paris Expositions universelles, 1855–1900',French History & Civilization (2014), Vol. 5, pp 71–81.
  • This article incorporates text from a publication now in the public domain: Gilman, D. C.; Peck, H. T.; Colby, F. M., eds. (1905). New International Encyclopedia (1st ed.). New York: Dodd, Mead.

External links

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