Nevertheless, the World’s Fair of 1889 surprised Paris with the fine beauty of Eiffel’s architecture. During the exhibition 12,000 people a day visited the tower, and later it was used for telegraphic transmissions. But more importantly it finally became one of the dominant architectural features against which it had been opposed. The city was moving towards the twentieth century, and nothing could stop its development. Given the metal market pavilions of Baltard and the railway stations, the Paris of Haussmann had no trouble adopting the Eiffel Tower. Amongst the Post-Impressionist artists of the period, some immediately welcomed the new architectural aesthetic. For Paul Gauguin the World’s Fair was the discovery of the exotic world of the East, with its Hindu temples and its Javanese dances. But the functional purity of the pavilion construction also impressed him. Gauguin wrote a text entitled “Notes sur l’art à l’Exposition universelle,” (“Notes on Art at the World’s Fair”) which was published in Le Moderniste illustré on July 4, 1889. “A new decorative art has been invented by engineer-architects, such as ornamental bolts, iron corners extending beyond the main line, a kind of gothic iron lacework,” he wrote. “We find this to some extent in the Eiffel Tower.” Gauguin liked the heavy and simple decoration of the tower, and its purely industrial material. He was categorically opposed to eclecticism and a mixture of styles. The new era produced a new aesthetic: “So why paint the iron the colour of butter, why gild it like the Opera? No, that’s not good taste. Iron, iron and more iron!”[2] The Post-Impressionist era was to dramatically change tastes and artistic passions. In 1912 Guillaume Apollinaire already designated the Eiffel tower as the new symbol of the city, becoming in his poems a shepherd guarding the bridges of Paris.

      The year 1900 brought Paris new architectural landmarks: palaces appeared on the banks of the Seine, where pavilions for World’s Fair were traditionally built. Eugène Hénard drew up a plan for the right bank of which the principal feature was a wide avenue in the axis of the esplanade of Les Invalides and the Alexandre III Bridge. Along both sides of the avenue two pavilions were erected for the World’s Fair of 1900 – the Grand Palais and the Petit Palais – miracles of modern construction engineering. The principle of these constructions is that of a metallic structure surrounded by a façade of stone. The use of metal structures allowed decorating palaces with heavy stone and bronze sculptures in combination with painting and mosaic. These structures allowed roofs to be built over the huge spaces of the Grand Palais and to place spectacular halls for different kinds of temporary exhibitions, even industrial ones, inside. Many famous sculptors and painters of the end of nineteenth century took part in the decoration of the palace, so that it became the monument to the new style, born in the era of Post-Impressionism.

      12. Henri de Toulouse-Lautrec, Divan Japonais, c. 1892–1893.

      Lithograph in colours, poster, 80.8 × 60.8 cm.

      Private collection.

      13. Édouard Vuillard, Chestnut Trees.

      Distemper on cardboard mounted on canvas, 110 × 70 cm.

      Private collection.

      At the same time, on the left bank of the Seine stood another palace. Well, it was not a palace as such, but the Gare d’Orsay and a hotel, built with the drawings of architect Victor Laloux. Trains were supposed to deliver visitors of the World’s Fair of 1900 directly in the centre of Paris. Contemporaries compared the station to the Petit Palais. “The station is superb, and looks like a Palais des Beaux-Arts. Just like the Palais des Beaux-Arts resembles a train station, I proposed to Laloux that he make the switch if there is still time,” wrote one of the artists after the opening of the World’s Fair. These new palaces completed Impressionist and Post-Impressionist Paris.

      Post-Impressionism and its Contributions

      The era of Post-Impressionism was the time of lone painters; only a very small number of them got together, and then only rarely. The great specialist of Impressionism, John Rewald, used the ingenious phrase of Émile Verhaeren: “There is no longer a unique school, he wrote in 1891, there are a few groups, but even they break up constantly. All these movements remind me of moving geometrical pieces in a kaleidoscope, which separate suddenly only to better come together again. They move apart then get together, but, nevertheless, stay in the same circle – the circle of the new art.”[3]

      They didn’t share the same opinion about art, nature or painting style. The only thing the painters had in common was the impression that Impressionism left on them: none of them could have worked in this manner, working as if Impressionism had not existed. All these artists faced the same sad fate – not one of them had a hope of ever entering the Salon and showing his work to the public. Impressionists had shown them a possible way: they created their own exhibitions, excluding from it those who were not with them. They were all very different: some did not have the necessary level of professionalism according to the jury’s rules; some shocked the public by being too bold in their style, too negligent or using colours which were too intense. A new exhibition opened in 1884 in Paris: Le Salon des artistes indépendants. The new Salon was a solution for everyone, because there was no jury and nobody was selecting works for the exhibition. Each painter could show whatever he wanted. The only condition was the number of works being shown, that number changed year after year. Georges Seurat, a Neo-Impressionist, whose unusual position made him undesirable for official exhibitions, took a very active part in organising the Salon des Indépendants. The Independents proclaimed what became the significant achievement of the Post-Impressionism era. According to the ‘Sunday’ painter Henri Rousseau, “Freedom to create must

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