la tour eiffel rouge

Robert Delaunay

French Painter

Summary of Robert Delaunay

Robert Delaunay's colorful and formally experimental paintings were a unique fusion of early-20 th -century European artistic trends. His best-known works centered on the visually and intellectually stimulating world of Belle Époque Paris in which he and his wife, Sonia Delaunay (Terk) , founded the Orphism movement. The style was distinguished by faceted compositions, vibrant color, and contemporary subject matter that together conveyed delight in the modern life and its technological innovations.

Accomplishments

• Influenced by Neo-Impressionism and the painting technique known as pointillism or divisionism, in his early works Delaunay created forms using squares of color that resembled a mosaic. He often left small areas of canvas blank to create a sense of space and light; even at this stage of development his interest in brilliant color was notable.
• As his style matured, Delaunay further developed his mosaic-like squares into more complex geometric facets in which both solid objects and their surrounding spaces were fragmented, much like Cubism . These canvases are known for their dynamic sense of movement and their celebration of urban life, particularly Paris with Delaunay's oft-repeated motif of the Eiffel Tower.
• Delaunay penned his own theories of color in which he discusses both color as a material form and its great expressive power. He was particularly captivated by how the interaction of various colors generated impressions of movement and depth without allusion to nature. Delaunay wrote that the "breaking up of form by light creates colored planes... [that] are the structure of the picture... nature is no longer a subject for description but a pretext." Eventually, he abandoned "images or reality that come to corrupt the order of color" - thus turning to complete abstraction.

Important Art by Robert Delaunay

L'Homme à la tulipe (Portrait de Jean Metzinger)

This portrait is one of a series that Delaunay and Metzinger painted of each other during the summer of 1906, many of which have been lost. Delaunay's painting captures both the debonair air of Metzinger and their spirit of collaborative experimentation. This painting shows the influence of Neo-Impressionism and Divisionism on Delaunay's color as well as the influence of artists such as Edgar Degas and Édouard Manet in its unusual perspective. Like Seurat, Delaunay placed complementary and opposite colors adjacent to each other on the canvas rather than mixing paints on the canvas - creating the effect of a hue and the illusion of depth, while giving the works a sense of static classicism. Delaunay was not a slavish follower of Divisionism, however, since his brushstrokes are freer and less precise, and the color is not dictated by nature but is non-naturalistic, indicating Fauvist influences.

Oil on canvas

Saint Severin no 3

Saint Severin was the first major series of paintings created by Delaunay in 1909. Focusing on the Gothic ambulatory of this well-known Parisian church, he depicted the view multiple times from the same perspective - looking northeast to capture the effects of changing light as Monet had achieved with his analysis of the exterior of Rouen cathedral. Restricting himself to the subdued palettes the early Cubist works of Picasso and Braque, Delaunay also looked to these artists' use of fragmented planes and distorted form to structure his space. The result is a modern rendering of a Medieval church through a series of repeated arches framed by the cropped composition. Delaunay's technique involved studying the 'reactions of the retina while looking at the sun' - documenting the colors and contrasts created, as well as the distortions in architecture through modulations of light.

Oil on canvas - The Solomon R. Guggenheim Museum, New York, New York

Red Eiffel Tower (La tour rouge)

Delaunay painted his first Eiffel Tower in 1909 to celebrate his engagement to Sonia Terk. He went on to produce around fifteen versions and the tower became a major motif for artists in recognition of the major role that technological development and innovation had on the first part of the 20 th century. The Cubist influence is present in both the fragmented panes of the composition and in the multiple viewpoints of the tower - by looking both up at it's towering height and down on to the smaller buildings. The rich red color is heightened in contrast to the pale blue background, which again emphasises the tower's dominance on the Parisian skyline. His work was described as a synthesis of Impressionism and Cubism but the dynamic robotic-like presence, wing-like forms and plumes of smoke or clouds are more reminiscent of the Futurist project. As Mark Rosenthal noted , 'Delaunay 'effectively replaced the pastoral landscape of the Impressionists with a modern paen of French glory" even reducing his color palette to the red, white, and blue of the French flag.

La Ville de Paris

This painting figured prominently in the art world of pre-World War I Paris and was one of the first acquisitions of Jean Cassou, a freelance journalist and later the director of the Museum of Modern Art during the turbulent days of the Socialist Blum government prior to World War II. First shown in the Salon des Independants in 1912, the work caused a sensation and was noted by Apollinaire to be an example of the new movement, Orphism. In 1913, the painting, along with other, smaller compositions, was sent to New York for the now infamous Armory Show. Sadly the work was never shown due to its great scale, causing indignation for the Delaunays and their close circle of friends. As is characteristic of his early work, Delaunay mixes codes and symbols of the city he lived in. Here though, he moves beyond the literal to the allegorical - presenting Paris through a montage of three nude women. The first presents Paris as the historical city, with a view of the Quai du Louvre in the background. The second depicts the classical Paris that is represented by a reference to the Judgment of Paris. The third and final panel is recognizable from Delaunay's previous Eiffel Tower series as the modern metropolis. This painting shows Delaunay's innovative grasp on time and space - themes he would explore further as he moved towards abstraction.

Oil on canvas - Musée National d'Art Moderne, Centre Georges Pompidou, Paris

L'Équipe de Cardiff (The Cardiff Team)

For this work, Delaunay drew inspiration from a newspaper image of the Paris-Cardiff rugby match that took place in 1912. He produced several versions of the painting - combining representational elements with a fragmented, Cubist composition that shows the emergence of contrasting color planes and geometric forms of his later work. The motifs he employs all work to illustrate the visual landscape of pre-war Paris- branded hoardings, the Big Wheel, and the Eiffel Tower rising up majestically in the background. Off to one side, partially concealed and disguised as an advertising slogan, is Delaunay's name. The inclusion of visual and written symbols in the painting point to significant themes that were to preoccupy the artist throughout his career- the depiction of movement, technology, sport, and placing himself as a central figure within this dynamic new world.

Oil on canvas - Musée d'Art Moderne de la Ville de Paris, Paris

Simultaneous Windows (2nd Motif, 1st Part) (Les fenêtres simultanées [2e motif, 1re partie])

The Simultaneous Windows series are Delaunay's last semi figurative works before he began experimenting with complete non-objectivity. Here we are looking through a window - the outline of the Eiffel Tower reveals itself beneath fragmented color panes, creating an illusion of depth along with the kaleidoscopic effect that was characteristic of Orphism. The palette is bright and the fluid blocks of color give the illusion of softness and movement. In 1911, Sonia had created a patchwork blanket for their son that famously inspired these works. The Windows series is characterized by a forward thinking and Futurist aesthetic but Delaunay also drew on earlier movements, the motif of looking through windows could be seen in works of the Impressionists and Fauvists and could also have been inspired by the Symbolist concept of a window onto the soul.

Endless Rhythm (Rythme sans fin)

Endless Rhythm was named by Sonia Delaunay as a way to describe the cyclical looping effect of the circular forms that seem to mimic the flow of electric currents. By 1930 Delaunay had returned to abstraction, producing the large spinning disc compositions for which he is perhaps best known. Building on his earlier experiments, Delaunay achieved the illusion of movement through juxtaposition of colors with geometric form. Delaunay carefully selected his colors to present subtle gradients and then contrasts these with the thick black and pale blue background. The diagonal composition enhances the effect of dynamism. A year after this painting was produced, the discs were brought to life on a monumental scale in his public murals for the Paris exposition.

Oil paint on canvas - Collection of the Tate, United Kingdom

Entrée du Hall des réseaux du palais des Chemins de fer

In 1937 the Delaunays began a new and very different project that would occupy them for almost an entire year when they were commissioned to create a series of murals for the Railway Pavilion and the Air and Aeronautics Pavilion at the Paris Exposition in collaboration with a team of painters. The theme that year was art and technology in modern life. In response,Delaunay chose to recreate the results of his earlier experimentation with simultaneity and chromatic color - this time on an unprecedented scale. Each panel took a different form; inspired by his earlier work in sand, stone, and sculpture. Delaunay imagined repetitive forms, conflicting shapes and endless color palettes to set the room in motion, in homage to new visions of the world afforded by technological innovations. The murals were hung in the entrance to the Musée d'Art Moderne in 1977 in honor of Delaunay's earlier contributions to abstract art.

Centre Pompidou, Musée national d'art moderne, Paris

Propelled on by the success of the Exposition commission, a year later Delaunay produced another major commission, this time for the Salon de Tuileries. Again reminiscent of aeroplane propellers, and the swirls and plumes that surround them in motion, this painting evokes the artist's love of speed and technology, as well as his renewed commitment to pure abstraction. It also illustrates his application of color theory. By using the large scale he had become comfortable with, Delaunay heightened the visual sensation of the work by creating simultaneous form and depth rather than descriptive reality. This was to be Delaunay's last major piece before the couple fled Paris for the south of France, where Robert died a premature death just three years later.

Oil on canvas - Centre Pompidou, Musée national d'art moderne, Paris

Biography of Robert Delaunay

Robert Delaunay was born in 1885 to eccentric upper class parents, George Delaunay and Berthe Félicie de Rose. His mother, an irresponsible character fond of society life, called herself 'Countess' though the authenticity of her claims to French aristocracy are in question. His early life in Paris was privileged yet strained - his parents divorced when Delaunay was just four years old and he barely saw his father after this. Taken in by his aunt and uncle, he was raised in a grand estate in La Ronchère near Bourges, by coincidence mirroring the childhood experience of his future wife, Sonia, also brought up by a wealthy uncle and aunt in St Petersburg.

Early Training

The young Delaunay was a lackluster student, spending classes painting with watercolors behind his desk lid. He lacked formal artistic training, but was sent by his uncle to Ronsin's Atelier, to apprentice in theatre design at Belleville. Here he learned to create large scale theatre sets, which would inform his later stage and mural work.

In 1903 Delaunay traveled to Brittany, where he became acquainted with Henri Rousseau and turned to painting, inspired initially by the work of the Pont Aven Group who had painted there from 1886-88. On returning to Paris, Delaunay met artist, Jean Metzinger . The two became close friends and produced a series of small mosaic-like compositions inspired by the Divisionist techniques of Georges Seurat . Their experiments were noted in an article by the critic Louis Vauxcelles in 1907.

In 1909 Delaunay chanced upon a passionate young artist named Sonia Terk, who went on to become his wife and collaborator for the next 30 years, forming one of the most remarkable creative partnerships in art history. A wealthy Russian emigre who had recently come to Paris to train at the Academy de la Palais, Terk was already married to the homosexual German art critic and gallery owner, Wilhelm Uhde in a marriage of convenience. She and Robert began a passionate affair and when she became pregnant, Uhde willingly consented to a divorce. She married Delaunay the following year and quickly realized that the impetuous and childlike Delaunay would not be a conventional husband or father: for the majority of their married life, she would be the main breadwinner for their family. The newlyweds rented an apartment on the Rue des Grandes Augustins, the same street where Pablo Picasso lived, and embraced the exciting new world around them. They painted together, drawing inspiration from the vivid colors and patterns they saw in the electric lights on the Boulevard St Michel, where they strolled in the evenings.'We breathed painting like others lived in alcohol or crime,' Sonia was to later write in her diary.

Mature Period

Pre World War I Paris was at the epicenter of the avant-garde movement. Delaunay immersed himself in the world of aesthetic discovery, innovation, and experimentation that was exploding around him. He exhibited alongside many of the key players in Paris at the Salon D'Automne (1903,1906) and at the Salon des Independants from 1904 -14, developing an increasing fascination with color as a subject in itself. He sought to interpret the modern city through color and rhythm. In 1911, Sonia gave birth to their only son, Charles, and a year later, at age 27, Delaunay had his first solo show at the Galerie Barbazanger in Paris. His work was admired by German Expressionists Wassily Kandinsky , August Macke and Franz Marc . In 1912, he was invited by Kandinsky to exhibit at the first Blaue Reiter exhibition in Germany, as well as to contribute to Der Sturm , the prestigious almanac produced by the group.

Delaunay believed in gestural, grandiose painting and would have frenzied periods of productivity, working from dawn till dusk, sometimes not bathing for days. In between these bouts, he would not touch a brush, instead taking long walks and taking care of his plants. His Eiffel tower series painted during this time gained considerable attention from the art world, leading to inclusions in major exhibitions and group shows in Europe, notably in the Cubist Room at the Salon des Independents with Metzinger. Following this show, his work became increasingly non-objective leading to the emergence of motifs that Delaunay is known for today such as spinning circles and the geometric forms of his windows. In response to his work, critic Andre Warnod wrote of a 'blossoming new school' that broke with the art of Cubism. The same year his close friend and poet, Guillaume Apollinaire , coined the term 'Orphism' to describe Delaunay's paintings, as well as those of Sonia and artist, Frantisek Kupka. The name, derived from the Greek mythological lyre-playing Orpheus likened the painters' energy to a primal urge for creation. Apollinaire also wrote that Picasso occupied one camp and Delaunay the other - with Kandinsky and Duchamp as his followers. This over embellishment of his achievements caused a stir. In fact, Delaunay preferred to call his work 'simultaneous' rather than 'orphic', as he felt this evoked the spirit of the new age, but this too caused controversy for Delaunay as the Italian Futurists claimed this concept as their own.

Though Delaunay had gained support for his work, his attention-seeking, outspoken personality was exhausting and Sonia often had to mediate when he antagonized others with egocentric claims such as 'before me color was only coloring'. Gertrude Stein captured his personality succinctly when she wrote: 'he sees himself as a grand solitary figure when in reality he's an endless chatterbox who will tell anyone about himself and his significance any time of day or night'. During this period, Delaunay's short temper alienated both students and colleagues.

On Sundays the Delaunay's opened up their home to artists, poets, musicians, and writers that included Henri Rousseau, Metzinger, Guillaume Apollinaire, Fernand Léger , Albert Gleizes, Henri Le Facconnier, and Blaise Cendrars. On Thursdays the group would dance at the Bal Bullier in Montparnasse, turning up late to make an entrance wearing the outlandish simultaneous designs created by Sonia. The Delaunays were always center stage with Sonia in elaborate multi colored dresses and Robert in matching suits of scarlet, green, and other garish colors. The group would also wear multi colored socks so they could dance the tango with no shoes. Their outfits were described as 'Futuristic' by Giacomo Balla and attracted international media attention; Sonia's designs were described by Apollinaire as turning 'fantasy into elegance'. Like the Futurists, Robert was obsessed with the new era of technology and speed, and would frequently visit the St Cloud airship outside Paris. From here came the inspired work 'Homage to Bleriot' in 1914- an 'allegory of the new age' as well as an illustration of his theory that color could become form and subject.

The Delaunays were on vacation when World War I broke out in August 1914, but unlike the others in their circle they stayed as far from the fighting as possible, firstly in Portugal then in neutral Northern Spain. Robert did finally enlist in 1916, but was declared unfit for service due to a large heart and collapsed lung. In 1917, Sonia's income was cut off at the outbreak of the Russian Revolution and she turned to fashion design to provide for her family, setting up her own boutique, Casa Sonia. This proved a lucrative period for both artists when Robert met the Russian exile, Sergei Diaghilev and the rest of the Ballet Russes, which had been somewhat depleted by war. Robert was commissioned to design and make the stage set for their next performance while Sonia created the costumes.

In 1920 the Delaunays returned to Paris, where Sonia established herself as a successful fashion designer, so Robert could pursue his art. They rented a grand apartment and resumed their Sunday salons - pulling in a new group of young artists including Tristan Tzara , Francis Picabia , André Breton , Jean Cocteau , and Jean and Sophie Arp . The apartment became a living, breathing simultaneous artwork as their Dada and Surrealist friends adorned the walls with paintings, poems, and signatures. However, as always they were living beyond their means and bailiffs were frequent visitors to the apartment; in 1922 money was so tight that Sonia had to sell their Henri Rousseau painting The Snake Charmer to the Louvre for 50,000 francs. With this Robert bought their first car, and in doing so found the one pastime that would relax him - driving. The Delaunays were known for their progressiveness- owning a car, telephone, and radio before any of their friends as well as being the first to re-establish links with German artists after World War I. However, artistically Robert was lagging behind his entrepreneurial wife - he had not exhibited since 1913 except for a solo show in 1922 that had little success despite the loyal attendance of his new Surrealist friends.

Late Years and Death

By the mid 1930s, Robert's reputation had dwindled and he was in a cycle of producing unfinished works that lacked conviction. He spent time conducting his, what seemed to be fruitless, research into developing new pigments and using stone and sand to make lacquer. During the late 1920s he had turned to figurative work, then back to complete abstraction. A low point was the creation of a nude for the lounge of the embassy room at the Exposition Universale of 1925, which was deemed inappropriate and taken down. The same year they both turned 40 and Sonia - now a very successful designer who ran 30 boutiques, began to pine for the painting of her earlier career. Robert encouraged this return to intellectual curiosity saying, ' to produce is great, but we must also promote our ideas'. With the crash of Wall Street in 1929, fashion couture declined as it became 'bad taste to look rich'. Sonia made the decision to close her boutique and the couple gave up their apartment, declaring 'We'll paint and we'll live like before'.

Money was tight and both artists were encouraged to register for unemployment by friends, but Robert's pride prevented this. The couple joined the Abstraction Creation group in 1932 and four years later were invited to take part in the Exposition Internationale des Arts et Techniques dans la Vie Moderne of 1937, with an emphasis on public art. Robert took charge of the project, working with fifty unemployed artists in a large garage to produce huge murals for the aeronautical pavilion, with the theme of the romance of railway travel. During this period they 'lived like monks' according to Sonia, with Robert showing a renewed energy and commitment to the project. His previous experiments with stone proved to be invaluable as he developed ways to produce murals that were resilient to the elements. The show was a success, and Robert's pavilion received very positive reviews by those who saw it. However, it was overshadowed by the overwhelming success of Picasso's Guernica in the same show - adding fuel to the longstanding envy he had for the Spanish artist.

The International Exposition brought the Delaunays back in demand and a year later, Robert produced what would be his last series- decorations for the Sculpture Hall at Salon des Tuileries. With these successes behind them, the couple made exciting plans to travel to New York, but timing was against them and with World War II looming they fled to the South of France to avoid the Nazi invasion. The move was detrimental to Robert's deteriorating health and he died from cancer in 1941 in Montpellier, France. Sonia went on to live for another thirty years, and with their son, Charles, managed Robert's estate, and paid tribute to Robert's memory through her work.

The Legacy of Robert Delaunay

Robert Delaunay's reputation fluctuated throughout his life and after his death, so it is a challenge to map his legacy in modern art history. However, it is without a doubt in the heady pre-World War I days that his influence on other artists and writers was most pronounced. His text 'Note on the Construction of Reality in Pure Painting' (1912) was seen by many critics as fundamental in the evolution of abstract art theory; in one article Apollinaire even credits Delaunay with influencing Picasso's use of light. Whether or not this was entirely accurate, it is certain that during 1912-13 Delaunay was seen by many as occupying a contradictory and equivocal position in relation to Cubism, something which inspired young artists looking for new directions. One such example was the young American, Morgan Russell, who saw the vibrant color harmonies of Delaunay's canvases in 1912. Soon afterwards, Russell founded the Synchronist movement with Stanton McDonald Wright, which expanded on the color theory of Michel Chevreul and Ogden Rood, as Delaunay himself had done. Later however, Russell and Wright denied all connections with Orphism.

Similarly contentious was Delaunay's relationship to Futurism . His incorporation of modern architecture into a fragmented, dynamic pictorial space suggests a role in the development of Futurist visual language, particularly evident in Umberto Boccioni 's Simultaneous Visions (1912). The Italian artist had in fact visited Paris in 1911 and would have seen Delaunay's Saint Severin and Eiffel Tower series. At the time both movements rejected any comparison but after the artist's death, Fernand Leger was to declare 'It was with Robert Delaunay on our side that we joined the battle' [towards abstraction] (1949).

After Delaunay exhibited his work at the first Der Blaue Reiter exhibition, he caused a stir : the blocks of vivid color Klee went on to employ in his Tunisian watercolors (1914) are reminiscent of Delaunay's Windows series, and critic, Theodore Daubler, actually referred to him as the 'first known Expressionist' in 1916. Other commentators point to links with Die Brucke . For Mark Rosenthal, the distorted expressionist forms in Delaunay's Saint Severin can be clearly seen in the art of Lyonel Feininger, Ernst Kirchner's street scenes, and in the film sets for Robert Weine's Cabinet of Dr Caligari (1920).

Delaunay's close connections with Kandinsky, Hans Hoffman, and Diego Rivera during his lifetime also suggest a possible link with Abstract Expressionism, as these were all prominent figures in the development of the New York School in the 1940s. Delaunay's innovative use of encaustic wax (developed when he had no access to art materials in Spain), large scale architectural painting ( The City of Paris , the 1930s murals) and color as a vehicle for expression can be indirectly linked to the work of Jackson Pollock , Barnett Newman , and Mark Rothko .

By 1945, just four years after his death, Delaunay's name was virtually unknown. His wife, Sonia, was by then well-established in her design career and she worked tirelessly to restore her late husband's reputation as a pioneer of abstract art. She persuaded galleries to show his work and in 1963 donated 114 of his works to the Musée d'Art Moderne in Paris, helping to place his name back in the public consciousness. However, it is in her vast body of work where his most direct legacy lies. She kept their shared theories of simultaneity alive through her prolific production of clothing, household objects, book binding, fabrics, and painting, all characterized by colorful abstract forms that were reminiscent of Robert's earlier Orphic works.

Influences and Connections

Useful Resources on Robert Delaunay

• 1906-1914 De L'Impressionisme a L'Abstraction By Pascal Rousseau, Jean-Paul Ameline
• The New Art of Color (The Documents of 20 th -century art) Our Pick By Robert Delaunay, Sophie Delaunay, and Arthur A. Cohon
• Robert Delaunay: Light and Color By Gustav Vriesen, Max Imdhal, and Maria Pelikan
• Robert and Sonia Delaunay: The Triumph of Color By Hajo Duchting, Robert Delaunay, and Sonia Delaunay
• Resisting Abstraction: Robert Delaunay and Vision in the Face of Modernism Our Pick By Gordon Hughes
• Online collection
• Envisioning Abstraction: The Simultaneity of Robert Delaunay's First Disk Our Pick By Gordon Hughes / The Art Bulletin / 2007
• Sonia Delaunay Our Pick By David Seidner / BOMB Magazine / July, 1981
• Robert Delaunay, "Simultaneous Contrasts: Sun and Moon" The Khan Academy
• Archive Grid Papers relating to Sonia and Robert Delaunay, c. 1960-81

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Content compiled and written by Sarah Jenkins

Edited and published by The Art Story Contributors

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Les sept couleurs de la tour Eiffel

1887-1888 : le rouge Venise ouvre le bal

1889 : la tour voit brun rouge

1892 : un an et demi pour passer à l'ocre brun

1900 : du jaune à l'orange pour l'Exposition universelle

1907 : une éclaircie vers le jaune brun

1954 : un rouge brun presque d'origine

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Masterpiece Story: The Red Tower by Robert Delaunay

James W Singer 2 April 2024 min Read

Robert Delaunay, Champs de Mars: The Red Tower , 1911-1923, Art Institute of Chicago, Chicago, IL. Detail.

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Visit Parisian Landmarks in These 10 Gorgeous Paintings

When people speak of Paris, the Eiffel Tower is probably the first thing that flashes into the imagination. It is the iconic symbol of Paris . Robert Delaunay captures this celebrated structure in his painting, Champs de Mars: The Red Tower . The famous 19th-century building is boldly interpreted through Delaunay’s eyes in a 20th-century Modernist perspective. The Eiffel Tower takes on new meaning but remains the timeless classic we all still love and adore.

When Robert Delaunay began painting Champs de Mars: The Red Tower in 1911, the Eiffel Tower was only 22 years old. Therefore, it was still considered a new addition to the skyline of Paris. It was completed by the “Magician of Iron”, Gustave Eiffel, in 1889, and was to be revealed to the world at the Exposition Universelle , or World’s Fair. The Eiffel Tower was immediately striking as the world’s tallest structure, a title it held for 41 years until 1930. It is constructed of wrought iron and stands 1063 feet above the city.

It was also a shocking example of the rising prominence of realist, rationalist, and functionalist architecture that was spreading throughout the world. No longer was a building’s form and function hidden behind decorative façades. Now its structural integrity could be boldly displayed as part of its overall appearance. The Eiffel Tower was a massive symbol of the rapidly urbanized and industrialized society of Paris.

The 19th century was a time of massive changes, especially in Paris. For 30 years, Baron Haussmann was literally destroying and rebuilding history. Architects Henri Labrouste and Joseph Paxton were building skeletal, iron structures such as the Bibliothèque Sainte-Geneviève (1843-50) and the Crystal Palace (1850-51). The Eiffel Tower was the next step in this architectural progression towards Modernism .

Its open-frame body with iron girders was a dramatic departure from the Neoclassical styles of the early 19th century. However, despite its dramatic design and initial rejection by the Parisian “elite”, it quickly became a symbol of 19th-century Paris. It stood for the city’s traditions, beliefs, hopes, and dreams.

Robert Delaunay’s Champs de Mars: The Red Tower may depict a 19th-century cityscape, but not in the traditional 19th-century style of painting. His painting is thoroughly Modernist and rejects conservative and realistic depictions of the Tower. He does not aim to portray it as the eye sees it, but to depict its essence, character, and form.

It is a painting rejecting linear perspective and realistic shading and is not photographic in any sense. It embraces the dissection of forms, shapes, and colors by holding to most of the tenets of Cubism . This is an art form proudly supported by famous artists like Pablo Picasso and Georges Braque . However, Robert Delaunay is not simply a follower of Cubism. He embraces dramatic colors following the school of Orphism, which consists of fantastically vibrant colors. Cubism, however, tends to follow a more somber color palette of browns and blacks. Orphism holds hands with Cubism but is not married to it.

The Eiffel Tower was not always the bronze color it is today. It has been painted 18 times and in many colors including red-brown, yellow-ocher, and chestnut-brown. When Champs de Mars: The Red Tower was painted, the tower was red-brown, which is why the Eiffel Tower dominates the center of the canvas in its bold shades of red and orange. It sharply contrasts the grey and white buildings surrounding its base and flanking its sides. The homogeneous buildings act as a frame for the Tower, and this framing augments its importance in the scene.

The Eiffel Tower is in fragments, a collection of colorful splinters; and like the shards of a broken mirror, the Tower’s pieces still retain some of their original character. We can tell that we are looking at the Eiffel Tower through the scene’s implications and not only through its actual appearance. The Tower’s shards loosely collect into a familiar outline while the brackets and girders of its feet and body are loose and sporadic. Its platforms imply its stories, but they are tilted and unstable. Everything speaks of the actual Eiffel Tower without capturing its photographic appearance.

Robert Delaunay’s Champs de Mars: The Red Tower has a multitude of rhythms and patterns; such as the lines that repeat themselves throughout the scene forming sympathetic and antagonistic patterns. Similar colors are in harmony, while dissimilar colors are in dissonance. It is as though bright strokes break into a wide spectrum-like light that is passing through a glass prism.

The diagonal lines of the Eiffel Tower repeat in the parallel lines of the blue sky, and these lines contrast with the vertical and horizontal lines of the surrounding buildings. The red and orange hues play among themselves creating depth and interest. The Tower’s colors also stand out against the somber and muted shades of the grey and white buildings. The grid of windows and ledges further add to the Tower’s dynamic structure. This, by far, makes the Eiffel Tower the most eye-catching element of the painting since it has so much contrast from its environment.

This important artwork also imparts a social timeline. When Champs de Mars: The Red Tower was completed in 1923, France was forever changed; World War I had ravaged humanity and taken countless lives. The be lle époque or “beautiful period”, lasting from 1871 to 1914, was officially over; and a France of optimism, of peace, and of prosperity was killed alongside millions of soldiers during the war .

A sense of innocence and naivety was lost, and a more savage and destructive world was revealed. Shell-shock was real, and it reverberated throughout the paintings of the period. The violent motions of shape and color chosen by Robert Delaunay in this piece reflect the social collapse of the old order. The Tower still stands in the painting, but it is broken and fragmented, just like post-WWI France. Like a favorite vase that is smashed and glued back together, post-WWI society could never be as it was before the war. Despite it appearing whole again, the cracks will always be visible and present.

Robert Delaunay painted Champs de Mars: The Red Tower during a period of great social, economic, and political transition. Architecture was rapidly evolving, society quickly changing, and countries swiftly rebelling. French Orphism and Cubism influenced Italian Futurists and German Expressionists . The Eiffel Tower had overtaken Notre-Dame as the symbol of Paris, and the Jazz Age had overtaken the belle époque. Change was the spirit of the age.

Robert Delaunay’s Champs de Mars: The Red Tower is a masterpiece in capturing this spirit. It reflects on the past while it also views the present and hopes for the future. The Art Institute of Chicago is blessed to have such a great work among its collection. And you should view it the next time you are in the Windy City. You will not regret it.

Bibliography

Beckett, Wendy, Patricia Wright, Sister Wendy’s 1000 Masterpieces,  London: Dorling Kindersley Limited, 1999.

Champs de Mars: The Red Tower , The Art Institute of Chicago Online Collection. Accessed May 20, 2020.

Charles, Victoria, Joseph Manca, Megan McShane, and Donald Wigal, 1000 Paintings of Genius,  New York, NY: Barnes & Noble Books, 2006.

Field, D. M., The World’s Greatest Architecture: Past & Present,  New York City, NY: Barnes & Noble Books, 2002.

Gardner, Helen, Fred S. Kleiner, and Christin J. Mamiya, Gardner’s Art Through the Ages,  12th ed. Belmont, CA: Wadsworth, 2005.

Painting the Eiffel Tower , La Tour Eiffel, February 10, 2020.

• 19th Century
• 20th century
• Robert Delaunay

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James W Singer

James W. Singer is an art historian and fine art photographer.  He earned a Bachelor of Arts in Art History from the University of Florida. He later moved to Paris, France. He currently writes “Masterpiece” articles for DailyArt Magazine.

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La Tour Eiffel (The Eiffel Tower)

Robert delaunay 3958, museum folkwang essen, germany.

With his depiction of the Eiffel Tower , the symbol of Paris built in 1889 as a spectacular example of French engineering, Robert Delaunay produced a shocking scenario of the decline and fall of the modern world. His admiration for industrial progress contrasts with his pictorial destruction of the architectural construction, to the point of a formal dissolution of the motif. Its only remaining relation to the city is the view of the curved paths on the Champ de Mars . The tower itself, exploded into schematic pieces, traverses the painting diagonally, its tip covered by prism-like clouds. Delaunay dedicated this painting, part of a series of about 15 of the Eiffel Tower, to his friend, the poet Guillaume Apollinaire, who wrote ardent poems and texts on the artist's work and on the modern metropolis of Paris.

• Title: La Tour Eiffel (The Eiffel Tower)
• Creator: Robert Delaunay
• Creator Lifespan: 1885/1941
• Provenance: Acquired in 1964 with the support of the State of North Rhine-Westphalia
• Type: Painting
• Rights: © Museum Folkwang
• Medium: Oil on canvas
• Höhe: 130 cm
• Collection: Painting, Sculpture, Media Art
• Breite: 97 cm

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Du rouge au brun, comment la tour Eiffel a changé de couleur au fil du temps

Depuis sa construction, la tour Eiffel a plusieurs fois changé de couleur. - BFMTV

Sa silhouette s'étire dans le ciel de Paris depuis près de 130 ans, pourtant, les Parisiens de l'époque n'ont pas connu la même Tour Eiffel que nous. Les photos en noir et blanc de son inauguration en 1889 ne peuvent pas en témoigner, mais à ses débuts, la Tour Eiffel était en fait rouge. 

Depuis sa construction, le monument a été habillé de différentes nuances de couleurs. Après le "brun rouge" en 1889, elle est repeinte en "ocre brun" en 1892. En 1899, elle passe au jaune. Cinq couleurs en dégradé habillent alors la tour, du jaune-orange à la base, au jaune clair au sommet.

Le "brun tour Eiffel" adopté en 1968

Après un nouvel habillage en "rouge brun" dans les années 1950, c'est finalement en 1968 que le brun qu'elle arbore aujourd'hui vient colorer la tour. Cette couleur, le "brun tour Eiffel" a été spécialement conçue pour le monument et est réservée à son seul usage. Cette couleur a été choisie afin de s'harmoniser avec le paysage parisien. 

Toutefois, la tour n'est pas peinte d'une même couleur uniforme. Le brun tour Eiffel est dégradé en trois tons, du plus foncé au pied du monument, au plus clair au sommet.

Pourquoi faut-il repeindre la tour Eiffel?

Dans le cadre des travaux de rénovation de la dame de fer, le monument sera prochainement repeint. Tous les sept ans, une campagne de peinture est lancée, une opération qui permet par l'application de plusieurs couches de protéger la tour de l'oxydation. En 1900 dans son ouvrage La Tour de 300 mètres, Gustave Eiffel prévenait d'ailleurs que "les soins" apportés à la peinture du monument "sont la seule garantie de sa durée". A l'époque, repeindre la tour Eiffel est un exercice à haut risque, les peintres évoluent sans protection et à main nue sur les façades de fer du monument. 

La prochaine campagne de peinture sera particulière, la tour devra être décapée des 19 couches de peinture ajoutées depuis sa création, indique Le Parisien . Ce chantier qui doit durer des mois sera réalisé sous confinement, pour un budget de 60 millions d'euros. En parallèle, tout le dispositif d'accueil de la tour Eiffel va être revu et un mur de protection pare-balles installé aux pieds de la dame de fer pour un budget total de 300 millions d'euros sur 15 ans.

une journée de fête pour les 300 millions de visiteurs

Pour célébrer ses 300 millions de visiteurs depuis 1889, la tour Eiffel propose ce jeudi des animations toute la journée.

A partir de 17h30, des bracelets seront offerts aux visiteurs pour leur permettre de remporter des cadeaux (coupes de champagne, macarons, souvenirs...).

De 18h à 23h, la musique envahira la tour avec jazz band sur le parvis, trompettistes au 2e étage et quatuor de flûtes au sommet.

De 19h30 à 23h, un DJ set est proposé gratuitement au 1er étage par l'escalier pour les 1.500 premiers arrivants.

Un show lumineux créé pour l'événement se produira toutes les 30 minutes de 19h30 à minuit.

Toutes les informations sont à retrouver sur le site de la tour Eiffel .

Les plus lus

Corps démembré retrouvé dans une valise à Paris: le profil du suspect se précise

Avion frappé par un éclair à paris: comment la foudre traverse les appareils sans dommage, moselle: quatre moutons inscrits dans une école pour protester contre la menace de fermeture d'une classe, aurores boréales: les images de la "super-tempête solaire" à l'origine du phénomène, trophées unfp: un dernier sacre pour mbappé, du suspense pour les espoirs… les enjeux de la cérémonie.

Guerre en Ukraine: la Russie accroît sa pression sur la région de Kharkiv dans le nord-est du pays

Champs-de-Mars, La Tour rouge (Q19018655)

• La Tour rouge
• Tour Eiffel

Déclarations

Identifiants

Liens de site, wikipédia (4 entrées).

• cawiki Torre Eiffel (Delaunay)
• enwiki Champs de Mars: The Red Tower
• frwiki Tour Eiffel (Delaunay, 1911)
• nlwiki Champs de Mars: de rode toren

Wikilivres (0 entrée)

Wikinews (0 entrée), wikiquote (0 entrée), wikisource (0 entrée), wikiversité (0 entrée), wikivoyage (0 entrée), wiktionnaire (0 entrée), autres sites (0 entrée).

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Tour Eiffel rouge

Illumination spéciale de la tour eiffel à l'occasion du nouvel an chinois, de l'année de la chine en france, et de la visite du président chinois hu jintao à paris.   special lighting for the eiffel tower to celebrate the chinese new year, the chinese year in france, and the visit of the chinese president hu jintao in paris..

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Eiffel Tower Dinner Cruise: Enchanting Views and Unforgettable Moulin Rouge Show

Eiffel Tower Dinner Cruise With a Moulin Rouge Show

If you are looking for a romantic way to spend an evening in Paris, the Eiffel Tower Dinner Cruise with a Moulart Rouge Show is a great choice. This tour features a romantic dinner cruise and a trip in an elevator to the top of the Eiffel Tower. You will also have the opportunity to see the world’s most famous cabaret, the Moulin Rouge.

Seine River Cruise Dinner Cruise

Take in the sights of Paris during a Seine River Cruise Dinner Cruise with a show at the famous Moulin Rouge. Board one of the glass-walled trimarans to enjoy a five-course dinner with an a la carte menu. Wine, mineral water, and coffee are all included.

While dining, you’ll be treated to breathtaking views of the Eiffel Tower and other landmarks. You’ll also get priority access to the Eiffel Tower and Notre Dame de Paris cathedral. You’ll also be treated to a half-bottle of champagne each for an unforgettable evening.

A Seine River Cruise is a classic Paris activity, especially at night. The dinner is served onboard with an exquisite French menu, often with a live Moulin Rouge show. If you’d like a more luxurious experience, upgrade to the Service Premier option. This option is available to you starting at eight o’clock in the evening.

58 Tour Eiffel restaurant

If you’re looking for a unique way to experience Paris, you should check out the Dinner Cruise with a Moulin Rouge show at 58 Tour Eiffel restaurant. Located on the first floor of the Eiffel Tower, this elegant restaurant boasts a spectacular view of the city. From its huge picture windows, you can enjoy the Seine River and the surrounding monuments. You can even watch a spectacular show from the comfort of your seat.

This Paris Dinner Cruise with a Moulin Rouge show includes a one-hour cruise down the Seine and a half bottle of Champagne. This romantic experience is available on most evenings, except July 14 and December 31. It’s important to note that the show is formal, so dress appropriately. Men should wear a jacket and tie, and women should wear a dressy gown.

Moulin Rouge show

This dinner cruise along the Seine features fine dining, sightseeing, and a spectacular show at the Moulin Rouge. After dinner, you can attend the show, enjoy champagne, and watch the French Cancan dancers perform their art. This is a unique way to experience Paris.

The Moulin Rouge is one of the most popular shows in Paris, featuring more than 100 artists. You can catch a glimpse of the legendary Doriss dancers in exotic costumes as they entertain the crowd. The lavish stage sets, dancing, and choreography are accompanied by original fairy music.

The show features 1,000 costumes, made from feathers, rhinestones, and sequins. Guests are transported to a new world with a lavish, Italian-designed stage setting. A full ensemble of 80 musicians and 60 chorus singers will entertain you while you dine under the Eiffel Tower.

Booking Links:

Champagne at the Moulin Rouge & Seine River Cruise

Booking Link: Champagne at the Moulin Rouge & Seine River Cruise

Dinner, Cruise, & Champagne at Moulin Rouge

Eiffel Tower, Dinner, Cruise, & Champagne at Moulin Rouge

Paris: Dinner Show at the Moulin Rouge

Booking Link: Paris: Dinner Show at the Moulin Rouge

Eiffel Tower Dinner Cruise with a Moulin Rouge Show frequently asked questions

Q: what is the eiffel tower dinner cruise with a moulin rouge show.

A: The Eiffel Tower Dinner Cruise with a Moulin Rouge Show is a popular evening activity in Paris that includes a gourmet dinner cruise on the Seine River, followed by a show at the famous Moulin Rouge cabaret.

Q: What is included in the package?

A: The package typically includes a gourmet 3-course meal on a dinner cruise along the Seine River, with panoramic views of Paris landmarks like the Eiffel Tower, Notre Dame Cathedral, and the Louvre Museum. After the cruise, guests are transported to the Moulin Rouge cabaret for a spectacular show featuring dancers, singers, and acrobats.

Q: How long does the experience last?

A: The experience typically lasts around 5 hours, including transportation to and from the cabaret.

Q: What is the dress code for the Moulin Rouge show?

A: The dress code for the Moulin Rouge show is smart casual. Guests are expected to dress up a little, but formal wear is not required.

Q: Can I take photos during the show?

A: Photography and video recording are strictly prohibited during the Moulin Rouge show.

Q: Can I choose my own table on the dinner cruise?

A: Tables are assigned based on availability, but guests can request a specific table location (e.g. by a window) at the time of booking.

Q: Is there a vegetarian option available for dinner?

A: Yes, vegetarian options are available on the dinner cruise menu. Guests can request a vegetarian meal at the time of booking.

Q: Is the experience wheelchair accessible?

A: The dinner cruise and Moulin Rouge cabaret are both wheelchair accessible. However, guests are advised to inform the tour operator in advance if they require any special assistance.

Q: Is alcohol served on the dinner cruise?

A: Yes, a selection of wines and champagne is available for purchase on the dinner cruise.

Q: Can I cancel or reschedule my booking?

A: Cancellation and rescheduling policies vary by tour operator, so guests are advised to check the terms and conditions at the time of booking.

Similar Activities in Paris

• Seine River Sightseeing Cruise 3-Courses Dinner
• 1-Hour River Seine Cruise In Paris
• 3-Course Lunch Cruise on the Seine River Paris
• The Louvre Museum and Seine River Cruise
• Montmartre Walking Tour in Paris

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Popular Activities

Les illuminations

Tous les soirs, la tour Eiffel se pare de son habillage doré et scintille 5 minutes au début de chaque heure, tandis que son phare rayonne sur Paris. On vous explique tout sur l'éclairage et les lumières de la Tour.

• Une installation hors norme
• Eclairages et consommation d'énergie

Quand les éclairages de la Tour s'allument-ils ?

Chaque jour, en soirée, la tour Eiffel se pare de sa robe dorée et scintille les cinq premières de chaque  heure, tandis que son phare rayonne sur Paris.

• L'éclairage doré et le phare de la tour Eiffel s'allument lorsque la nuit tombe.
• Le scintillement se déclenche à chaque début d'heure à partir de la tombée de la nuit pendant 5 minutes, jusqu'à la fermeture du monument.

Que vous visitiez la Tour ou passiez près du monument en soirée, c'est une expérience incontournable, tellement magique et parisienne ! L'illumination en soirée de la tour Eiffel est composée de 3 éléments : sa robe dorée, son scintillement et son phare. Pour savoir à quel moment la Tour s'éclaire le soir, il faut d'abord savoir à quelle heure le soleil se couche. L’allumage des projecteurs de l'éclairage doré se déclenche à la tombée de la nuit grâce à des capteurs . Il s’effectue en moins de 10 minutes.

Le phare de la tour Eiffel s'allume et démarre sa rotation en même temps que l'éclairage doré.  

Le scintillement, quant à lui, se superpose à l’éclairage doré, il anime le monument 5 minutes au début de chaque heure une fois que la Tour est éclairée. Par exemple si la nuit tombe à 20h35, l'éclairage se déclenche dans les 10 minutes et le 1er scintillement interviendra à 21h.

Admirez en vidéo le spectacle de la tour Eiffel illuminée et scintillante

Jusqu'à quelle heure voir les éclairages de la tour Eiffel ?

Dans le cadre du plan d’urgence de la Ville de Paris pour la sobriété énergétique de septembre 2022, la tour Eiffel s’éteint désormais complètement à partir de 23h45 (éclairage et phare) : le dernier scintillement intervient donc à 23h. A l'exception des mois d'été, lorsque la tour Eiffel ferme ses portes à 00h45 : il y a donc un scintillement à minuit et un dernier à 1 heure. Alors que l'éclairage doré de la Tour et le phare s'éteignent, le monument continue de scintiller quelques minutes. Un spectacle exceptionnel à ne pas rater ! 

Quelles sont les meilleures vues pour profiter de la Tour illuminée ?

Notre premier conseil : visitez la tour Eiffel en soirée, vous ferez une expérience exceptionnelle dans une atmosphère unique baignée de la lumière dorée du monument, notamment dans les escaliers. Pour profiter au mieux du scintillement, c'est au 2ème étage qu'il faudrait vous trouver pour lever les yeux et admirer la flèche du monument scintillante  : une ambiance magique anime alors toute la Tour et vous vous fondrez dans l'émotion collective que l'illumination procure ! Et si le phare vous intrigue, c'est au sommet que vous découvrirez comment il fonctionne en levant, là aussi, simplement les yeux.

En dehors de la Tour, l'avantage est que vous pouvez voir la Tour illuminée depuis de nombreux lieux dans Paris et en région parisienne ! L'esplanade du Trocadéro et le Champ de Mars restent des spots incontournables pour profiter du spectacle de la mise en lumière de la tour Eiffel en soirée.

Comment fonctionne l'éclairage doré de la tour Eiffel ?

Inauguré le 31 décembre 1985, conçu par Pierre Bideau, ingénieur éclairagiste, cet éclairage comprend 336 projecteurs , équipés de lampes à sodium haute pression de couleur jaune orangé.

Cette illumination, qui rencontre un succès unanime et mondial, a été le point de départ, à Paris et dans les grandes villes de France et du monde, d’un renouveau de la remise en valeur nocturne des monuments.

Les faisceaux lumineux, dirigés du bas vers le haut, illuminent la tour Eiffel de l’intérieur de ses structures. En remplaçant les 1290 projecteurs en service depuis 1958 qui éclairaient la Tour depuis l’extérieur, ils mettent en valeur la structure métallique fine du monument et éclairent les lieux empruntés par les visiteurs nocturnes jusqu’à la fermeture de la Tour au public. Outre l’aspect esthétique, il est donc également nécessaire à la sécurité du fonctionnement nocturne de la Tour.

Comment fonctionnent le phare et le scintillement de la tour Eiffel ?

C'est le 31 décembre 1999 à minuit que le monde entier découvre le phare et le scintillement de la Tour.

Le phare produit deux faisceaux lumineux d’une portée de 80 kilomètres : il est constitué de 4 projecteurs motorisés de type "marine". Ils sont pilotés par micro-ordinateur, grâce à un logiciel spécifique et à un automate programmable qui gèrent leurs mouvements. Effectuant une rotation de 90°, ils sont synchronisés pour former un double faisceau en croix pivotant à 360°. Les lampes sont des xénon de 6000W choisies pour leur longévité de 1200 heures environ. La tête lumière est sur-ventilée pour éviter toute surchauffe, et un système de chauffage se met en route quand la température tombe en dessous de zéro alors que les lampes sont éteintes. Ce phare rappelle celui de Gustave Eiffel jouant le rôle d'un repère symbolique et universel.

Pour le scintillement, également signé Pierre Bideau, sont installés, sur les quatre faces de la Tour, 20 000 lampes d'une puissance faible de 6W chacune, qui s'allument brièvement et aléatoirement. Le scintillement se déclenche exactement à chaque début d'heure, une fois que la nuit est tombée, pendant 5 minutes, jusqu'à la fermeture du monument.

Lampes à éclat qui font scintiller la Tour

• L'installation des 20 000 ampoules du scintillement a nécessité :  25 alpinistes pendant 5 mois ; 40 kilomètres de guirlandes lumineuses et câbles d’alimentation ; 40 000 attaches et 80 000 pièces métalliques diverses, soit 60 tonnes de serrureries et pièces métalliques ; 230 armoires et coffrets d’alimentation.
• Le passage de la durée de scintillement de 10 à 5 minutes par heure en 2008 a permis de diminuer la consommation d’énergie et surtout un allongement de plusieurs années de la durée de l’installation.
• Une équipe composée de techniciens de la SETE et de cordistes professionnels changent en moyenne 300 à 400 lampes par an sur l’installation. 

Tous les efforts de modernisation du dispositif d’éclairage de la Tour contribuent à améliorer sa performance énergétique, en baisse continue (9% par an) en moyenne depuis 2016. Depuis septembre 2022, la tour Eiffel s'éteint complètement dès sa fermeture au public à 23h45, à l'exception des périodes de vacances scolaires pendant lesquelles elle reste ouverte jusqu'à 0h45.

Le scintillement, à titre d'exemple, consomme environ 8800kWh/an, soit l’équivalent de la consommation électrique annuelle d’un studio de 30 m² occupé par 2 personnes. Il représente 0,4% de la consommation électrique annuelle du monument.

Les grands moments de l'illumination de la Tour

La tour Eiffel a de tous temps été l’objet d’une mise en lumière à caractère festif. Au travers des renouvellements constants des sources d'illumination artificielle, la Tour a aussi depuis l’origine profité des dernières innovations en matière d'éclairage : du gaz à l'électricité, des lampes à incandescence à celles au néon en passant par celles au sodium à haute pression, et récemment les leds.

D’une manière générale, les équipements habituels de la Tour n’étant pas conçus pour réaliser des illuminations spéciales (couleurs, drapeaux, messages), celles-ci nécessitent des moyens d’éclairages externes mobilisés pour chaque occasion.

Illuminée dès son ouverture en 1889, pendant l'Exposition Universelle, 10 000 becs de gaz soulignent les arbalétriers et les plates-formes. Deux projecteurs au sommet éclairent les monuments de Paris. Le phare bleu-blanc-rouge du sommet est le plus puissant du monde. Vers 1900 , l’éclairage devient électrique et 5 000 ampoules dessinent les arêtes et les arcs décoratifs de la Tour.

Une horloge géante de 6 mètres installée au deuxième étage donne l’heure en chiffres lumineux, à partir de 1907. De  1925 à 1936,   André Citroën finance l'installation d'une féerie lumineuse de 250 000 ampoules de couleur. Une opération d'éclairage publicitaire particulièrement efficace : le nom de la marque Citroën inscrit sur trois faces se voyait à 40 kilomètres à la ronde.

Entre 1933 et 1934, c'est le retour d'une horloge de 15 mètres de diamètre indique l’heure grâce à des aiguilles formées de rayons lumineux et vient s'ajouter à l'éclairage Citroën. Elle est placée dans le « E » de Citroën.

Pour l’Exposition des Arts et Techniques de 1937 , un lustre gigantesque réalisé avec 10 km de tubes fluorescents est installé sous le premier étage. Trente projecteurs de marine habillent la Tour d’une lumière blanche.

Dans les années 1950, une nouvelle illumination pérenne

En 1958, la Tour est dotée d'un nouvel éclairage pérenne : 1 290 projecteurs sont installés dans plusieurs fosses du Champ-de-Mars pour éclairer la Tour depuis l'extérieur. Cet éclairage perdurera jusqu'au 31 décembre 1985, date de l'installation de l'éclairage doré dans la structure, signé Pierre Bideau, toujours utilisé actuellement.

Pour Noël 1978, la Tour fut décorée d’un sapin lumineux de 30 000 ampoules. Avec l'arrivée de l'an 2000, la tour Eiffel devient le support universel du décompte. A partir du  5 avril 1997 : J-1000 avant l’an 2000, le décompte géant apparaît sur la face côté Trocadéro, au deuxième étage.

Et le 1er janvier 2000,  à l’occasion du « Top de l’an 2000 » et de son spectacle pyrotechnique inoubliable, la Tour dévoile son scintillement de 20 000 feux et arbore un nouveau phare au sommet. Le scintillement prévu à l’origine pour être éphémère, est démonté le 14 juillet 2001. Le  21 juin 2003,  La tour Eiffel retrouve son scintillement de diamant les dix premières minutes de chaque heure, de la tombée de la nuit jusqu'à 1 heure du matin.

Les illuminations spéciales à partir des années 2000

C'est véritablement à partir des années 2000 que les illuminations événementielles, hommages et spectacles lumineux se développent et la Tour se pare de multiples couleurs ou dessins selon les occasions. Ces illuminations sont produites par des équipements externes installés spécifiquement à chaque occasion.

• 24 au 29 janvier 2004 : A l’occasion de la célébration du Nouvel An Chinois la Tour a été baignée d’une lumière rouge écarlate, grâce à un savant jeu de projecteurs extérieurs. Cette mise en lumière de la tour Eiffel en rouge fut réalisée avec le concours d’Electricité de France.
• 9 mai 2006 :  Une Tour bleue pour les 20 ans de la Journée de l'Europe.
• 7 septembre au 20 octobre 2007 :  le rugby à l'honneur, à l'occasion de la Coupe du monde de rugby qui se déroule en France, la tour Eiffel s'habille aux couleurs de l'ovalie. Eclairage de couleur verte, du sol au deuxième étage de la Tour, pour rappeler la pelouse, deux faisceaux verticaux lumineux et une barre transversale pour évoquer les buts, un ballon géant de 13 mètres d'envergure suspendu sous le deuxième étage à environ 80 mètres du sol.
• Juillet 2008 : pendant la durée de la présidence française de l’Union européenne, la Tour se pare de bleu et des étoiles du drapeau européen
• 22 octobre au 31 décembre 2009 : Le point d’orgue des célébrations de ses 120 ans, la tour Eiffel offre chaque soir au public un spectacle lumineux festif et innovant. Grâce à des projecteurs LED de dernière génération, le monument s’est animé d’une pluie de lumières, d’effets stroboscopiques et de mélanges de couleurs dynamiques.
• 28 mai au 2 juin 2013 et les 15 et 16 juin 2013 : La Tour s’illumine aux couleurs de l’Afrique du Sud à l’occasion de la journée Internationale Nelson Mandela.
• Les mois d’octobre depuis 2013 : Chaque année à l’occasion d’Octobre Rose, mois dédié à la sensibilisation au cancer du sein, la tour Eiffel s’illumine en rose en soutien à la recherche et aux personnes qui luttent contre ce cancer.
• 30 septembre 2015 : Chaque soir de la semaine, à l’occasion de la Fashion Week 2015 de Paris, la tour Eiffel offre à la capitale un show lumineux sur le thème de « la mode aime Paris ».

• 13 juin 2016 : La tour Eiffel rend hommage aux victimes de la fusillade homophobe d’Orlando en affichant sur sa structure un drapeau aux couleurs de l’arc-en-ciel.
• Juin et juillet 2016 : La Tour célèbre le championnat d’Europe 2016 de football qui a lieu en France. Pour chaque match, elle s’est illuminée aux couleurs du pays ayant reçu le plus de soutien sur les réseaux sociaux.
• 19 juillet 2016 : En hommage aux victimes des attentats de Nice, la tour Eiffel a montré son soutien à la France entière en s’illuminant aux couleurs du drapeau français, bleu-blanc-rouge.
• 4 novembre 2016 : La tour Eiffel s’illumine en vert pour fêter la mise en application définitive de l’Accord de Paris pour le climat.
• 3 février 2017 : La Tour se pare des couleurs des JO pour célébrer leur venue en 2024 accompagnée de l’inscription "Paris 2024"
• 28 septembre 2017 : En l’honneur des 300 millions de visiteurs que la Tour a accueilli depuis sa construction, un show lumineux "300 millions de mercis" a eu lieu pour remercier nos visiteurs.
• 8 décembre 2017 : Trois jours après le décès de Johnny Hallyday, la tour Eiffel rend hommage au chanteur en affichant "Merci Johnny" sur une illumination argentée.
• 15 juillet 2018 :  illumination en bleu-blanc-rouge suite à la victoire de l’équipe de France à la Coupe du monde 2018.
• 13 et 14 septembre 2018 : mise en lumière spéciale de la tour Eiffel dans le cadre de l’événement Japonismes 2018 qui marque le 160ème anniversaire des relations diplomatiques entre la France et le Japon.
• 6 au 7 octobre 2018 : à l’occasion de Nuit Blanche 2018, la tour Eiffel a accueilli l’œuvre de l’artiste ZEVS baptisée Eiffel Phoenix : cette obscure clarté qui tombe des étoiles. Cette performance de mise en lumière visait à détourner le système d’éclairage de la structure dans le but de "redistribuer le temps, la lumière électrique de la tour Eiffel".
• 15 au 17 mai 2019 : À l’occasion des 130 ans de la Tour, un show lumineux inédit signé Bruno Seillier eut lieu à la tombée de la nuit offrant un spectacle aux effet visuels exceptionnels.

Visionnez la vidéo du show lumineux des 130 ans

• 2 mai 2020 : scintillement spécial en hommage à tous les personnels mobilisés dans la lutte contre le COVID-19.
• Novembre 2021 : à l’occasion des 75 ans de l’UNESCO, scintillement spécial le 12 novembre,  accompagné de la projection du logo de l’organisation internationale. Le 20 novembre, dans le cadre  de la Journée mondiale de l’enfance, la Tour revêt les couleurs de l’UNICEF. Enfin, le 30 novembre, scintillement spécial pour la panthéonisation de Joséphine Baker.
• Janvier 2022 : pour la seconde fois de son histoire, la Dame de fer se pare de bleu et des étoiles du drapeau européen pour célébrer la présidence française de l’Union européenne.

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Gustave Eiffel

Une grande tour du monde

La tour Eiffel et les sciences

La tour Eiffel devait être détruite 20 ans seulement après sa construction. Pour y remédier, Gustave Eiffel a eu l’ingénieuse idée de lui attribuer une vocation scientifique : la Tour était sauvée !

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DIRECT. JO de Paris 2024: Kevin Mayer serein pour sa qualification

Kevin Mayer avec la flamme olympique à Montpellier le 13 mai 2024 - Pascal GUYOT / AFP

Mayer confiant pour sa qualification aux JO

Porteur de la flamme à Montpellier, Kevin Mayer a eu l'honneur d'allumer le chaudron dans la cité de l'Hérault ce lundi. "Ça fait du bien de juste faire un footing pour être ovationné, d’habitude je dois terminer sur les rotules, sur la piste, pour y arriver. C’était un sacré bon moment, un honneur énorme, des prémices de ce qui pourrait se passer plus tard, des prémices émotionnellement très chargées."

A deux mois et quelques des JO, le décathlonien n'est cependant toujours pas qualifié pour Paris 2024. Mais il se veut serein. "Pour être honnête, je vis dans le moment présent, je ne pense pas aux Jeux pour le moment, je veux être prêt pour les qualifs. Le décathlon des qualifs, ce sera un très, très bon décathlon de préparation. En soi je suis serein", assure-t-il.

Avant d'enchaîner avec un petit message pour les pessimistes: "Ces deux derniers mois il y a eu à peu près 15 décathlons, et 50% d’abandons dans ces décathlons. Je suis très médiatisé donc on parle beaucoup de mes abandons, mais le décathlon il y a toujours une ou deux épreuves qui ne vont pas. Moi en ce moment c’est les haies, j’essaye de régler ça. Chaque année où je devais me qualifier, je l’ai fait très tard, j’ai galéré. En 2012 je me qualifie le 5 juillet, trois semaines avant les JO. Si vous ça vous stresse… Moi je ne suis pas stressé."

Reste à savoir quand le recordman du monde tentera sa chance pour les minimas. Une chose est sûre: ce ne sera pas à Oyonnax dans les prochains jours. "Je n’ai absolument pas communiqué sur Oyonnax, je ne sais pas d’où c’est sorti", glisse-t-il. "C’est ça le problème, en fait j’ai vraiment envie d’être dans ma bulle, d’être un moine qui s’entraîne. Le jour où je sortirai et où je serai nu devant le grand public, je serai solide comme un roseau. Pour le moment je n’ai pas envie. J’ai vraiment envie d’être un moine dans ma maison, avec ma muscu, le stade. Je suis très réglé sur ce que je dois faire."

Et d'indiquer au sujet du décathlon qualificatif: "Je ne peux pas communiquer dessus, ce n’est pas officiel, mais j’ai une date."

Plus d'informations ici.

La flamme olympique arrive à Montpellier

Après Sète, Montpellier. C'est le décathlonien Kevin Mayer qui allumera le chaudron dans la capitale héraultaise. Mais pour l'heure, c'est l'escrimeuse française de 99 ans Kate d'Oriola, 5e en fleuret aux Jeux de 1956, qui effectue son relais.

Encore un report pour la tentative de minima olympiques de Kevin Mayer?

Le temps presse pour Kevin Mayer. Si le décathlonien français prévoyait de s'aligner au départ du décathlon d'Oyonnax le week-end prochain, le coprésident du club organisateur estime aujourd'hui que sa participation est très compromise.

"Je pense que Kevin Mayer ne viendra pas. J’aimerais, mais je n’y crois plus trop", confie ce lundi au Progrès Gilles Rey.

En cause: la météo, qui s'annonce mauvaise. "Elle devrait être assez froide avec des averses, ce qui ne sera pas propice pour réaliser une performance. En cas de pluie, le saut à la perche est par exemple plus compliqué. Si la météo n’est pas bonne, les athlètes peuvent aussi se refroidir entre les épreuves ce qui n’est pas très bon quand on a des soucis aux ischios".

Le volleyeur Benjamin Toniutti débarque avec la flamme olympique dans le port de Sète

Après sa traversée à bord du Belem, la flamme olympique a repris la mer ce lundi en embarquant à bord d'un bateau-école pour rejoindre Sète par l'étang de Thau.

Et c'est le volleyeur international Benjamin Toniutti, champion olympique à Tokyo et quatre fois champion de France avec le club de la ville, qui s'est chargé de la protéger lors de la traversée.

La flamme olympique montera les marches du Festival de Cannes le 21 mai

La flamme olympique montera les marches au Festival de Cannes le 21 mai, portée par l'athlète paralympique français Arnaud Assoumani, ont annoncé lundi les organisateurs.

"Paris 2024, en accord avec la mairie de Cannes, offre la flamme au Festival sur son tapis rouge", ont-ils indiqué dans un communiqué, alors que le festival ouvre mardi et se terminera le 25 mai.

>> Les détails

Taïg Khris traverse le Viaduc de Millau en roller avec la flamme olympique à la main

Triple champion du monde de la discipline, Taïg Khris a emmené la flamme olympique en roller sur le célèbre Viaduc de Millau, ce lundi.

"Symboliquement, pouvoir porter la flamme en roller, c’est juste incroyable", a savouré Taïg Khris, également connu pour avoir sauté (via une rampe) du premier étage de la Tour Eiffel en roller, en 2010. "En plus, sur ce lieu, au Viaduc de Millau, la pente était parfaite, la route était parfaite. Ça me donnait même envie d’aller juste à fond, je devais un peu me restreindre pour ne pas prendre trop de vitesse, parce que j’aurais pu aller à je ne sais pas combien de km/h. Mais l’ambiance, la sensation, le lieu, c’est vraiment beaucoup d’émotions."

Après Marseille, le Var ou encore les Alpes-de-Haute-Provence ces derniers jours, le relais de la flamme fait étape du côté de la région Occitanie, avec une arrivée prévue à Montpellier ce lundi.

Bonjour à tous !

Bienvenue dans ce direct pour suivre toute l'actualité des Jeux olympiques de Paris 2024 et du relais de la flamme olympique.

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