In the spirit of President Georges Pompidou , the location in central Paris for a cultural facility of a new kind dedicated to all forms of contemporary art, was at the heart of concerns:

• will arrest the decline in the Paris art scene and to maintain its status as a major place in contemporary art worldwide, increasingly challenged by New York ;
• symmetrically, will open the French creation of the world and to promote an interdisciplinary, the expression of new art forms;
• the belief that most contemporary art can connect with the wider public on the condition that government plays its role of mediation;
• the desire to create in Paris a big representative monument of the architecture of the second half of the ^twentieth century , whose achievements in the capital had hitherto been insignificant or significant bit.

This ambition was made, particularly at the time, to spark heated debate, whether the current opposition between mass culture and elite culture, issues of cultural decentralization - the Centre is there a great Parisian additional equipment or, in the words of Michel Guy , he successfully established itself as the "decentralization of power" ? - And the relationship between power and creation - so many artists feared attempts recovery or manipulation, as was shown in 1972 , the controversy caused by the exposure of the Grand Palais "72-72" ^{The origins of the project}

Among the direct sources of the project, there are two separate projects that were designed and had walked in parallel during the 1960s:

• the project of a museum of ^twentieth century that Andre Malraux had considered building and he wanted to entrust the design of the architect Le Corbusier : This project aimed to address the state of neglect the National Museum of Modern Art , who was installed at the Palais de Tokyo. With very few resources, this museum, whose collections were missed by major artists of the ^twentieth century , will consider only very limited audience (165 000 visitors only in 1971 ). The ^Fourth Plan had therefore planned to build a new Museum of Modern Art and allocated a loan of 8 million francs for the purchase of land and preparatory studies. A study had been entrusted by Max Querrien , Director of Architecture, Maurice Besset , Deputy Jean Cassou , chief curator of the National Museum of Modern Art and a personal friend of Le Corbusier. He had returned to 1964 before a draft program for the museum of the twentieth ^century .
• the project of a large library of public libraries in central Paris, aimed to relieve the National Library had the consistency with the decision to transfer the central market at Rungis in 1963 - in 1965 : Deputy Head of the Library National Etienne Dennery , had suggested to benefit from the free location for relocation of this equipment. An interministerial committee for public reading was created in 1966 under the leadership of Georges Pompidou, who attached great importance to this issue, and the new library was laid in ^Fifth Plan. It had to offer 1300 seats, 1 million volumes and 2,000 periodicals on 11 000 m, and be open to all. The program was approved by the Minister of Education , Alain Peyrefitte , on 11 December 1967.

The initial decision to Georges Pompidou

In 1969 , Georges Pompidou became president, decided to build a new museum of modern art and chose the Plateau Beaubourg as the only location available . But this land is also the only one capable of hosting the largest public library , it was decided in February 1970 , merging the two projects within a single cultural facility. In designing the Pompidou president, the library would attract visitors who could then learn about other offerings. "I would passionately," he explained, that Paris has a cultural center as they sought to create the United States with uneven success so far, which is both a museum and a center of creativity, where the visual arts side by side with music, movies, books, audio-visual research, etc.. The museum can be as modern art, since we have the Louvre. The establishment, of course, would be modern and evolving. The library would attract thousands of readers at the same time would be put in contact with the arts. "

The decision to build "a monumental complex dedicated to contemporary art on the location of the Beaubourg in Paris was taken officially by President Georges Pompidou at a small board held on 11 December 1969 on the basis a programmatic document which was written by Sebastian Loste , then Special Adviser to the President of the Republic . The Paris City Council gave its approval on December 23.

Originally the center was to include a modern art museum, public library and the industrial creation center (ICC) created by Franois Mathey , chief curator of the Museum of Decorative Arts. But in 1971 , driven directly by Georges Pompidou, it was decided to include also a center for musical creation entrusted to Pierre Boulez , who agreed to return to France, where he had ceased all its activities since 1966 , and was to become the IRCAM ( Institute for Research and Coordination Acoustic / Music ) .

At the outset, the project was extremely unpopular with the administration. He united in effect equipment within the Department of Cultural Affairs (the museum), another subject at the time the Department of Education (the library), and a third (IRCAM), which affirmed as independent, even rival, the direction of music, opera and dance with the director appointed by Andr Max , the composer Marcel Landowski , was in open war with Pierre Boulez. In the spirit of its designers , the Centre was a response to a number of bankruptcies of French cultural policy: the inability to create a modern art museum worthy of the name, the delay of reading public particularly in relation to Northern Europe, the disdain in which the authorities had kept contemporary music. In the aftermath of May 1968 , the foundation of the Centre Pompidou seemed like a new challenge to the academic and cultural institutions of state.

The design and construction of the center

On 26 August 1970 , Robert Bordaz , State Councillor , was appointed by the Council of Ministers' representative for the realization of the central plateau Beaubourg ". He formed a team of ten people responsible for preparing the international architectural competition launched in December 1970 and implement the public institution that would be responsible for construction and the forerunner of the Centre .

On 15 July 1971 , the jury of international architectural competition, chaired by Jean Prouve , decided to retain, among the 681 projects submitted, one of the architects Renzo Piano and Richard Rogers. Architects, which was the office assistant engineers Ove Arup & Partners, settled in the immediate vicinity of the premises of the mission Bordaz, then in the same premises of the latter in 1973.

In January 1972 , Robert Bordaz was appointed chairman of the Public Institution Centre Beaubourg, in charge of building the Centre. He gathered around him the future leaders of the cultural activities of the Centre, "users", he constituted, since 1971 , into a 'user council' which became the Centre once completed, the "Board":

• Pontus Hulten , a Swede who arrived in France in September 1973 , was appointed director of the National Museum of Modern Art with a three-year contract . With his deputy, Germain Viatte , he was commissioned to design the new museum in a resolutely contemporary and international.
• Jean-Pierre Seguin , who was the first director of the Public Information Library , was commissioned to implement this project he worked since 1967.
• Mathey became director of the Industrial Design Centre , which he created in 1968 within the Central Union of Decorative Arts but who vegetated with very limited resources.

On 20 March 1973 , the Cabinet stopped the construction program and the financial means necessary, scheduled over several years and allocated as exceptional allocations outside the regular appropriations of the Department of Cultural Affairs.

The final status of the new institution was established by the law of 3 January 1975 establishing the National Center for Art and Culture Georges Pompidou . Meanwhile, Prime Minister Jacques Chirac had to fight hard against the new president, Valery Giscard d'Estaing , who was planning to stop the project. At his request, a small board in August 1974 had decided to continue the work.

From the inauguration today

On 31 January 1977 , the National Center for Art and Culture Georges Pompidou was inaugurated by Valery Giscard d'Estaing in the presence of Prime Minister Raymond Barre ^, Mrs Claude Pompidou and many personalities.

The center's architecture creates a lively controversy: pipes, electric stairs, metal walkways, all that is traditionally concealed is conspicuously demonstrated by the sight of all. In Parisian slang , the center is nicknamed "Our Lady of Piping", or "the Pompidolium. It mocks a "warehouse of art", a "gas factory", a "petroleum refinery", a catch-all cultural "or" wart avant-garde " ^Architecture

The Pompidou Centre occupies the site of the old block unsafe ^No. 1. Its construction has been an international architectural competition in accordance with the will of Georges Pompidou had hoped "that this competition is as flexible as possible. This means that the conditions of competition must not include a minimum of easements related to the intended use of the premises, and it is up to architects according to those easements to establish their projects without having to worry about Regulations such as those on height limitation . Only in a second stage and one of the projects selected for their aesthetic quality and their adaptation to the needs of a center of modern art that you may need to take a position on the issue of height. He also agreed that the competition is open to any talented architect, would it be young and without financial means. The conditions for organizing the contest must provide forms to define the means for an architect whose project was noticed to be paid for his work and expenses. "

On 19 July 1971 , a jury chaired by Robert Bordaz chose the architects Renzo Piano and Richard Rogers , assisted by the program Gianfranco Franchini . The construction lasted from 1971 to 1977.

The draft Piano and Rogers was the only one of all proposed projects, to implement the building along a north-south, respecting the urban district (with the axes of the Boulevard Sebastopol and the Rue Saint-Martin and Fox). The party also allowed to occupy only half the ground, emitting a broad plaza, piazza, allowing the public reception and a smoother connection between building and city.

The building consists of 8 levels of 7500 sqm each, including two basement levels. Each level forms a vast plateau, fully scalable, all of the support structure, and different shafts, being rejected at the periphery of the building, giving it a very characteristic appearance, compared by some critics to an oil refinery in the center of the city. All vertical circulation, people and fluids are released on the faade pipes colored exterior is a feature of the building. The lines of air conditioning are blue, water pipes are green and power lines are yellow. The elevators are red. The white lines are ventilation shafts to the underground parts. Even the steel beams that make up the structure are apparent.

The intention of the architects was to place the logistics out of the body of the building to devote all of its interior as a museum. A disadvantage is the high maintenance vis--vis corrosion.

Fontaine Stravinsky

Tribute somewhat to offset the steel architecture of ^twentieth century modernism and architectural multiplying references and citations, the building could be described as the last great modern building and first major postmodern building: "It's a building that pretends it is a parody of technology "(Renzo Piano).

The upper floors offer sweeping views over Paris. It is reached by the diagonal escalators outside which, crossing the whole front in a zig-zag, give the building its visual signature.

Street performers enliven the piazza facing the museum. A pond near exposes fountains consist of statues movement Tinguely (steel structures) and Niki de Saint Phalle (colored shapes). This fountain (the Stravinsky Fountain ) is called a work in situ, since the artists have created for that specific location. It symbolizes the music (sounds of flowing water or mechanisms) and was placed next to the Institute for Research and Coordination Acoustic / Music (IRCAM).

Status and organization

According to Law ^No. 75-1 of 3 January 1975 establishing the National Center for Art and Culture Georges Pompidou Center is a "national public cultural nature." It aims to "promote

The center is headed by a president, appointed for five years in Cabinet, and renewable for periods of three years. He is assisted in the administration and management by an executive director appointed on the proposal by the Minister of Culture.

Chairmen of the Centre Georges Pompidou

• since 2007 : Alain Seban
• 2 002 - 2007 : Bruno Racine
• One thousand nine hundred ninety-six - in 2002 : Jean-Jacques Aillagon
• One thousand nine hundred and ninety-three - 1996 : Francois Barre
• One thousand nine hundred ninety-one - 1993 : Dominique Bozo
• 1 989 - in 1991 : Helene Ahrweiler
• 1 983 - in 1989 : John Maheu
• One thousand nine hundred eighty - one thousand nine hundred eighty-three : Jean-Claude Groshens
• 1 977 - 1980 : John Muller
• In 1976 - 1977 : Robert Bordaz

Cultural Activities

Amenities

Montmartre for the Pompidou Center.

Following the work carried out since 2000 , the building houses the center's main spaces and activities:

• the National Museum of Modern Art , whose collection has 15 000 m and has 1330 works continuously on a total of 64,603 belonging to 5690 different artists in late 2009 ^, ;
• within the museum, a space for consultation multimedia documentary collections and two temporary exhibition galleries (art graphics, etc.).
• four additional galleries for temporary exhibitions (design, photography, etc..) occupy a total of 5200 sqm;
• the Public Information Library (BPI) , which offers over 10,400 sq ft 2 200 seats, with a collection of 380,000 documents in free access, a library of languages and a nightclub;
• Kandinsky's library , specialized library devoted to the art of the ^twentieth century , which finds its origin in the material gathered at the Hotel Salomon de Rothschild by the National Centre of Contemporary Art (CNAC). Rich 200 000 printed works, it can also accommodate up to 76 players on a surface of 390 m;
• two theaters from 316 to 150 seats;
• a theater of 396 seats;
• room discussions of 160 seats;
• a specific space for young people with gallery exhibitions and art workshops.

The center also offers a specialized library (art, architecture, art, posters, photos, etc..), A design shop, cafe and licensed restaurant, located on the top level (George).

Outside the main building are:

• on the piazza, the Atelier Brancusi ^, / Sup>, faithful reconstruction of the sculptor of the impasse Ronsin bequeathed to the state in 1956;
• a specific building that houses the IRCAM ^{Activity Indicators}

  In 2006, the Centre Georges Pompidou has received 5,133,506 visitors, an average of 16,776 visitors per day, including the Bpi. The BPI welcomes an average of 6,000 readers per day. The website has received 3,083,735 visits in 2006, against 2,403,407 in 2005.

  The center has hosted in 2006 twenty to four exhibitions that received 1.623 million visitors, while the presentation of "The Movement of Images" at level 4 of the National Museum of Modern Art has received 1,120,000. He also organized 105 live shows have attracted 22,392 spectators and 857 film sessions (84,328 spectators).

  Publishing Centre Georges Pompidou published 36 books in 2006.

  Major exhibitions

  • Paris-New York, 1908-1968 ( ¹ June - 15 September 1977 ), Commissioner General: Pontus Hulten , curated by Daniel Abadie , Alfred Pacquement , Helene Seckel
  • Paris-Berlin, reports and contrasts, 1900-1933 ( 12 July - 6 November 1978 ), curated by Jean-Hubert Martin , Werner Spies
  • Henri Michaux ( 1978 )
  • Dali ( 1979 )
  • Paris-Moscow, 1900-1930 ( 31 May - 5 November 1979 ), Commissioner General: Pontus Hulten
  • Paris-Paris, France 1937-1957 Craft ( 28 May - 2 November 1981 ), Commissioner General: Pontus Hulten , curated Germain Viatte
  • Pollock ( 1982 )
  • Bonnard ( 1984 )
  • Kandinsky ( 1984 )
  • Klee and Music ( 1985 )
  • The realms ( 1985 ), curated by Jean-Francois Lyotard and Thierry Chaput
  • Vienna, birth of a Century ( 1986 )
  • Memories of the Future: Libraries and Technology ( 21 October 1987 - 18 January 1988 ), curated by Bernard Stiegler and Catherine Counot (exhibition organized by the Bpi)
  • Cy Twombly (1988)
  • Frank Stella (1988)
  • Magicians of the Earth ( 1989 ), curated by Jean-Hubert Martin
  • Passages de l'image ( 1990 ), curated by Christine van Assche , Bellour Raymond , Catherine David
  • Andy Warhol (1990)
  • Max Ernst (1991)
  • Manifesto: 30 years of creation perspective. 1960-1990 (1992)
  • Matisse (1993)
  • The City (1994)
  • Joseph Beuys (1994)
  • Kurt Schwitters (1994)
  • Gasiorowski (1995)
  • Brancusi (1995)
  • Sanejouand (1995)
  • Bob Morris (1995)
  • Masculine-Feminine (1995)
  • Francis Bacon (1996)
  • The Arte Povera
  • Fernand Leger (1997)
  • Made in France (1997)
  • David Hockney (1998)
  • Philip Guston (2000)
  • Picasso sculptor (2000)
  • Jean Dubuffet (2001)
  • The Surrealist Revolution (2002)
  • Roland Barthes (2002)
  • Max Beckmann (2002)
  • Nicolas de Stael (2003)
  • Sophie Calle (2003)
  • Cocteau (2003)
  • Philippe Starck (2003)
  • Miro (2004)
  • Dada (2005)
  • Charlotte Perriand (2005)
  • Africa Remix (2005)
  • Robert Rauschenberg (2006)
  • Los Angeles 1955-1985, the birth of an art capital (2006)
  • Jean-Luc Godard (2006)
  • Yves Klein (2006)
  • Herg (2006)
  • Airs de Paris (2007)
  • Annette Messager (2007)
  • Richard Rogers (2007)
  • Samuel Beckett (2007)
  • David Claerbout (2007)
  • Julio Gonzlez (2007)
  • Alberto Giacometti (2007)
  • Louise Bourgeois (2008)
  • Pol Abraham (2008)
  • Traces of the Sacred (2008)
  • Trouv (2008)
  • Miroslav Tichy (2008)
  • Dominique Perrault (2008)
  • Jean Gourmelin (2008)
  • Villegl Jacques (2008)
  • Futurism in Paris. An explosive avant-garde (2008)
  • Ron Arad (2008)
  • Alexander Calder (2009)
  • Philippe Parreno (2009)
  • Kandinsky (2009)
  • Pierre Soulages (2009)
  • Patrick Jouin (2010)
  • Erro (2010)

  Judgments and Awards

  • "I would passionately that Paris has a cultural center as they sought to create the United States with uneven success so far, which is both a museum and a creative center where art borders on music, movies, books, audio-visual research, etc.. The museum can be as modern art, since we have the Louvre. The creation is obviously modern and evolving. The library would attract thousands of readers at the same time would be put in contact with the arts. "( Georges Pompidou , interview published in Le Monde, 17 October 1972)
  • "The Centre Georges Pompidou is the first monument of the cultural revolution that is to question the very notion of beauty. It is the encyclopedia of a culture of fear. "( Jean d'Ormesson )
  • "Beaubourg is the first wide culture that the hypermarket is across the goods. "( Jean Baudrillard , L'Effet Beaubourg. Implosion and Deterrence, Galileo, 1977, p. 32-33)
  • "Less then a monument that, if I have to invent the word: a moviment" ( Francis Ponge , Writing Beaubourg, 1977)
  • "Mobile giant kaleidoscope, mirroring the world at her shelter, the Centre Georges Pompidou is a place of truces and dizziness, and trot off, wandering, learning, bail and secular prayer. ( Herv Guibert , The work endless text commissioned to mark the ^tenth anniversary of the Centre Georges Pompidou, in: Centre Pompidou, thirty years of history, Paris, ditions du Centre Pompidou, 2007)
  • "A coup, a rape, a kind of architectural King Kong" (Le Monde, January 18, 1977)

  Conclusion

  "Great deal" of the presidential term of Georges Pompidou, the national center for art and culture is the first major cultural projects presidential; it will set a precedent, inspiration and role model to those of Valery Giscard d'Estaing (the Muse d'Orsay , the Arab World Institute , the Museum of Science and Industry ), Franois Mitterrand (the Grand Louvre , the Bibliothque nationale de France , the Bastille Opera , the Arche de la Defense ) and Jacques Chirac (the Muse du Quai Branly ).

  Beyond the controversies aroused by an architecture that appeared as bold before finding his place in the landscape and the urban fabric of Paris, the Centre has quickly established itself as an important success in terms of audience (200 million cumulative visitors its opening in late 2006), thanks to attractive and diverse programming and staggered opening hours.

  The Centre Georges Pompidou in France has rehabilitated the concept of the museum, which was in the doldrums at the time of its creation and its success has been the source of the proliferation of museums in the years 1980 and 1990.

  Movies filmed at the Centre Pompidou

  • 1979 : Moonraker
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  Schedule

  Bibliography

  Centre Pompidou

  • Jean Baudrillard , L'Effet Beaubourg, implosion and deterrence, Galilee, 1977
  • Bernadette Dufrene, The Creation of Beaubourg, preface by Pontus Hulten, Presses Universitaires de Grenoble, 2000
  • Jean Lauxerois, Utopia Beaubourg, twenty years later, Paris, Editions de la Bibliothque publique d'information / Centre Pompidou, 1996
  • Marie Leroy, The Phenomenon Beaubourg, Paris, Syros, 1977
  • Claude Mollard , Heads of the Centre Georges Pompidou, Paris, Union General Editions, Coll. 10/18, 1976
  • Bernadette Dufrene, Centre Pompidou, thirty years of history , Editions du Centre Pompidou, Paris, 2007

  Georges Pompidou and culture

  • Jean-Claude Groshens and Jean-Francois Sirinelli (ed.), Culture and Action at Georges Pompidou, Paris, Presses Universitaires de France, coll. Politics today, in 2000 ( ISBN 2-13-050908-8 )
  • Georges Pompidou, a man of culture, Paris, ditions du Centre Georges Pompidou, 1995 ( ISBN 2-85850-817-8 )
  • Georges Pompidou and modernity, Paris, Editions du Jeu de Paume and the Centre Pompidou Editions, 1999 ( ISBN 2-84426-018-7 )

  Related articles

  • Modern Art | Contemporary Art | Design
  • Georges Pompidou
  • Public Library Information
  • National Museum of Modern Art
  • Institute for Research and Coordination Acoustic / Music
  • Centre Pompidou-Metz
  • Vangelis - Beaubourg (1978)

  External Links

  • Official website of the Centre Georges Pompidou

  Architecture

  • Architectural Guide Centre Pompidou
  • Photographs on Insecula

  Official texts

  • Law ^No. 75-1 of 30 January 1975 establishing the National Center for Art and Culture Georges Pompidou - On Site www.legifrance.gouv.fr
  • Decree ^No. 92-1351 of 24 December 1992 on the status and organization of the National Centre for Art and Culture Georges Pompidou - On Site www.legifrance.gouv.fr

  References

  1. Tourism in France - 2006 Winners of the most visited sites according to the NTA
  2. http://www.centrepompidou-metz.fr/site/?lang=fr
  3. http://www.centrepompidou.fr/archives/chronologies/institution.html
  4. Mireille Gauzere quoted in Georges Pompidou, a man of culture, p. 94, attributed to Robert Bordaz a formula that is often given to Michel Guy.
  5. With Andre Wogenscky , the main collaborator of Le Corbusier, Malraux had originally envisioned a land located Porte Dauphine, which was rejected as too small. They considered then a plot of 40 hectares located in La Defense in the towns of Puteaux , and Nanterre , which have been built, in addition to the museum of the twentieth ^century, the National Conservatory of Dramatic Arts and a National School of Decorative Arts. But Le Corbusier did not want to build in La Dfense: "I do not want to build the museum of the twentieth ^century in La Defense as we wrote. It's too far. We can go there by subway, but nobody wants to travel by subway to get to the other side of town. By car, it is convenient with little traffic. A museum, to be truly open to all, must be built in the heart of the city. "(Interview with Le Figaro literary, published on 28 September 1965 ) In the same interview, the architect added: "There's all the space we want to welcome in Paris as it should. There's even a convenient location on the banks of the Seine. Where? At the location where the remaining Petit and Grand Palais, these are temporary barracks. They want us to believe they are beautiful because they forgot to demolish them. They are ugly. In addition, they are inconvenient and expensive. "
  6. Le Corbusier produced the first drafts in July 1965 but died suddenly on August 27 of that year.
  7. Published by the RMN in the form of a mimeographed booklet of 38 pages. Summing up the prevailing conceptions of the time, the paper plans to integrate the museum into a broad architectural, cultural or any artistic expression - theater, film, photography, architecture, etc.. - Find their place. The works were presented by placing them in the context of technological, social and intellectuals of the time, in the spirit of the exhibition "The sources of the twentieth ^century" organized by Jean Cassou in 1959. The project recommended an exhibition area of 34,000 square meters and a staff comprising a Chief Curator, 5 Conservative and 20 assistants, representing a change of scale from the museum Palais de Tokyo.
  8. "For the location, the Beaubourg was chosen only because it was the only available land now and I wanted to go fast, sure that if I waited, nothing ever would. "(Georges Pompidou, interview with the newspaper Le Monde , 17 October 1972 ⁾ Mrs Claude Pompidou told that "I often find my husband driving to the bank Rothschild , Rue Laffitte. We lived at that time rue Charlemagne and passions by the famous plateau Beaubourg. This plateau was in a lamentable state of ruin, abandoned. My husband gasped to see that. He was always saying he had to do something. There was room was located in the heart of Paris, between the Archives, the Library and especially the Louvre. We had to do something great again. This meant not only a museum or library, but something more important. "(Interview with Daniel Abadie , in Georges Pompidou and modernity, Paris, Editions du Jeu de Paume and the Centre Pompidou Editions, 1999 , p. 176)
  9. On 24 October 1968 , under the leadership of Rene Capitant , the Paris City Council fixed the location of the public library on the Plateau Beaubourg, owned by the City of Paris.
  10. interview with the newspaper Le Monde, 17 October 1972
  11. Nicknamed the "Red Book", it was constantly used as a reference when developing and implementing the project.
  12. Not foreseen in the original program, IRCAM had to be installed outside the main building. For that, it was decided to transfer at Saint-Merri in new premises on any available land Rue du Renard.
  13. V. For example: Claude Mollard , Heads of the Centre Georges Pompidou, Paris, General Union of editions, Coll. 10/18, 1976. Judge of the Court of Auditors, Claude Mollard was Secretary General of the Centre Georges Pompidou from 1970 to 1978.
  14. The team first settled the Benevolent Street ( ^8th arrondissement ), then in construction camps on the plateau Beaubourg ( 1971 - 1972 ), and finally in a block of Boulevard Sebastopol.
  15. Symbol of international openness, this decision was so heavily criticized. Three names were chosen: in addition to Pontus Hulten, Eddy de Wilde and Harald Szeemann. Robert Bordaz had met all three and had retained Pontus Hulten, who led the Moderna Museet in Stockholm , that the President and Madame Pompidou had visited and enjoyed (Claude Pompidou, interview with Daniel Abadie, in Georges Pompidou and modernity, Paris Editions du Jeu de Paume and the Centre Pompidou Editions, 1999 , p. 178).
  16. The originality of the status of the Centre had justified the use of the law, jurisdiction, under Article 34 of the 1958 Constitution, to define categories of public institutions.
  17. Georges Pompidou regretted the reluctance of Parisians about tall buildings. He blamed the neighborhood turns Beaugrenelle be insufficiently high.
  18. Letter from Georges Pompidou in Edmond Michelet , Minister of State for Cultural Affairs , 13 December 1969 , reproduced in: Georges Pompidou and modernity, Paris, ed. Jeu de Paume and ed. Centre Pompidou, 1999 , p. 182-183
  19. According to Claude Pompidou, Georges Pompidou had not intervened in the selection of architects: "I remember that on his return, after seeing the winning design, my husband said:" We have chosen, I am sure this going to cry, but I think it's good. "(Interview with Daniel Abadie, in Georges Pompidou and modernity, Paris, ed. Jeu de Paume and ed. Centre Pompidou, 1999 , p. 177)
  20. Article ¹ of Decree ^No. 92-1351 of 24 December 1992, as amended on the status and organization of the National Center for Art and Culture Georges Pompidou. By the same decree, the second department of the center is the department of cultural development.
  21. decree of 29 March 2007
  22. decree of 25 June 2002
  23. decrees of 28 March 1996 , 26 March 1999 , 7 March 2002
  24. Decree of 4 August 1993
  25. decree of 29 August 1991
  26. decrees of 16 February 1989
  27. decree of ¹ March 1983 , 19 February 1986
  28. decree of 31 January 1980
  29. decree of 15 September 1976
  30. http://www.centrepompidou.fr/Pompidou/Musee.nsf/0/2986F8A0D35157FBC1256DA40045A27D?OpenDocument&sessionM=3.2&L=1
  31. http://collection.centrepompidou.fr/Navigart/index.php?db=minter&qs=1
  32. 5,558 paintings, 4,256 sculptures and objects, graphic art 20 892 pieces, 3602 Design Works, Architectural Works 8657, Office 18 808 works of photography, cinema 1 200 1 119 works, including films, new media works 1768
  33. http://www.bpi.fr
  34. http://bibliothequekandinsky.centrepompidou.fr/masc/portal.asp?INSTANCE=INCIPIO&PORTAL_ID=INCIP_IFRAME_HTML.xml&IFRAME_HTML=/statique/PAGES/lescollections.htm
  35. http://www.centrepompidou.fr/Pompidou/Musee.nsf/AccrochageWeb?readform&RestrictToCategory=3A&sessionM=3.2.1&L=1
  36. http://www.centrepompidou.fr/education/ressources/ens-brancusi/ens-brancusi.htm # Reconstruction
  37. http://www.ircam.fr
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