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Article

André and Ivanna Lemaître’s fresco

The fresco that decorates the Asia salon, situated in the south-east corner of the Hall of Honour, and classified as a historic monument since 1987, was created by the painters André Lemaître (1885-1965) and Ivanna Lemaître, née Jacovlena Koytcheff (1893-1973), a couple who worked together extensively. The purpose of the fresco in the Asia Salon was to express the philosophical and artistic contributions made by Asia. The characters and scenes portrayed are inspired by Buddhism, Hinduism and Confucian thinking, with illustrations of the great spiritual figures of Asia on the panel to the left of the entrance: Krishna playing a flute, Buddha meditating and Confucius teaching his disciples. To the right of the entrance, a caravan of elephants loaded with products heads towards the river linking East to West. Then, against a background of plants and mountains (snowy Himalayan peaks or wooded peaks of Mount Meru), the themes of dance (Cambodian dancers), music and sculpture are developed. Lastly, the four elements are evoked, through scenes mixing the supernatural and terrestrial worlds: water, evoked through the god Varuna and fishermen in search of their daily food; fire, represented by the god Agni, bringing life to a small child as he breathes on him; the earth, illustrated by the god Rama, hunting ferocious beasts so that men can devote themselves to their role as food-providers. Above him, on the overhanging wall, the Earth Mother of Mankind is depicted. The characters, majestic and sensual, are shown in action, often twisting, rarely in a frontal position facing the viewer, which reinforces the liveliness of the overall composition. They appear a little blended into the background, like dreamy apparitions. The drawing style is fine and light, the range of colours soft, warm and in pale yellow and orange tones, with a few bright notes, as if to admit the ambient serenity. The lines are fluid and undulating, painted in vibrant touches, producing a pearly, light effect.

Article

The Africa Salon and Ruhlmann furniture

Situated in the south-west corner  of the Hall of Honour, matching the Asia Salon on the other side, the purpose of this ceremonial salon, during the Colonial Exposition of 1931, was to house the reception office of the Minister of the Colonies, Paul Reynaud. It was called Africa Salon for the frescoes and furniture used in decorating it. It is one of the spaces classified as a historical monument at the Palais de la Porte Dorée since 1987.

Article

The Asia Salon and Printz furniture

Situated in the south-east corner of the Hall of Honour of the Palais de la Porte Dorée, and matching the Africa Salon on the other side, the purpose of this ceremonial salon during the 1931 Colonial Exposition was to house the office of Maréchal Lyautey, general commissioner of the exposition. It was named Asia Salon for the frescoes and furniture decorating it. It is one of the spaces classified as historic monuments since 1987.

Article

An Art Deco Palace

Described as a true “jewel of Art Deco”, the Palais de la Porte Dorée is characteristic of Art Deco architecture, an art movement that developed between 1910 and 1940 (which took its name from the 1925 Expo des Arts Décoratifs in Paris).

Article

The Lacquer Salon

Reconstructed in 2023 at its original location, this Salon was designed in 1931 by the architect of the Palais de la Porte Dorée, Albert Laprade (1883-1978) to welcome visitors to the Musée des Colonies. It was reunited with the original rosewood furniture from Madagascar, classified as a historic monument, and the lacquer panels created by the outstanding artist Jean Dunand that decorated it at the time. This exceptional set of furniture and decorative items represent an important testimony to the Art Deco style.

Article

The Tropical Aquarium or colonial waters section

As a counterpart to the zoo at the 1931 Colonial Exposition, predecessor of the future Vincennes Zoo, the review commission for the permanent Musée des Colonies validated the construction of a definitive Aquarium within the Palais de la Porte Dorée on October 9 1929. The objective was to put the exploitable marine and river fauna of the colonies on public display and, immediately after those, the many products and sub-products of their exploitation, to gradually compensate for the thinning out of fish stock in metropolitan France.

Article

The colonial museums

In the 19 th century, there were a number of colonial museums in the French regions (Lille, Lyon, Marseille, Nantes, etc). These institutions were attached to a chamber of commerce or higher establishment, which provided teaching. They were designed for an audience of students, teachers or professionals planning a career in agronomics or the administration in colonial areas. The products and objects on exhibit, presented by country and by category, came from economic agencies in the colonies, donations or exhibitions organised in the region. After they closed in the 20 th century, the collections were sent to a natural science museum, ethnographic museum or university. In Paris, a permanent colonial exposition had been set up in the Palais de l’Industrie, built in 1855 for the Universal Exposition. When it was demolished, just before 1900, there was talk of building a colonial museum that could rival its neighbours in London or Tervuren. So the French State considered an exposition of international scope, which would provide the opportunity to build a museum. World War 1, followed by the necessary planning period, delayed the project. The International Colonial Exposition opened in May 1931, around a decade after the one in Marseille (1922), with the "Musée Permanent des Colonies".

Article

The French colonial empire in 1931

The French colonial Empire was at its height during the inter-war period. The very valiant participation of colonial soldiers in the French armies during World War 1, and the recruitment of thousands of colonial workers, had reinforced the idea that the colonies were useful, and even necessary, if France were to keep its rank as a great political and military power and be able to resist another conflict. The African infantryman, whose image used to feature on Banania cocoa tins, was a popular figure, reflecting the image of the “good black soldier” fighting for France.