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Origin and history

The Mouton-Duvernet metro entrance, located in the 14th arrondissement of Paris, is one of 167 accesses designed by the architect Hector Guimard for the Parisian network at the beginning of the 20th century. These works, commissioned in emergency for the Universal Exhibition of 1900, mark the climax of Art Nouveau in France. Guimard, although not a winner of the initial competition, was chosen for his daring style combining iron, cast iron, glass and enamelled lava, breaking with traditional models deemed too cumbersome.

The Guimard entrances, including that of Mouton-Duvernet, are distinguished by their organic forms inspired by the plant, such as candelabras in "strands of muguet" or shields evoking insect shells. Despite their initial success, these edicles were gradually dismantled after 1913, victims of taste changes and urban constraints. Mouton-Duvernet station, inaugurated in 1909 on line 4, now maintains a protected environment as part of the Historic Monuments since 2016.

The modular design of the inputs, allowing for serial production, was a key argument for their adoption by the Compagnie du Métropolitain (CMP). Guimard collaborated with specialized artisans, such as the Fonderie du Val d'Osne for fonts or Eugene Gillet for enamelled lava panels, to create standardised but aesthetically unique elements. The colours, ranging from blue green to orange red of the verrines, enhanced visual harmony, although these shades often disappeared over time.

As early as the 1960s, an awareness of heritage helped save the last edicles, including Mouton-Duvernet. Restored from 1998, these accesses became symbols of the Paris de la Belle Époque, inspiring even reproductions abroad, as in Montreal or Las Vegas. Their once controversial style is today celebrated as a successful fusion between art and urban functionality.

The entry of Mouton-Duvernet also illustrates the tensions between Guimard and the CMP, particularly on costs and intellectual property. After 1903, the Company was able to reproduce its models without consulting it, accelerating the disappearance of the edicles in favour of more sober entourages. Yet these creations remain inseparable from the visual identity of Paris, as evidenced by their presence in cinema, literature or comic books.

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