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Building: painted wall à Paris 1er dans Paris

Paris

Building: painted wall

    10 Rue des Martyrs
    75009 Paris 9e Arrondissement
Immeuble : mur peint
Immeuble : mur peint
Immeuble : mur peint
Immeuble : mur peint
Crédit photo : MOSSOT - Sous licence Creative Commons

Timeline

XIXe siècle
Époque contemporaine
1900
2000
1907
Advertising Painting Benedictine
1909
Advertising Painting Ripolin
6 septembre 2012
Registration for Historic Monuments
Aujourd'hui
Aujourd'hui

Heritage classified

The advertisements for Benedictine liquor and painting Ripolin , located on the gable of the building body overlooking Hippolyte-Lebas Street (cad. AZ 146, see plan annexed to the decree): inscription by decree of 6 September 2012

Key figures

Defoly - Painter Author of one of the two commercial frescoes
Eugène Vavasseur - Painter Author of one of the two commercial frescoes

Origin and history

The building at 10 rue des Martyrs, in the 9th arrondissement of Paris, houses on its gable two painted wall advertisements, discovered after the deposit of a wooden structure. These frescoes, dated 1907 and 1909 respectively, were made by the painters Defoly and Eugène Vavasseur. They highlight Benedictine liquor and Ripolin paintings, two emblematic products of the industrial era. Their exceptional state of conservation and the liveliness of their colours make them outstanding examples of wall art in urban areas.

These works were protected by a registration order under the Historic Monuments on September 6, 2012, recognizing their heritage value. They illustrate a common practice in the early 20th century, where city walls were used as advertising materials before the advent of printed posters and modern signs. Their location on the gable overlooking the rue Hippolyte-Lebas makes it a point of historical and artistic interest in the Parisian landscape.

The advertisements of Benedictine and Ripolin also reflect the commercial techniques of the time, mixing art and promotion. The painters Defoly and Vavasseur, although less well known than other artists of their time, have combined aesthetics and functionality, creating works that are both utilitarian and durable. These frescoes offer today a visual testimony of consumption patterns and daily life in the Paris of the 1900s, while stressing the importance of preserving the advertising heritage.

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