Destruction during the First World War 1914-1918 (≈ 1916)
Village classified in Red Zone, total destruction.
1940
Destruction during World War II
Destruction during World War II 1940 (≈ 1940)
Village destroyed during the French Campaign.
1948
Membership in the reconstruction cooperative
Membership in the reconstruction cooperative 1948 (≈ 1948)
Beginning of the process of rebuilding the church.
1959
Completion of reconstruction
Completion of reconstruction 1959 (≈ 1959)
Inauguration of the present modernist church.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Key figures
Marc Quentin - Architect
Designer of the church and its interior decoration.
Origin and history
Église Saint-Quentin d'Estrées-Deniécourt is a Catholic church located in the village of Estrées-Deniécourt, in the Somme department, in the Hauts-de-France region. This village, like many in the region, was completely destroyed during the First World War and classified as a Red Zone, an area deemed too dangerous to be rebuilt. Thanks to the perseverance of the inhabitants, the authorities finally authorized the reconstruction of the village and its church, as well as that of the neighbouring hamlet of Deniécourt.
During the Second World War, during the French Campaign in 1940, Estrées-Deniécourt again suffered massive destruction. In 1948, the commune joined a cooperative dedicated to the reconstruction of churches devastated by conflict. The architect Marc Quentin, originally from Peronne, was chosen to lead the reconstruction of the church, which was completed in 1959. Quentin designed not only the building, but also its interior decoration, marking the entire project with its imprint.
The church is distinguished by its modernist architecture in reinforced concrete, devoid of traditional walls. The two sides of its roof descend to the ground, and are pierced with multiple square openings lined with green or white tinted glass, creating special lighting. The steel roof, designed to allow light to pass, and the slender concrete bell tower reinforce its contemporary character. Inside, Quentin also drew the liturgical furniture, including the fourteen stations of the Way of the Cross, the benches, and the fish-shaped baptismal fonts.
This church thus embodies the resilience of the inhabitants to the successive destructions of the two world wars. Its innovative architectural style and its turbulent history bear witness to the reconstruction and religious modernity of the 20th century in Picardia.
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