Construction of church 1956 (≈ 1956)
Directed by Michel Marot, first prize in Rome.
31 mai 2010
Registration for historical monuments
Registration for historical monuments 31 mai 2010 (≈ 2010)
Includes windows, walls and ramps.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
3e quart XXe siècle
Construction period
Construction period 3e quart XXe siècle (≈ 2062)
Modern and traditional style merged.
Heritage classified
The church, including its courtyard, support walls and ramps (cf. AE 43, 44): registration by order of 31 May 2010
Key figures
Michel Marot - Architect
Church designer, Grand Prix of Rome 1954.
André Dienis - Ceramic artist
Author of ceramic sculptures.
Jean-Claude Vignes - Master glass
Creator of industrial glass stained glass windows.
Origin and history
The church Sainte-Agnès de Fontaine-les-Grès, located in the Aube department in the Grand Est region, was built in 1956 by architect Michel Marot, winner of the first Grand Prix of Rome in 1954. The building is distinguished by its original triangular plan and hybrid architecture combining the traditional Aube barns (flat tile roof, slate arrow) and the modern innovations of the time. Its panelled interior, the ceramic sculptures of André Dienis and the industrial stained-glass windows painted by Jean-Claude Vignes make it a significant testimony to the sacred art of the twentieth century.
The church was listed as historic monuments by order of 31 May 2010, recognizing its heritage value. It also benefits from the "Twentieth Century Heritage" label, highlighting its importance in recent architectural history. The building, including its courtyard, retaining walls and ramps, is owned by the commune of Fontaine-les-Grès. Its precise location is attested at 5 Rue de la Gare, in an environment marked by a geographical accuracy deemed satisfactory (level 6/10).
The interior artistic elements, such as the stained glass windows of Jean-Claude Vignes and the ceramics of André Dienis, illustrate the collaboration between architects and artists to create a sacred space that is both functional and aesthetic. These choices reflect postwar trends, where liturgical renewal and industrial materials (corrugated glass, bold structures) redefined places of worship. The church remains today an emblematic example of this pivotal period, between regional heritage and architectural modernity.
Announcements
Please log in to post a review