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Origin and history

The metro entrance to Antwerp station, located in the 18th arrondissement of Paris, was designed in 1900 by architect Hector Guimard (1867-1942) as part of the development of the Parisian metropolitan network. This project is part of an urgent order of the Compagnie du chemin de fer métropolitain de Paris (CMP), created in 1899 to prepare the 1900 Universal Exhibition. Guimard, although not participating in the initial competition, was chosen for his skills in Art Nouveau and his previous experience, notably with the Castel Béranger. His style, marked by curved lines and modern materials such as cast iron, glass and enamelled lava, breaks with the proposals deemed too conventional by other architects.

The Guimard metro entrances consist of several models: covered edicles (types A and B), larger pavilions (such as Bastille), and simple entourages composed of balustrades and cast iron candelabras. The entrance of Antwerp, like the others, has carved badges, enamelled lava signs bearing the word "Metropolitan", and asymmetrical orange verrines. These elements, produced in series by foundries such as the Val d'Osne, combine aesthetics and functionality, while integrating into the urban landscape. Guimard standardizes the components to facilitate their reproduction, an approach that seduces the CMP despite subsequent pressures on costs and copyright.

As soon as they are installed, the Guimard entrances provoke contrasting reactions. Some critics mock their "nut" style or their grey green colour, combined with German uniform, while others salute their modernity. Despite these controversies, they become a symbol of Paris, inseparable from the Belle Époque. After decades of neglect, especially in the inter-war period where Art Deco eclipsed them, they were gradually protected from the 1960s. In 1978, 86 remaining works are listed in the Historic Monuments, including around the Antwerp station, restored to preserve its authenticity.

The entrance of Antwerp, like those of Porte Dauphine or Abbesses, illustrates the seed of Guimard's work. Its organic forms, inspired by the vegetal (brins de muguet, dragonflies), and its technical innovations (colored glass, cast iron) make it a major work of Art Nouveau. Today, these accesses, although reduced in number, remain cultural landmarks, celebrated in art, cinema and comics. Their preservation reflects a late but lasting recognition of their heritage value, beyond successive architectural modes.

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