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Dancing water was combined with music and fireworks to form a grand spectacle. These fountains were the work of the descendants of Tommaso Francini , the Italian hydraulic engineer who had come to France during the time of Henry IV and built the Medici Fountain and the Fountain of Diana at Fontainebleau.

Two fountains were the centerpieces of the Gardens of Versailles, both taken from the myths about Apollo, the sun god, the emblem of Louis XIV, and both symbolizing his power.

When the fountain is turned on, sprays of water pour down on the peasants, who are frenzied as they are transformed into creatures. This statue shows a theme also depicted in the painted decoration in the Hall of Mirrors of the Palace of Versailles: Apollo in his chariot about to rise from the water, announced by Tritons with seashell trumpets.

Historians Mary Anne Conelli and Marilyn Symmes wrote, "Designed for dramatic effect and to flatter the king, the fountain is oriented so that the Sun God rises from the west and travels east toward the chateau, in contradiction to nature.

Besides these two monumental fountains, the Gardens over the years contained dozens of other fountains, including thirty-nine animal fountains in the labyrinth depicting the fables of Jean de La Fontaine.

There were so many fountains at Versailles that it was impossible to have them all running at once; when Louis XIV made his promenades, his fountain-tenders turned on the fountains ahead of him and turned off those behind him.

Louis built an enormous pumping station, the Machine de Marly , with fourteen water wheels and pumps to raise the water three hundred feet from the River Seine , and even attempted to divert the River Eure to provide water for his fountains, but the water supply was never enough.

In Russia, Peter the Great founded a new capital at St. Petersburg in and built a small Summer Palace and gardens there beside the Neva River.

The gardens featured a fountain of two sea monsters spouting water, among the earliest fountains in Russia.

The gardens included trick fountains designed to drench unsuspecting visitors, a popular feature of the Italian Renaissance garden.

The fountains were fed by reservoirs in the upper garden, while the Samson fountain was fed by a specially-constructed aqueduct four kilometers in length.

Samson and the Lion fountain at Peterhof Palace , Russia — Fontaine du Palmier , Paris Fountain in the Place de la Concorde in Paris Fountain in Trafalgar Square , In the early 19th century, London and Paris built aqueducts and new fountains to supply clean drinking water to their exploding populations.

Following a deadly cholera epidemic in , Louis Napoleon decided to completely rebuild the Paris water supply system, separating the water supply for fountains from the water supply for drinking.

The most famous fountain built by Louis Napoleon was the Fontaine Saint-Michel , part of his grand reconstruction of Paris boulevards.

Louis Napoleon relocated and rebuilt several earlier fountains, such as the Medici Fountain and the Fontaine de Leda , when their original sites were destroyed by his construction projects.

In the mid-nineteenth century the first fountains were built in the United States, connected to the first aqueducts bringing drinking water from outside the city.

The first fountain in Philadelphia, at Centre Square , opened in , and featured a statue by sculptor William Rush. The 19th century also saw the introduction of new materials in fountain construction; cast iron the Fontaines de la Concorde ; glass the Crystal Fountain in London and even aluminium the Shaftesbury Memorial Fountain in Picadilly Circus , London, The invention of steam pumps meant that water could be supplied directly to homes, and pumped upward from fountains.

The new fountains in Trafalgar Square used steam pumps from an artesian well. By the end of the 19th century fountains in big cities were no longer used to supply drinking water, and were simply a form of art and urban decoration.

Another fountain innovation of the 19th century was the illuminated fountain: The Bartholdi Fountain at the Philadelphia Exposition of was illuminated by gas lamps.

In a fountain in Britain featured electric lights shining upward through the water. The Exposition Universelle which celebrated the th anniversary of the French Revolution featured a fountain illuminated by electric lights shining up though the columns of water.

The fountains, located in a basin forty meters in diameter, were given color by plates of colored glass inserted over the lamps.

The Fountain of Progress gave its show three times each evening, for twenty minutes, with a series of different colors. Buckingham Fountain in Chicago The water cannon still function.

Stravinsky Fountain , next to the Pompidou Center, Paris Paris fountains in the 20th century no longer had to supply drinking water - they were purely decorative; and, since their water usually came from the river and not from the city aqueducts, their water was no longer drinkable.

Twenty-eight new fountains were built in Paris between and ; nine new fountains between and ; four between and ; and fifteen between and The biggest fountains of the period were those built for the International Expositions of , and , and for the Colonial Exposition of Of those, only the fountains from the exposition at the Palais de Chaillot still exist.

See Fountains of International Expositions. Only a handful of fountains were built in Paris between and The Mitterrand-Chirac fountains had no single style or theme.

Many of the fountains were designed by famous sculptors or architects, such as Jean Tinguely , I. Pei , Claes Oldenburg and Daniel Buren , who had radically different ideas of what a fountain should be.

Some were solemn, and others were whimsical. Most made little effort to blend with their surroundings - they were designed to attract attention.

Few new fountains have been built in Paris since The most notable is La Danse de la fontaine emergente , located on Place Augusta-Holmes, rue Paul Klee, in the 13th arrondissement.

It was designed by the French-Chinese sculptor Chen Zhen — , shortly before his death in , and finished through the efforts of his spouse and collaborator.

It shows a dragon, in stainless steel, glass and plastic, emerging and submerging from the pavement of the square.

Water under pressure flows through the transparent skin of the dragon. Fountains built in the United States between and mostly followed European models and classical styles.

The Buckingham Fountain in Grant Park in Chicago was one of the first American fountains to use powerful modern pumps to shoot water as high as feet 46 meters into the air.

Some, like the Vaillancourt Fountain in San Francisco , were pure works of sculpture. Other fountains, like the Frankin Roosevelt Memorial Waterfall , by architect Lawrence Halprin , were designed as landscapes to illustrate themes.

Each "room" contains a cascade or waterfall; the cascade in the third room illustrates the turbulence of the years of the World War II.

Halprin wrote at an early stage of the design; "the whole environment of the memorial becomes sculpture: It also saw the increasing popularity of the musical fountain, which combined water, music and light, choreographed by computers.

See Musical fountain below. The fountain called Bit. Fall by German artist Julius Popp uses digital technologies to spell out words with water. The fountain is run by a statistical program which selects words at random from news stories on the Internet.

It then recodes these words into pictures. Then nozzles inject the water into electromagnetic valves. The program uses rasterization and bitmap technologies to synchronize the valves so drops of water form an image of the words as they fall.

According to Popp, the sheet of water is "a metaphor for the constant flow of information from which we cannot escape. Designed by Catalan artist Jaume Plensa , it opened in July La Danse de la fontaine emergente , Place Augusta-Holmes, Paris 13th arrondissement , is the newest fountain in Paris.

The fountain is designed to resemble a dragon winding its way around the square, emerging and submerging from the pavement. The skin of the dragon is transparent, showing the water flowing within.

The water flowing within the dragon is under pressure and is illuminated at night. It is constructed of stainless steel, glass, and plastic.

It was designed by the French-Chinese sculptor Chen Zhen — The fountain is in three parts. A bas-relief of the dragon is fixed on the wall of the structure of the water-supply plant, and the dragon seems to be emerging from the wall and plunging underground.

This part of the dragon is opaque. These parts of the dragon are transparent, and water under pressure flows within, and is illuminated at night.

Musical fountains create a theatrical spectacle with music, light and water, usually employing a variety of programmable spouts and water jets controlled by a computer.

Musical fountains were first described in the 1st century AD by the Greek scientist and engineer Hero of Alexandria in his book Pneumatics.

Hero described and provided drawings of "A bird made to whistle by flowing water," "A Trumpet sounded by flowing water," and "Birds made to sing and be silent alternately by flowing water.

It is not known if Hero made working models of any of his designs. Following the ideas of Hero of Alexandria, the Fountain of the Owl used a series of bronze pipes like flutes to make the sound of birds.

The most famous feature of the garden was the great Organ Fountain. It was described by the French philosopher Michel de Montaigne , who visited the garden in Other water, passing through a wheel, strikes in a certain order the keyboard of the organ.

The organ also imitates the sound of trumpets, the sound of cannon, and the sound of muskets, made by the sudden fall of water Louis XIV created the idea of the modern musical fountain by staging spectacles in the Gardens of Versailles , using music and fireworks to accompany the flow of the fountains.

The great international expositions held in Philadelphia, London and Paris featured the ancestors of the modern musical fountain. They introduced the first fountains illuminated by gas lights Philadelphia in ; and the first fountains illuminated by electric lights London in and Paris in The Exposition Internationale des Arts et Techniques dans la Vie Moderne had combined arches and columns of water from fountains in the Seine with light, and with music from loudspeakers on eleven rafts anchored in the river, playing the music of the leading composers of the time.

See International Exposition Fountains, above. The fountains were illuminated with different colors at night. Dubai Fountain in the United Arab Emirates can shoot water meters in the air, or present computer-choreographed water dancing to music.

A splash fountain or bathing fountain is intended for people to come in and cool off on hot summer days. These fountains are also referred to as interactive fountains.

These fountains are designed to allow easy access, and feature nonslip surfaces, and have no standing water, to eliminate possible drowning hazards, so that no lifeguards or supervision is required.

These splash pads are often located in public pools, public parks, or public playgrounds known as "spraygrounds".

In some splash fountains, such as Dundas Square in Toronto, Canada, the water is heated by solar energy captured by the special dark-colored granite slabs.

The fountain at Dundas Square features ground nozzles arranged in groups of 30 3 rows of 10 nozzles. Each group of 30 nozzles is located beneath a stainless steel grille.

Twenty such grilles are arranged in two rows of 10, in the middle of the main walkway through Dundas Square.

A water fountain or drinking fountain is designed to provide drinking water and has a basin arrangement with either continuously running water or a tap.

The drinker bends down to the stream of water and swallows water directly from the stream. Modern indoor drinking fountains may incorporate filters to remove impurities from the water and chillers to reduce its temperature.

In some regional dialects, water fountains are called bubblers. Water fountains are usually found in public places, like schools, rest areas, libraries, and grocery stores.

Many jurisdictions require water fountains to be wheelchair accessible by sticking out horizontally from the wall , and to include an additional unit of a lower height for children and short adults.

The design that this replaced often had one spout atop a refrigeration unit. In , The Metropolitan Drinking Fountain and Cattle Trough Association was established to promote the provision of drinking water for people and animals in the United Kingdom and overseas.

More recently, in , the FindaFountain campaign was launched in the UK to encourage people to use drinking fountains instead of environmentally damaging bottled water.

A map showing the location of UK drinking water fountains is published on the FindaFountain website. From Roman times until the end of the 19th century, fountains operated by gravity, requiring a source of water higher than the fountain itself to make the water flow.

The greater the difference between the elevation of the source of water and the fountain, the higher the water would go upwards from the fountain.

In Roman cities, water for fountains came from lakes and rivers and springs in the hills, brought into city in aqueducts and then distributed to fountains through a system of lead pipes.

From the Middle Ages onwards, fountains in villages or towns were connected to springs, or to channels which brought water from lakes or rivers.

In Provence, a typical village fountain consisted of a pipe or underground duct from a spring at a higher elevation than the fountain.

The water from the spring flowed down to the fountain, then up a tube into a bulb-shaped stone vessel, like a large vase with a cover on top. The water poured down through the canons, creating a siphon, so that the fountain ran continually.

In cities and towns, residents filled vessels or jars of water jets from the canons of the fountain or paid a water porter to bring the water to their home.

Horses and domestic animals could drink the water in the basin below the fountain. The water not used often flowed into a separate series of basins, a lavoir, used for washing and rinsing clothes.

In Provence, since clothes were washed with ashes, the water that flowed into the garden contained potassium, and was valuable as fertilizer.

The fountains of Rome, built from the Renaissance through the 18th century, took their water from rebuilt Roman aqueducts which brought water from lakes and rivers at a higher elevation than the fountains.

Those fountains with a high source of water, such as the Triton Fountain , could shoot water 16 feet 4. Fountains with a lower source, such as the Trevi Fountain, could only have water pour downwards.

The architect of the Trevi Fountain placed it below street level to make the flow of water seem more dramatic. The fountains of Versailles depended upon water from reservoirs just above the fountains.

Even with the Machine de Marly, the fountains used so much water that they could not be all turned on at the same time.

Fontainiers watched the progress of the King when he toured the gardens and turned on each fountain just before he arrived.

The architects of the fountains at Versailles designed specially-shaped nozzles, or tuyaux, to form the water into different shapes, such as fans, bouquests, and umbrellas.

In Germany, some courts and palace gardens were situated in flat areas, thus fountains depending on pumped pressurized water were developed at a fairly early point in history.

The Great Fountain in Herrenhausen Gardens at Hanover was based on ideas of Gottfried Leibniz conceived in and was inaugurated in during the visit of George I.

The fountains at the Nymphenburg Palace initially were fed by water pumped to water towers, but as from were operated by the water powered Nymphenburg Pumping Stations which are still working.

Beginning in the 19th century, fountains ceased to be used for drinking water and became purely ornamental. By the beginning of the 20th century, cities began using steam pumps and later electric pumps to send water to the city fountains.

Later in the 20th century, urban fountains began to recycle their water through a closed recirculating system. An electric pump, often placed under the water, pushes the water through the pipes.

The water must be regularly topped up to offset water lost to evaporation, and allowance must be made to handle overflow after heavy rain.

In modern fountains a water filter , typically a media filter , removes particles from the water—this filter requires its own pump to force water through it and plumbing to remove the water from the pool to the filter and then back to the pool.

The water may need chlorination or anti-algal treatment, or may use biological methods to filter and clean water. The pumps , filter, electrical switch box and plumbing controls are often housed in a "plant room".

Mutt now wants more than his dues returned. The edition of eight was manufactured from glazed earthenware painted to resemble the original porcelain, with a signature reproduced in black paint.

Of all the artworks in this series of readymades , Fountain is perhaps the best known because the symbolic meaning of the toilet takes the conceptual challenge posed by the readymades to their most visceral extreme.

Since the photograph taken by Stieglitz is the only image of the original sculpture, there are some interpretations of Fountain by looking not only at reproductions but this particular photograph.

The meaning if any and intention of both the piece and the signature "R. Mutt", are difficult to pin down precisely. Mutt could also be a play on its commercial origins or on the famous comic strip of the time, Mutt and Jeff making the urinal perhaps the first work of art based on a comic.

Rhonda Roland Shearer in the online journal Tout-Fait suspects that the Stieglitz photograph is a composite of different photos, while other scholars such as William Camfield have never been able to match the urinal shown in the photo to any urinals found in the catalogues of the time period.

In a interview with Otto Hahn, Duchamp suggested he purposefully selected a urinal because it was disagreeable. The choice of a urinal, according to Duchamp, "sprang from the idea of making an experiment concerned with taste: A urinal-very few people think there is anything wonderful about a urinal.

Kuenzli states, in Dada and Surrealist Film , after describing how various readymades are presented or displayed: At least three factors came into play: By virtue of placing a urinal on a pedestal in an art exhibition, the illusion of an artwork was created.

Duchamp drew an ink copy of the Stieglitz photograph in for the cover of an exhibition catalogue, Marcel Duchamp: The illustration appeared as a photographic negative.

Later, Duchamp made a positive version, titled Mirrorical Return Renvoi miroirique ; Structured as an emblem, the visual and linguistic elements set up a punning interplay that helps us to explore further the mechanisms that Fountain actively stages.

On the one hand, there is the mirror-effect of the drawing and the etching, which although they are almost identical visually, involve an active switch from one artistic medium to the other.

On the other hand, there is the internal mirrorical return of the image itself, since this urinal, like the one in , has been rotated ninety degrees.

This internal rotation disqualifies the object from its common use as a receptacle, and reactivates its poetic potential as a fountain; that is, as a machine for waterworks.

The "splash" generated by Fountain is thus tied to its "mirrorical return," like the faucet in the title.

During the s and s, as Fountain and other readymades were rediscovered, Duchamp became a cultural icon in the world of art, exemplified by a "deluge of publications", as Camfield noted, "an unparalleled example of timing in which the burgeoning interest in Duchamp coincided with exhilarating developments in avant-garde art, virtually all of which exhibited links of some sort to Duchamp.

Jerry Saltz wrote in The Village Voice in Duchamp adamantly asserted that he wanted to "de-deify" the artist. The readymades provide a way around inflexible either-or aesthetic propositions.

They represent a Copernican shift in art. Fountain brings us into contact with an original that is still an original but that also exists in an altered philosophical and metaphysical state.

It is a manifestation of the Kantian sublime: A work of art that transcends a form but that is also intelligible, an object that strikes down an idea while allowing it to spring up stronger.

Several performance artists have attempted to "contribute" to the piece by urinating in it. South African born artist Kendell Geers rose to international notoriety in when, at a show in Venice, he urinated into Fountain.

He admitted that it was only a technical triumph because he needed to urinate in a tube in advance so he could convey the fluid through a gap between the protective glass.

However, they were prevented from soiling the sculpture directly by its Perspex case. The Tate, which denied that the duo had succeeded in urinating into the sculpture itself, [47] banned them from the premises stating that they were threatening "works of art and our staff.

He chooses what is art. We just added to it. On January 4, , while on display in the Dada show in the Pompidou Centre in Paris, Fountain was attacked by Pierre Pinoncelli , a year-old French performance artist, most noted for damaging two of the eight copies of Fountain.

The hammer he used during the assault on the artwork caused a slight chip. In , Duchamp wrote a letter to fellow Dadaist Hans Richter in which he supposedly said:.

When I discovered the ready-mades I sought to discourage aesthetics. In Neo-Dada they have taken my readymades and found aesthetic beauty in them, I threw the bottle-rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty.

Richter, however, years later claimed those words were not by Duchamp. Richter had sent Duchamp this paragraph for comment, writing: Pop Art is a return to "conceptual" painting, virtually abandoned, except by the Surrealists, since Courbet, in favor of retinal painting… If you take a Campbell soup can and repeat it 50 times, you are not interested in the retinal image.

What interests you is the concept that wants to put 50 Campbell soup cans on a canvas. The prices for replicas, editions, or works that have some ephemeral trace of Duchamp reached its peak with the purchase of one of the eight replicas of Fountain.

The price set a world record, at the time, for a work by Marcel Duchamp at public auction. From Wikipedia, the free encyclopedia.

A Biography , p. Retrieved 5 October Art in Transit , University of California Press, , pp. The mechanics of New York Dada.

Dissertations available from ProQuest. Houston Fine Art Press. Gender, Dada, and Everyday Modernity. The Selected Correspondence of Marcel Duchamp , ed.

Naumann and Hector Obalk Ghent: Ludion Press, , p. Abrams, , p.

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