This article may be expanded with text translated from the corresponding article in French. (December 2021) Click [show] for important translation instructions.
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St. Joseph's Church, Le Havre is a Roman Catholic church in Le Havre, France. From 1945 to 1964, the City of Le Havre commissioned Auguste Perret and his studio to head the rebuilding of the entire city after it had been completely decimated by the British during World War II.[1] St. Joseph's was built between 1951 and 1957/58 as part of this reconstruction. It acts as a memorial to the five thousand civilians fallen and the usual sanctuary dedicated to a patron saint; in this case Saint Joseph, fittingly the patron saint of a happy death, fathers, workers, travelers, and immigrants.[2]
The church was designed by the chief architect for the reconstruction of Le Havre, Perret, who was the teacher and mentor to the Swiss architect Le Corbusier. A centrally-planned building, Saint Joseph's Church was envisioned as a beacon for the city. The church's single, central tower dominates the city skyline, easily visible from the city's port. Perret's vision created a building resembling a lantern, now fondly referred to as the “lantern tower” or the “lighthouse at the heart of the city.” Made of concrete, St Joseph's is a product of modern architectural innovation in Post-War France. The tower is 107 meters tall and acts as a beacon visible from out at sea, especially at night when illuminated.
The tower of the Église Saint-Joseph dominates the reconstructed center of Le Havre
Stained glass by Marguerite Huré
Perret brought in his previous colleague Marguerite Huré (1896-1967) for the stained glass in the new church. Their most notable collaborations were the Église Notre-Dame du Raincy and Saint Joseph's church in Le Havre. Huré contributed to the rebirth of sacred art in France in the early twentieth century through her introduction of abstraction into religious stained glass. She developed a style sans images or words, using color to convey her desired theme—much in the way music conveys feeling via sound. Huré and Perret shared a desire to reject decorative art in preference of constructive art that was collectively understated yet awe-inspiring and told a story or promoted further improvement/advancement.[3] The compact nave's architectural lines lead the eye to the altar and then up to a three-tiered, square base with triangular supporting structures. The triangular supports point the eye to the octagonal column that makes up the majority of the tower. A singular, chunky, spiral staircase rises from the base of the octagonal shaft to the bell room. Separated into 18 layers, each side of layers 2 to 17 exhibits an identical, geometric pattern made of wood and elongated stained glass. Revived in the nineteenth century, Huré used the “antique” glass making technique that involves mouth-blowing the colored glass to achieve the desired shape.[4] The repeated pattern reflects Huré's dedication to the symbolic power of color and her rejection of iconographic representation.
Each side of the octagon has its own distinctive color combination of four to six colors repeated up each layer of the side. Using a selection of seven primary colors (orange, yellow, green, purple, red, greenish and white), Huré manipulated each base color to make a total of fifty different hues.[5] The pattern appears different depending on how close the viewer is to the windows. From far away the very geometric, organized pattern softens, the colors meld to create new hybrid colors, and the glass's shapes converge to become four dumbbell-like columns on each half of the side. The bottom of the tower has the strongest harmonized hues that gradually lighten on the way to the top giving the impression that the light comes from above, through the lighter glass. Huré organized the colors based on the cardinal directions with the dead wood and red colors on the north side, green and purple to the east, golden shades to the south, and pink and orange shades to the west.[6] The colors vary drastically depending on the photo used as reference, but each group emanates a distinctive tone drawn from the various interactions and optical mixing of the different colors. The glass's placement and choice of color follow a symbolic code that organizes colors and shapes per research by the Atelier d’Art Sacré (the Sacred Art Workshop) on theological virtues.[7] The overall feel of this tower is that of being in a kaleidoscopic tunnel whose colors converge to create a “symphonic poem”, an overwhelming assault of color.
While the first example of non-figurative symbolism in religious stained glass was Huré's work at the Voreppe seminary chapel, she takes her abstraction one step farther with St Joseph's by abandoning symbolic geometric design to focus purely on her exploration of the emotional arousal of color.[8] Throughout her life, Huré continued to make figurative stained glass pieces, though her re-imagination of religious iconography through color symbolism and geometric abstraction was her largest contribution to art history.
Notes
^“Le Havre, France.” Organization of World Heritage Cities.
^"Saint-Joseph's Church." Le Havre, World Heritage Site.
^"Saint-Joseph's Church." Le Havre, World Heritage Site.
^"Artists at Work during the Reconstruction." Le Havre, World Heritage Site.
^"Saint-Joseph's Church." Le Havre, World Heritage Site.
^"Saint-Joseph's Church." Le Havre, World Heritage Site.
"Marguerite Huré et Les Vitraux du Petit Séminaire de Voreppe." Association des Anciens du Sacré-Cœur, de la Jacquinière et des Portes de Chartreuse de Voreppe ASCV, Accessed January 22, 2018. https://www.semvoreppe.org/historique/marguerite-hur%C3%A9.html.
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This article may be expanded with text translated from the corresponding article in French December 2021 Click show for important translation instructions Machine translation like DeepL or Google Translate is a useful starting point for translations but translators must revise errors as necessary and confirm that the translation is accurate rather than simply copy pasting machine translated text into the English Wikipedia Do not translate text that appears unreliable or low quality If possible verify the text with references provided in the foreign language article You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation A model attribution edit summary is Content in this edit is translated from the existing French Wikipedia article at fr Eglise Saint Joseph du Havre see its history for attribution You should also add the template Translated fr Eglise Saint Joseph du Havre to the talk page For more guidance see Wikipedia Translation St Joseph s Church Le Havre is a Roman Catholic church in Le Havre France From 1945 to 1964 the City of Le Havre commissioned Auguste Perret and his studio to head the rebuilding of the entire city after it had been completely decimated by the British during World War II 1 St Joseph s was built between 1951 and 1957 58 as part of this reconstruction It acts as a memorial to the five thousand civilians fallen and the usual sanctuary dedicated to a patron saint in this case Saint Joseph fittingly the patron saint of a happy death fathers workers travelers and immigrants 2 St Joseph s Church Le Havre49 29 27 5 N 0 6 4 E 49 490972 N 0 10111 E 49 490972 0 10111 Coordinates 49 29 27 5 N 0 6 4 E 49 490972 N 0 10111 E 49 490972 0 10111DenominationRoman CatholicHistoryDedicationSaint JosephArchitectureArchitectural typechurchAdministrationDioceseLe HavreParishSaint Martin du LittoralUNESCO World Heritage SiteOfficial nameLe HavreTypeCulturalCriteriaii ivDesignated2005Reference no 1181RegionEurope and North AmericaThe church was designed by the chief architect for the reconstruction of Le Havre Perret who was the teacher and mentor to the Swiss architect Le Corbusier A centrally planned building Saint Joseph s Church was envisioned as a beacon for the city The church s single central tower dominates the city skyline easily visible from the city s port Perret s vision created a building resembling a lantern now fondly referred to as the lantern tower or the lighthouse at the heart of the city Made of concrete St Joseph s is a product of modern architectural innovation in Post War France The tower is 107 meters tall and acts as a beacon visible from out at sea especially at night when illuminated The tower of the Eglise Saint Joseph dominates the reconstructed center of Le HavreStained glass by Marguerite Hure EditPerret brought in his previous colleague Marguerite Hure 1896 1967 for the stained glass in the new church Their most notable collaborations were the Eglise Notre Dame du Raincy and Saint Joseph s church in Le Havre Hure contributed to the rebirth of sacred art in France in the early twentieth century through her introduction of abstraction into religious stained glass She developed a style sans images or words using color to convey her desired theme much in the way music conveys feeling via sound Hure and Perret shared a desire to reject decorative art in preference of constructive art that was collectively understated yet awe inspiring and told a story or promoted further improvement advancement 3 The compact nave s architectural lines lead the eye to the altar and then up to a three tiered square base with triangular supporting structures The triangular supports point the eye to the octagonal column that makes up the majority of the tower A singular chunky spiral staircase rises from the base of the octagonal shaft to the bell room Separated into 18 layers each side of layers 2 to 17 exhibits an identical geometric pattern made of wood and elongated stained glass Revived in the nineteenth century Hure used the antique glass making technique that involves mouth blowing the colored glass to achieve the desired shape 4 The repeated pattern reflects Hure s dedication to the symbolic power of color and her rejection of iconographic representation Each side of the octagon has its own distinctive color combination of four to six colors repeated up each layer of the side Using a selection of seven primary colors orange yellow green purple red greenish and white Hure manipulated each base color to make a total of fifty different hues 5 The pattern appears different depending on how close the viewer is to the windows From far away the very geometric organized pattern softens the colors meld to create new hybrid colors and the glass s shapes converge to become four dumbbell like columns on each half of the side The bottom of the tower has the strongest harmonized hues that gradually lighten on the way to the top giving the impression that the light comes from above through the lighter glass Hure organized the colors based on the cardinal directions with the dead wood and red colors on the north side green and purple to the east golden shades to the south and pink and orange shades to the west 6 The colors vary drastically depending on the photo used as reference but each group emanates a distinctive tone drawn from the various interactions and optical mixing of the different colors The glass s placement and choice of color follow a symbolic code that organizes colors and shapes per research by the Atelier d Art Sacre the Sacred Art Workshop on theological virtues 7 The overall feel of this tower is that of being in a kaleidoscopic tunnel whose colors converge to create a symphonic poem an overwhelming assault of color While the first example of non figurative symbolism in religious stained glass was Hure s work at the Voreppe seminary chapel she takes her abstraction one step farther with St Joseph s by abandoning symbolic geometric design to focus purely on her exploration of the emotional arousal of color 8 Throughout her life Hure continued to make figurative stained glass pieces though her re imagination of religious iconography through color symbolism and geometric abstraction was her largest contribution to art history Notes Edit Le Havre France Organization of World Heritage Cities Saint Joseph s Church Le Havre World Heritage Site Saint Joseph s Church Le Havre World Heritage Site Artists at Work during the Reconstruction Le Havre World Heritage Site Saint Joseph s Church Le Havre World Heritage Site Saint Joseph s Church Le Havre World Heritage Site David Veronique Marguerite Hure David Marguerite Hure References EditAndrew Saint In Le Havre London Review of Books 6 February 2003 Artists at Work during the Reconstruction Le Havre World Heritage Site Accessed January 22 2018 http unesco lehavre fr en understand artists at work during the reconstruction David Veronique Marguerite Hure Precurseur de l Abstraction Dans le Vitrail Religieux In Situ Revue des Patrimoines no 3 2003 Retrieved from http www culture gouv fr culture inventai extranet revue insitu3 v5 text v5 pdf http journals openedition org insitu 1980 Le Havre France Organization of World Heritage Cities Accessed April 1 2018 https www ovpm org en france le havre Marguerite Hure et Les Vitraux du Petit Seminaire de Voreppe Association des Anciens du Sacre Cœur de la Jacquiniere et des Portes de Chartreuse de Voreppe ASCV Accessed January 22 2018 https www semvoreppe org historique marguerite hur C3 A9 html Saint Joseph s Church Le Havre World Heritage Site Accessed January 20 2018 http unesco lehavre fr en understand saint josephs church Retrieved from https en wikipedia org w index php title St Joseph 27s Church Le Havre amp oldid 1109641840, wikipedia, wiki, book, books, library,
