Pont Neuf, the oldest bridge in Paris, has played many roles in France—especially as a symbol of political authority and as a cultural icon of art.
To 17th-century Paris, the building of a stone bridge, widened to fit both carriages and pedestrians, seemed incredibly innovative. This bridge, known as Pont Neuf or “the new bridge,” has maintained its status and original architecture over time, despite the drastic architectural and cultural changes made in Paris across centuries.
Fascinated with artistic depictions of Pont Neuf, Mathilde Oscarson (Art History & Curatorial Studies, French Studies ’26) used her Humanities Undergraduate Mentoring (HUM) Grant to visit Paris and study how the bridge’s identity has changed over time. She studied its history in some of the city’s oldest libraries, learning that despite its lack of physical change, Pont Neuf’s role as an icon in Paris has evolved in tandem with the people who use the bridge every day.
Wrapped in History—and Fabric
Oscarson began her research by studying Pont Neuf’s historical beginnings, first as a symbol of political power for King Henri IV and then as a news hot spot for the people in the centuries following. The bridge played a significant role during the French Revolution as well, becoming a meeting spot for revolutionaries and, after the removal of the King’s statue at the bridge’s center, a symbol of power for the people.
She explains, “Each epoch has different approaches to understanding public space and the nature of representation, resulting in new perceptions of the bridge.” These ideas shifted not only as political power changed but also as the art scene evolved in France.
Artists such as Eugène Atget—who depicted Pont Neuf’s role as a beautiful monument and not just a functional bridge—and Maximilien Luce, who painted the bridge on a traditional Japanese fan, highlighted the evolution of Pont Neuf. “Atget used his photography to capture and preserve the fleeting remnants of a historic Paris,” Oscarson says. Luce instead used quick strokes in his piece to show movement, suggesting that change plays a central role in modern life.
Modern artists also captured this change, including French artists Christo and Jeanne-Claude, who made their mark wrapping well-known monuments in thousands of feet of fabric. When they wrapped Pont Neuf in 1985, the fabric forced viewers to see the familiar bridge in a new light, trading intricate architectural details for its overarching physicality.
Art Hidden in Plain Sight
Oscarson notes a circular pattern when it comes to Parisians’ personal interactions with the bridge in modern times. “Pont Neuf was a place to see, but it was also a place to be seen,” she says, recalling its history as a de facto amphitheater, where actors would reenact plays on its roads and sidewalks. With the construction of theaters, activity on the bridge changed; however, she continues, “It has returned to being a place to see and be seen, with [passersby] taking selfies on the bridge and showing that they were there.”
Using these examples, Oscarson explains that despite the bridge’s minute physical alterations, its purpose and use constantly change. She believes personal interactions with the world—and architecture—around us to be the primary motivators in shifting these perceptions. “We can all get ideas and thoughts and concepts out of what we see and how we engage with the world,” she says. “Sharing those reactions can bring people together and help build understanding between opinions and groups.”
Oscarson hopes to personally engage with Pont Neuf this coming year by volunteering on French photographer and street artist JR’s upcoming project featuring the famous Parisian bridge. “Art has become such an integral part of the city in many different ways, in beautiful ways,” she shares. “Advocating to see art in everyday life and in our emotions is important because, otherwise, life just gets boring. We need art.”
Learn more about HUM grants here.