The years before World War I were a time of social and political ferment in Europe, which profoundly affected the art world. A major center of this creative tumult was Paris, where many avant-garde artists sought to transform modern art through their engagement with radical politics. In this provocative study of art and anarchism in prewar France, Patricia Leighten argues that anarchist aesthetics and a related politics of form played crucial roles in the development of modern art, only to be suppressed by war fever and then forgotten. Leighten examines the circle of artists—Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others—for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society—and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism’s most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.

This book focuses on the tension between the modernising thrust that places France on a trajectory of convergence with comparable liberal democracies and the defence of a national specificity that can act as a brake, complicating France’s relationship with its neighbours, its present and its past. This ambivalence in French political and social life stems from the conscious attempt to rebuild the nation after the trauma of Occupation during World War II and the new beginning provided by the Liberation. The government of the Fourth Republic embraced the pursuit of a modernisation that would enable it to regain its place among the world’s leading democratic states. However, this modernising ambition co-exists with the belief in a specific destiny and a unique sense of mission that are intrinsic to the emergence of a sense of nationhood after the revolution of 1789. Raymond defines a critical perspective that draws together historical, economic, social, and political issues into a coherent understanding of what makes France the way it is today. Written with both academic rigour and a highly accessible clarity of style, this volume is a valuable resource for students, educators, and researchers in French and European Studies.

This book, coinciding with the sixtieth anniversary of the Liberation of France, takes a unique approach to the events of 1944, by seeing them as shared experiences which brought ordinary Anglo-Americans and French people into contact with each other in a variety of different communities. The book looks at the Liberation through 5 case-studies: Normandy, Cherbourg, Provence, the Pyrénées-Orientales and Reims, and uses the words of participants at the time to describe the developing relationship between Liberators and Liberated.

New history of la France libre, Vichy collaboration, and the resistance from the campaigns in Tunisia and Italy to Liberation.

Witness is an anthology comprising 40 critical essays from an international cast of researchers who engage with a complex set of questions concerning notions of witnessing and attestation in 20th- and 21st-century Western culture. The contributors provide insightful perspectives on the subject of witnessing and suggest how this vital yet relatively unexplored concept lends itself to a wide range of media and subject areas. The essays critically reconsider existing scholarly tendencies which focus on historical evidence and the witness' vocalization of true remembrance. They do this by establishing important links with canonical texts, images, and voices within a theoretical and interpretive framework where questions of mediation, memorization, and representation are addressed.