Kristi V. Shanahan
The American and British forces landed on the beaches of Normandy on June 6, 1944. This would mark the beginning of the total liberation of France and, also, the fall of power of Vichy and Hitler’s Germany. The American army worked towards gaining a free path into Brittany, while the British forces headed toward Caen. They took the city on July 19th. The Americans were equally victorious in the tiny historic city of St. Lo (this was home to Jacques Cartier in the 16th century). By August 20th, German forces were on the retreat.
After the liberation of Paris on August 25th and the subsequent fall of Nazi strongholds in all areas of France, French artists who had survived the “siege” that was the occupation, who had survived without caving in to Nazi demands, experienced conflicted agendas in the months that were to follow. Needless to say, those who had helped with the efforts of the Resistance, helped fellow artists to hide or escape, or those who had spoken out against the Nazi presence in any form were enormously relieved to have the freedom to create once again. Others were less willing simply to resume their lives, as before -- they were angry. They felt an ever-growing resentment towards their compatriots who had not only forsaken their modernist palette for the juste milieu, but who had openly collaborated with the Germans. It is no surprise that Picasso was among this group. In fact, he headed up one of the first committees whose charge it was to name, accuse and, ultimately, castigate said artists. Some were censured; all were “tried.” Some of the artists were forbidden to sell, or even show their work for various periods of time, ranging from several months to more than a year. Others lost their positions at prestigious art institutes or universities -- again, for a certain period of time. None would be eligible for state-sponsored prizes (a coup to win, since they virtually assured the artist of fame), particularly those commissions which would be given in honor of the Resistance.xxxii One group singled out was composed of artists who had accepted an invitation by the German Ministry of Propaganda to attend expositions in several major German cities. This was in 1941, at the height of German mischief in France. The trip was well publicized (although few of the artists talked to the press upon their return) and actually affected a smoke screen for a huge German round up of Jews in Paris that fall. Those who had not made the trip were shocked and even ashamed of their compatriots. What made them go? One fact is clear: that they were promised not only to witness the new art created by their counterparts in Germany, but would insure the freedom of other artists, imprisoned in camps.xxxiii Perhaps they felt obligated to go; perhaps they considered the trip a mission; perhaps they naively wished to demonstrate that art should not be political. Whatever their incentive, these artists would henceforth be considered “collaborators” with the architects of German aggression. And, one might well imagine that the German propaganda machine made great use of this gift to undermine the French resolve. Those artist travelers included Maurice de Vlaminck, André Derain, Charles Despiau, and ten others, including a translator and a representative from the German press.
Other artists were tried during this period of accusation and reprisal. Some artists had family members who were a part of the French police, reorganized after Vichy. Others tried to “make do” by simply accepting the status quo and keeping their mouths shut. Few escaped the purge, however. Resentments still exist in France today.
What is it that makes us act or not act? If we heed the admonition of Jean-Paul Sartre, we are ultimately responsible for our actions; it is those actions that make us human, that confirm our existence. So, whatever motivations lead us, the ramifications thereto may result in a hard lesson to learn. As a teacher, lessons are grist for the mill. The example of what happened to a country whose integrity, whose culture, whose heritage was trampled by a stronger, malevolent force, can provide us all, at any age, with lessons for life. In the classroom, the opportunity to examine history with art, culture with events, people with governments can be made to open eyes and build impressionable characters. I look forward to having this opportunity to try.