Monumentalizing “The Collective”
State-Financed Mural Paintings and Mass Politics, 1934–1940
in French Politics, Culture & SocietySearch for other papers by Elena Maria Rita Rizzi in
Current site
Google Scholar
PubMed
All currencies in US Dollar
Abstract
By analyzing the public mural paintings sponsored by the French state to help artists survive the economic crisis around the time of the Popular Front, this article intends to contribute to the study of the relationship between mass politics and mass culture in the 1930s. After addressing French and foreign views on mural art as well as state agendas behind mural commissions, the study examines the social and political significance of state-financed mural projects. Frequently large-scale and realized in a figurative style, murals portrayed collectivities in instants of conviviality and extolled the solidaristic ties binding them. State-financed mural paintings, I contend, monumentalized “the collective” so to create unity and collective spirit. Thereby, they created a visual politics that helped bridge the gap between art and the people and became agents of mass politics at a time of political instability.
Contributor Notes
Elena Maria Rita Rizzi holds a PhD in history and civilization from the European University Institute (Florence). She defended her thesis entitled “Modern Art and the Making of a French Republican Imaginary, 1919–1940” in February 2021. Her dissertation examined the nexus between art and politics in interwar Republican France. Elena's main research interest lies in the relationship between culture, politics, and society in modern Europe. She is currently a Swiss Government Excellence Scholarship holder at the Université de Genève.