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Civilisation Atlantique.
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Civilisation Atlantique.
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Description
Larger Image
Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at:
http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/826-32.jpg
Title
Civilisation
Atlantique
.
Creator
Fougeron, Andre (French painter and printmaker, born 1912)
Date
1953
Cultural Context
French
European
American
Theme
Paintings (visual works)
Allusion
Imagery
Political art
Politics
Capitalism
Wealth
Social classes
Social groups
Social issues
Social status
Social stratification
Poverty
Immigration
Cold War
Deaths
Executions (events)
Emotion
Grief
Mourning
Play (recreation)
Recreation
Leisure
Gesture
Sitting
Standing
Figurative art
Figures (representations)
Front views
Three-quarter views
Oblique views
Profiles (figures)
Back views
Women
Men (male humans)
Children (people by age group)
Youth
Boys
Girls
Infants
Mothers
Parents
Daughters
Families
Elderly
Old age
Mourners
Soldiers
Military personnel
Immigrants
Workers
Working class
Costume (mode of fashion)
Military uniforms
Uniforms
Helmets
Headgear
Headcloths (headgear)
Hats
Shoes (footwear)
Footwear
Pumps (shoes)
Shoebrushes
Suits (main garments)
Neckties
Neckwear
Dresses (garments)
Shirts
Undershirts
Shorts (garments)
Suspenders (garment supports)
Trousers
Hairstyles
Briefcases
Animals
Dogs
Domestic animals
Sweaters
Magazines (periodicals)
Periodicals
Publications
Pornography
Sexuality
Nudes (representations)
Nudity
Stockings
Hosiery
Posters
Automobiles
Vehicles (transportation)
Land vehicles
Sedans
Passenger vehicles
Grilles (barrier elements)
Emblems (symbols)
Headlights
Windows
Rifles (artillery)
Firearms
Weapons
Plinths
Chairs (furniture forms)
Armchairs
Benches (furniture)
Seating furniture
Seats (furniture components)
Legs (furniture components)
Backs (furniture components)
Arms (furniture components)
Armrests (object genre)
Beds (furniture)
Tables (support furniture)
Furniture
Stoves (heating equipment)
Saucepans
Cookware
Bottles
Vessels (containers)
Containers (receptacles)
Buckets (vessels)
Handles
Coffins
Shelters (single built works)
Air raid shelters
Bomb shelters
Camouflage
Tents (portable buildings)
Architecture (object genre)
Buildings
Architectural elements
Balconies
Factories (structures)
Industrial buildings
Smokestacks
Chimneys (architectural elements)
Smoke
Air pollution
Pollution
Ships
Watercraft
Subject
Paintings
Allusions
Anti-Americanism
Politics & government
Political issues
Capitalism
Imperialism
Wealth
Corruption
Poverty
Emigration & immigration
Social classes
Economic & social conditions
Domestic life
Child labor
Child laborers
People associated with manual labor
Death
Death & burial
Executions
Electrocutions
Grief
Sadness
Crying
Play (Recreation)
Recreation
Leisure
Holding hands
Ring-around-a-rosy
Gestures
Sitting
Shoe shining
Lifting & carrying
Child rearing
Women
Men
Children
Youth
Boys
Girls
Mothers
Infants
Dead persons
Couples
Older people
Families
Soldiers
Military personnel
People associated with military activities
Military life
Immigrants
Working class
Clothing & dress
Military uniforms
Uniforms
Helmets
Headgear
Hats
Shoes
Footwear
Suits (Clothing)
Trousers
Neckties
Neckwear
Dresses
Shirts
Children's clothing & dress
Mourning clothing & dress
Backs (Anatomy)
Hairstyles
Baldness
Briefcases
Dogs
Animals
Sweaters
Periodicals
Nudes
Posing
Hosiery
Posters
Political posters
Automobiles
Vehicles
Land vehicles
Vehicle components
Windshields
Windows
Grilles
Emblems
Rifles
Firearms
Arms & armament
Electric chairs
Chairs
Benches
Seating furniture
Furniture
Tables
Beds
Stoves
Cookery
Bottles
Containers
Pails
Coffins
Tents
Shelters
Air raid shelters
Camouflage (Military science)
Architecture
Buildings
Architectural elements
Balconies
Chimneys
Factories
Industrial facilities
Smoke
Smokestacks
Pollution
Air pollution
Ships
Vessels
Description
"This
enormous
,
collage-like
painting
is
crammed
with
anti-American
allusions
. An
electric
chair
sits
on the
plinth
at the
top
center
(the
Rosenbergs
were
electrocuted
as
Russian
spies
in
1953)
. A
GI
nonchalantly
reads
a
pornographic
magazine
. The
car
behind
him
is
surrounded
by
images
redolent
of
capitalist
decadence
and
imperialist
aggression.
"
(Caption
,
p.14)
; "
France
had a
strong
tradition
of
large-scale
paintings
of
public
import
. The
examples
of the
nineteenth-century
painters
[Jacques-Louis]
David
,
[Théodore]
Géricault
, and
[Gustave]
Courbet
were
particularly
vivid
, and
young
French
artists
now
looked
to the
example
of
senior
figures
such
as
Fernand
Léger
and
Pablo
Picasso
,
both
of
whom
were
attached
to the
PCF
[French
Communist
Party]
. In
1951
Picasso
was to
produce
the
Massacre
in
Korea
,
which
implicitly
criticized
American
intervention
in the
Korean
conflict
.
However
,
Picasso's
eclectic
use
of
modernist
idioms
conflicted
with the
uncompromising
realism
of
painters
such
as
Fougeron
.
Even
Fougeron
was
criticized
by the
ex-Surrealist
Communist
critic
Louis
Aragon
for
straying
onto
Trotskyist
aesthetic
territory
with the
anti-realist
dislocations
of
scale
of his
Civilisation
Atlantique
of
1953
.
([…
Leon]
Trotsky
and
[André]
Breton
had
argued
that
art
should be
revolutionary
in its
form
as
well
as its
politics.)
The
imagery
of
Civilisation
Atlantique
amounted
to a
denunciation
of the
stepping-up
of
American
Cold
War
policy
in the
early
1950s
.
Conceived
very
much
as a
'history
painting'
addressing
a
broad
public
,
it
juxtaposed
photographically
derived
images
in a
willfully
illustrational
and
populist
manner
. This was the
antithesis
of
Abstract
Expressionism
, the
embodiment
of
America's
aesthetic
latitude.
"
(Excerpt
,
p.15)
Inscription
Portion of text on 4 posters, top right of painting: PARACHUTISTES COLONIAUX / LA CLOIRE / LA BAGARRE; Bottom right of painting: Fougeron's signature.
Work Type
Paintings
Repository
Galerie Jean-Jacques Dutko (Paris, France)
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.14, fig.5)
Rights
Photograph reproduced in Hopkins courtesy: Galerie Jean Jacques Dutko. © ADAGP, Paris, and DACS, London, 2000.
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
826-32.jpg
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