L’instrumentalisation du patrimoine blessé. Paris, 1916 : l’Exposition d’œuvres d’art mutilées ou provenant des régions dévastées par l’ennemi au Petit Palais
The Exposition d’œuvres d’art mutilées ou provenant des régions dévastées par l’ennemi (exhibition of mutilated works of art or of works originating from areas devastated by the enemy), organized at the Petit Palais in Paris from November 1916 to Dececember 1917, is truly part of war culture. In a r...
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| Format: | Article |
| Language: | fra |
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Ministère de la Culture et de la Communication
2014-02-01
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| Series: | In Situ |
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| Online Access: | https://journals.openedition.org/insitu/10960 |
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| Summary: | The Exposition d’œuvres d’art mutilées ou provenant des régions dévastées par l’ennemi (exhibition of mutilated works of art or of works originating from areas devastated by the enemy), organized at the Petit Palais in Paris from November 1916 to Dececember 1917, is truly part of war culture. In a resolutely patriotic perspective, it puts the heritage forward as both witness to and victim of German atrocities. Without any ideal of peace, the exhibition promotes notions of victory and revenge. The artefacts and masterpieces on display, coming come from representative cities such as Rheims, Soissons or Arras, are considered like human beings and magnified as real victims of the war. These ruins and remains of a new kind are the symbols of the survival of an ancient culture. |
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| ISSN: | 1630-7305 |