Au nom de l'art, 1933-1945

Even before the First World War, Paris attracted artists from throughout Europe: Russian, Polish, Hungarian, Czech, or German artists, who came to study at the Academies of painting or of music. Several waves of migration brought Jewish artists who were fleeing persecution, and these artists formed networks of friendship with French artists in Paris: channels that operated during the Occupation and the Vichy regime to protect the victims of that regime. The intervention by Sacha Guitry and Arletty on behalf of Tristan Bernard is well known, but Limore Yagil reveals many others as well. At the intersection of cultural and political history, Yagil traces these networks of solidarity from their origins, reconstructing a geography of mutual cooperation, and investigating the significance that should be given to these acts of civil disobedience.