Investigating the central role that theories of the visual arts and
creativity played in the development of fascism in France, Mark
Antliff examines the aesthetic dimension of fascist myth-making
within the history of the avant-garde. Between 1909 and 1939, a
surprising array of modernists were implicated in this project,
including such well-known figures as the symbolist painter Maurice
Denis, the architects Le Corbusier and Auguste Perret, the
sculptors Charles Despiau and Aristide Maillol, the "New Vision"
photographer Germaine Krull, and the fauve Maurice Vlaminck.Antliff
considers three French fascists: Georges Valois, Philippe Lamour,
and Thierry Maulnier, demonstrating how they appropriated the
avant-garde aesthetics of cubism, futurism, surrealism, and the
so-called Retour a l'Ordre ("Return to Order"), and, in one
instance, even defined the "dynamism" of fascist ideology in terms
of Soviet filmmaker Sergei Eisenstein's theory of montage. For
these fascists, modern art was the mythic harbinger of a
regenerative revolution that would overthrow existing governmental
institutions, inaugurate an anticapitalist new order, and awaken
the creative and artistic potential of the fascist "new man." In
formulating the nexus of fascist ideology, aesthetics, and
violence, Valois, Lamour, and Maulnier drew primarily on the
writings of the French political theorist Georges Sorel, whose
concept of revolutionary myth proved central to fascist theories of
cultural and national regeneration in France. Antliff analyzes the
impact of Sorel's theory of myth on Valois, Lamour, and Maulnier.
Valois created the first fascist movement in France; Lamour, a
follower of Valois, established the short-lived Parti Fasciste
Revolutionnaire in 1928 before founding two fascist-oriented
journals; Maulnier forged a theory of fascism under the auspices of
the journals Combat and Insurge.
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