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The Gaulish and the feudal as lieux de memoire in post-war French abstraction.

If gestural abstract painting was an artistic practice that turned away from figuration and legible meanings, there was nevertheless a struggle over its interpretation and orientation in post-war Paris. This struggle is exemplified by two exhibitions that took place in the 1950s: Perennite de l'art gaulois, at the Musee pedagogique in 1955, which was organized by the art critic Charles Estienne in association with the surrealist group; and Les Ceremonies commemoratives de la deuxieme condamnation de Siger de Brabant, at the Galerie Kleber in 1957, which was organized by the abstract painters Georges Mathieu and Simon Hantati. Each exhibition was oriented against the classical ...

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