{"title":"The Great Prehistoric Art Swindle: André Breton and Palaeolithic Cave Painting","authors":"Douglas Smith","doi":"10.3366/para.2021.0376","DOIUrl":null,"url":null,"abstract":"At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French soil. Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"PARAGRAPH","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/para.2021.0376","RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
引用次数: 0
Abstract
At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French soil. Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art.
期刊介绍:
Founded in 1983, Paragraph is a leading journal in modern critical theory. It publishes essays and review articles in English which explore critical theory in general and its application to literature, other arts and society. Regular special issues by guest editors highlight important themes and figures in modern critical theory.