Abstract
Soon after its establishment, UNESCO embarked on an ambitious project, its Archives of Colour Reproductions of Painting, that would span three decades (1949-79) and reach all states in the United Nations. Collecting, publishing, and exhibiting high-quality color reproductions of paintings throughout the world, UNESCO played a crucial role in transforming the education, appreciation, and consumption of art globally, but it was also decisive in reinforcing a particularly French modernist canon internationally. Although UNESCO promoted itself as an impartial clearinghouse, the project, with French professionals (Andre Malraux, Rene Huyghe, Jean Cassou) playing central positions in UNESCO's program, reflected French interests.
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