Abstract
Abstract By analyzing the public mural paintings sponsored by the French state to help artists survive the economic crisis around the time of the Popular Front, this article intends to contribute to the study of the relationship between mass politics and mass culture in the 1930s. After addressing French and foreign views on mural art as well as state agendas behind mural commissions, the study examines the social and political significance of state-financed mural projects. Frequently large-scale and realized in a figurative style, murals portrayed collectivities in instants of conviviality and extolled the solidaristic ties binding them. State-financed mural paintings, I contend, monumentalized “the collective” so to create unity and collective spirit. Thereby, they created a visual politics that helped bridge the gap between art and the people and became agents of mass politics at a time of political instability.
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