Adieu Beaux Jours: The 1937 Exposition Internationale and the Eclipse of French Foreign Policy Thomas Simpson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in History Professor Giandrea, Faculty Advisor American University, 2012 Simpson 1 Adieu Beaux Jours: The 1937 Exposition Internationale and the Eclipse of French Foreign Policy Abstract Traditionally, the 1937 Paris Exposition Internationale has been relegated as a topic of study in the field of art history. The purpose of this research paper is to explore the salient political issues surrounding the planning and implementing of the exposition, particularly the foreign policy of France’s Popular Front government. The exposition opened during a period of tense international relations, given the Civil War raging in Spain to the south and the continual threat that such a civil war could have broken out in France. The research derives from numerous secondary source books and primary source materials, including French and American diplomatic documents, French newspaper, memoirs, photographs, pieces of art and the official guidebook of the Nazi German pavilion at the Exposition. This paper argues that while Léon Blum and the Popular Front government attempted to use the 1937 Exposition as a moment to assert French strength, unity and dedication to peace on the continent, political and artistic disorganization at the Expo doomed the goals of the government. The aim of this research is to elevate the importance of the ’37 Exposition in the historical narrative of the Interwar years and the lead-up to the Second World War. Acknowledgements The research and writing of this paper, like the planning and the implementation of the 1937 Exposition it explores, was a monumental undertaking and could not have been possible without the help of others. I’d like to thank Dr. Steve Guerrier and Ms. Joanne Hartog for the support I received from the George C. Marshall Undergraduate Research Scholarship. In addition, my parents who continue to be tremendously supportive of my endeavors to study European history and I’m sure they’ll be happy to see that I got something out of that semester in France. Finally, I’d like to acknowledge all the great educators I’ve had over the years but a special thanks to my senior thesis advisor, Dr. Mary Giandrea for all the time and energy she spent in to make sure this project was a success. Simpson 2 “Curieuse année 1937, décidément, tantôt triste et, quoi qu'il en soit, souvent déroutante…Alors, qu'est-ce que tout cela signifie, pause et non-intervention et fusillades et démission? C'est l'adieu aux beaux jours? Vraiment? Si vite? Si mal?”1 Paris has long had a reputation for being a city of splendid beauty and subtle charm. However, in the summer of 1937, there was very little subtlety in the skyline along the Seine. Paris was hosting the Exposition Internationale des Arts et Techniques dans la Vie Moderne. The eyes of the world thus turned to Paris, but their attention was not on France. Three towers pierced the blue skies of Paris in the summer of ’37: the Eiffel Tower, a holdover from the 1889 World’s Fair, and the intimidating edifices of the pavilions of Nazi Germany and Soviet Russia. For most, the symbolism was impossible to miss. The view from the esplanade of the new Palais de Chaillot visually represented the political climate throughout Europe in the 1930s. The eyes of this international audience beheld the seemingly outdated system of parliamentary democracy in France, represented by the Eiffel Tower, sandwiched between the opposing poles of fascism and communism that threatened to tear the continent apart. One political cartoon published at the time depicted the statue of the proletarian couple atop the Soviet pavilion lashing out, in the process tipping their tower, towards the squawking Nazi Eagle across the walkway.2 Beneath the clashing statues, the terrified crowd looks on mesmerized or flees, some even jumping into the Seine.3 The caption reads, “At the Exposition: once again, these two are the ones fighting.”4 In spite of the joyous, funfair atmosphere, here was the great ideological and political debate of the decade starkly presented for all to see in the City of Lights. 1 Roger Bordier, 36 La Fete (Paris: Éditions Messidor, 1985), 114. 2 A. Dubout, “At the Exposition: once again, these two are the ones fighting,” Candide, 15 July 1937 in James D. Herbert., Paris 1937: Worlds on Exhibition (Ithaca, NY: Cornell University Press, 1998), 27. 3 Dubout. 4 Dubout. Simpson 3 Not two miles away down the Seine, at the Quai d’Orsay, the home of the Ministère des Affaires Étrangères (Ministry of Foreign Affairs), the diplomatic corps of France struggled with the political realities of this ideological fight. The year before, bloody civil war broke out in France’s neighbor to the south, Spain, between the Soviet-backed Loyalists and the Nazi-backed Nationalists. Visitors to Republican Spain’s pavilion could get a taste for the cruelty of this conflict, particularly towards civilians, in the display of the new masterwork by Pablo Picasso, Guernica. Greater public awareness complicated matters for a foreign ministry that was attempting to steer a middle course through the maelstrom of the Spanish conflict. As the record of diplomatic communiqués reveal, “it is therefore the events of Spain that take the dominant place in the preoccupations of the governments” in 1937.5 Would it be possible for France to show the world at the Exposition that they were the nation to assure the peace, in spite of the Spanish bloodletting? Playing host to innumerable foreign dignitaries and tourists brought Paris prestige in 1937, but with this distinction came the pressure to present the nation to an international audience of both allies and antagonists. As the French ambassador to Germany stated, “All summer the Paris Exposition…attracted a number of German tourists, including many less prominent Nazi leaders, most of whom had never been in France. They discovered Paris with manifest pleasure and, at their return, Hitler sought to obtain minute information about all they observed.”6 There was much more at stake here than entertaining the masses or showing off new artwork and products. This was just as much a political exposition as it was an aesthetic. It was an opportunity for political showmanship; a chance to flex “soft-power” muscle and to make a 5 Ministère des Affares Étrangères, Documents Diplomatiques Français 1932-1939, 2eme Série (1936-1939), Tome V (20 Février-31 Mai 1937) (Paris : Imprimerie Nationale, 1968), vii. 6 André François-Poncet, The Fateful Years: Memoirs of a French Ambassador in Berlin, 1931-1938, Trans. Jacques LeClerq (London: Victor Gollance Ltd., 1949), 212. Simpson 4 case for political and cultural superiority. This paper seeks to link the political and diplomatic history of France in the 1930s to the Exposition Internationale in a way not yet approached by historians. The study of the exposition has long been relegated to the field of art history. Naturally, the exposition offers art historian numerous examples of art, architecture and consumer goods to examine and interpret. Most all of the book-length studies of the 1937 exposition emerge from the academic fields of art, architecture and design, including James Herbert’s Paris 1937: Worlds on Exhibition, Shanny Peer’s France on Display and Karen Fiss’ Grand Illusion. While not without merit, the works of art historians take a different approach to academic research and place emphasis on themes and topics only of incidental interest to historians. This is most explicitly seen in Herbert’s book, which argues that the 1937 expo failed to “truly represent the world.”7 Herbert’s argument is muddled, to say the least, by overuse of art jargon. Lay readers and professional scholars of history alike might have difficulty getting through passages such as: Thus while the various displays of global scope perched along the Seine over the period of one year may have indulged in unbridled hubris, that conviction necessarily engendered as its own perfect complement a potential incertitude in the inevitable mismatch between the world and its iteration in representation.8 Those in the field of history have little use in their research for discussions of the utilization of space and “transcendent subjects.”9 Historians likely do not know what these terms mean, and find little utility in applying them to their own studies. Moreover, Herbert’s main focus is actually on artwork and cinema; therefore, Paris 1937: Worlds on Exhibition offers little with which political or diplomatic historians can engage. While this vacuum in the research allows 7 Herbert, 3. 8 Herbert, 28. 9 Herbert, 26. Simpson 5 this paper to explore the exposition in a new light, it also makes writing an extensive historiography on the 1937 Exposition a difficult task. Diplomatic historians of Interwar France, for their part, have focused most of their attention on the big events leading up to the Second World War: the violation of the Locarno Treaty by the re-militarization of the Rhineland, the Anschluss, and the Munich Agreement. Any mention of the Exposition in these books is typically only in passing, as an interesting sideshow to the main events. Authors in the field, including Anthony Adamthwaite and Jean-Baptiste Duroselle, have overlooked this important event in the history of both Paris and international events for some seemingly inexplicable reason. Perhaps this is so because at first glance the exposition, in spite of its international moniker, seems so provincial. In a way, the Exposition does come across as a topic for historians of Paris only.