Mad years

After the Armistice, in 1918, in bloodless Europe, the winners test a great relief: humiliated, dismembered, amputated by sound colonial Empire, Germany is not close raising the face. Of as much less than the payment of heavy tributes will mobilize it during long years.

In Paris, during the conflict, one did not lose art to have fun.

One had fun the festival at the beginning to make fun of the enemy and to give courage: it was going to take a beautiful beating which would wash the affront of 1870 and would make forget the shame of the Affaire Dreyfus for the army française.
One continued the festival then, to distract the permissionnaires.
Then, when too many horrors had removed with the “Poilu S” the desire for laughing, the festival continued to comfort the funkers to grow rich under the heavy glance by the ghosts by the Face.

Then, now that a new generation dreams of a new world and proclaims “that never again! ”, one hastens to propose new griseries to him on bottom of music; from America with the Allies, the Jazz makes its appearance.

The Utopia positivist of the 19th century and its creed progressist make place with a Individualisme unchained and extravagant. Andre Gide and Marcel Proust gives the literary tone of this tendency which is exacerbated and grown with the movement hobby-horse whose Tristan Tzara publishes proclamation. The Surréalisme of André Breton is not far.

The Art nouveau plentiful, mown by the war, yields the place to the invaluable diagrams of the Art déco. The bell of Wall Street some Thursday of 1929 will announce the end of the rejoicings.

See too

For more details over the period, to refer to the article devoted to with the Inter-war period

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External bonds

  • Roleplay: The mad years

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