La Nouvelle École de Paris est un objet à géométrie variable de l’histoire de l’art. Plus qu’une école nationale, elle est un concept résultant de la somme des discours qui n’ont de cesse de la définir de 1945 à 1980. L’École de Paris est une zone de transformation permanente au gré des projections et des interprétations des acteurs du monde de l’art (critiques, galeristes, artistes et historiens) ainsi que des intervenants extérieurs (politiques, milieux économiques). Chaque partie en a une lecture personnelle.Cette thèse, articulée en deux volets, revient sur les origines de ces interprétations contradictoires. Ainsi, la première partie concerne les lectures contemporaines de la Nouvelle École de Paris de 1945 à 1955. Cette période qui s’étend depuis la Libération de la France jusqu’au début de la guerre froide, revient sur les conditions d’émergence de la Nouvelle École de Paris et analyse les différentes acceptions qu’elle revêt. Le deuxième volet, intitulé l’École de Paris face à son histoire de 1955 à 1980, se concentre sur les réécritures de l’histoire de l’art. Au milieu des années 1950 la Nouvelle École de Paris atteint une stabilité qui relance la modernité et permet de réaffirmer la place de la France sur la scène internationale. Néanmoins, le modèle qui s’impose alors, va être fortement contesté tant au niveau national qu’international, alors que jusqu’ici l’École de Paris avait imposé un modèle historiographique basé sur la continuité des avant-gardes historiques françaises. À la fin des années 1960, l’école parisienne devenue trop embarrassante dans un monde de l’art internationalisé, devient un enjeu de relecture. L’histoire de l’art qui s’écrit dans les années 1970, frappée par la crise de l’avant-garde, réévalue les termes de son passé moderniste et ceux de la tradition nationale française. Il s’agit alors de déterminer la place et le rôle de l’École de Paris au sein du programme de refondation des politiques culturelles et de l’historiographie qui s’écrit de 1960 à 1980. Bien qu’officiellement condamnée, certains aspects de l’École de Paris entrent pourtant en résonnance avec la néo-avant-garde qui se développe entre 1970 et 1980, permettant de repenser et de dépasser les blocages engendrés par les définitions paradoxales de l’École de Paris. / The Nouvelle École de Paris is a “geometrical object” with multiple facets that have evolved throughout the History of art. More than a national school, the Nouvelle École de Paris arose from cumulative discourses that have been trying to define it from 1945 to 1980. The École de Paris is a permanent morphing zone, changing upon two main components. The first one includes the interpretations and projections stemming from various actors constituting the artistic community (i.e. critics, gallery owners, historians, artists, etc.) and the second one involves independent contributors (i.e. political and economic protagonists). Each one has a different reading. This thesis contains two parts, both exploring the multiple conflicting interpretations to understand the resulting artistic heritage of the École de Paris. Thus, the first part of the thesis named “The contemporary readings from 1945 to 1955” investigates the conditions and contexts allowing the rise of École de Paris and analyzes the multiple acceptations it faces through contemporary readings from the end of the Second World War in 1945, after the Liberation, to the beginning of the Cold War in 1955. The second part, named “L’ École de Paris facing its history, from 1955 to 1980” is focused on the way of rewriting the History of art. The Nouvelle École de Paris reaches enough stability to revive the modernity in the middle of the 50’s, allowing reinforcing the international position of France on the artistic scene. Nevertheless, the historiographical model based on the French historical avant-garde that has been so far imposed by the École de Paris will be strongly contested at both national and international levels. Becoming too embarrassing in such an internationalized artistic world, the École de Paris is again subjected to further reinterpretations at the end of the 60’s. Stricken by the artistic avant-garde crisis of the 70’s, the History of art is constrained to reappraise the terms defining its Modernist past and those of the artistic French national tradition. The new issues to determine the place and the role of the École de Paris within the rebuilding program of French cultural policies and through the historiography writing come up from1960 to 1980. Although officially condemned, the resonance of some aspects of the École de Paris within the neo-avant-garde arising between 1970 and 1980, allows rethinking and surpassing the blockages formerly engendered by all paradoxical definitions of the École de Paris.

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Ausgehend von der sog. "Fiedler-Debatte" des Jahres 1968, eine jener Auseinandersetzungen über Formen und Inhalte, Aufgaben und Möglichkeiten von Literatur, Kunst und deren Kritik, wie sie im Umkreis des Annus mirabilis so häufig wie heftig geführt worden sind, unternimmt diese Arbeit auf rund 340 Seiten den Versuch, mit (nicht nur) diskursanalytischen Methoden das in der "Chiffre 1968" besonders virulent gewordene Spannungsverhältnis zwischen Kunst, Literatur und Ästhetik auf der einen und den vielfältigen Politisierungstendenzen auf anderen Seite mikrologisch auf-zuschreiben und mit Blick auf eine ganze Reihe verschiedener Bezugspunkte und -ebenen zu erklären (z.B. bezüglich genereller Kunst- und Ästhetikvorstellungen innerhalb der (Neuen) Linken, hinsichtlich der Aufarbeitung der deutschen NS-Vergangenheit, der Auseinandersetzung mit Antiamerikanismus usw.) Dabei rücken nicht nur die vielfältigen, nicht selten geradezu antagonistisch auftretenden "deutschen" Revolte-Ansätze "um ''68", sondern auch Gemeinsamkeiten und Unterschiede zu zeitgleichen Tendenzen und Debatten in den USA in den Fokus. Die umfangreiche Analyse der ebenso vielen wie vielschichtigen Ebenen der "Chiffre 1968" zeigt, dass von einem "1968"oder "den 68ern" nirgends Rede sein kann.

This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.