{"id":75861,"date":"2014-08-25T12:00:47","date_gmt":"2014-08-25T16:00:47","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=75861"},"modified":"2014-08-25T15:20:19","modified_gmt":"2014-08-25T19:20:19","slug":"les-combats-modernes","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/08\/25\/les-combats-modernes\/","title":{"rendered":"Les Combats Modernes"},"content":{"rendered":"<script>\/* <![CDATA[ *\/ portfolio_slideshow.slideshows[979] = {\"timeout\":\"4000\",\"autoplay\":\"false\",\"trans\":\"fade\",\"loop\":\"true\",\"speed\":\"400\",\"nowrap\":\"true\"}; \/* ]]> *\/<\/script><div id=\"slideshow-wrapper979\" class=\"slideshow-wrapper clearfix portfolio-slideshow-centered\">\n<div id=\"slideshow-nav979\" class=\"slideshow-nav\">\n\t<a class=\"pause\" style=\"display:none\" href=\"javascript:void(0);\">Pause<\/a>\n\t<a class=\"play\" href=\"javascript:void(0);\">Play<\/a>\n\t<a class=\"restart\" style=\"display:none\" 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class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n\n\t\n\t\t\t<p class=\"slideshow-caption\">\n\t\t\t\t\t<\/p>\n\t\n\t\t\t<div class=\"slideshow-description\">\n\t\t\t\t\t<\/div>\n\t\n<\/div><\/div><!--#slideshow-wrapper-->\n<p>Given the recent centennial of the beginning of the Great War (as it was then known), I\u2019ve found myself thinking again of <a title=\"Lucien M\u00e9tivet | The Paris Review\" href=\"https:\/\/www.theparisreview.org\/blog\/2013\/05\/07\/la-couture-comique\/\">Lucien M\u00e9tivet<\/a>, the French artist I wrote about here last year, best known for his works from the 1890s. The advent of the war brought an abrupt halt to the publication of <em>Le Rire<\/em> (<em>Laughter<\/em>), the weekly journal of humor to which M\u00e9tivet was a regular contributor, but its publisher, F\u00e9lix Juven, soon relaunched it with a small but significant change of title: now it was <em>Le Rire Rouge<\/em> (<em>The Red Laugh<\/em>), presumably in recognition of the blood of France\u2019s soldiers and the dark nature of the times.<\/p>\n<p>It had become customary for <em>Le Rire<\/em> to start each issue with M\u00e9tivet\u2019s drawings up front, and in the journal\u2019s first new issue, of November 21, 1914, his was the opening image: an energetic, optimistic young conscript. The picture\u2019s cheerleading join-the-war-effort ambience is given a discreetly poignant touch by a telling detail just outside the frame: to the upper right we see the typeset words <em>\u201cAu conscrit Maurice Juven\u201d<\/em>\u2014a dedication to a young conscript whose surname suggests a close relationship to the magazine\u2019s publisher, a longtime friend of the artist. Clearly this dedicatee was, like all soldiers, carrying with him into danger the hearts of those who loved him. With this single, seemingly exuberant image, the very personal stakes for the creators of <em>Le Rire Rouge<\/em>, and indeed for all of France, were acknowledged. <!--more--><\/p>\n<p>That same opening page contained a note to readers, summed up in a quote from the dramatist Henri Lavedan: \u201cLe soldat fran\u00e7ais rit, partout. C\u2019est une de ses mani\u00e8res.\u201d (\u201cThe French soldier laughs, everywhere. It\u2019s part of his manner.\u201d) True to its intentions as stated in that initial letter to readers, for the next four years <em>Le Rire Rouge<\/em> maintained, along with its new name, its new theme: the war in all its aspects, from the quotidian to the grim, served up in a range of styles but with loyalty to France never in doubt. The year 1915 began with a drawing depicting the passing of a giant broom from the previous year to the new, each of the \u201cyears\u201d personified as a heroic woman (variations on Marianne, the Goddess of Liberty, a popular symbol of France), ready to sweep up the war. A few weeks later, a depiction of \u201cmodern combat\u201d made reference to the shields, helmets, grenades, and cannons of wars past.<\/p>\n<p>As M\u00e9tivet continued to deliver his contributions, usually three images per week, and the months passed, perhaps these cartoons\u2014which, like many editorial cartoons, were not always designed to provoke laughter but often rather a nod of recognition, and a sense of affirmation and solidarity\u2014began to feel to readers like a chronicle of the era, albeit one entirely partisan to the French cause. In May, the United States\u2019s outrage at the sinking of the Lusitania by a German submarine prompted M\u00e9tivet\u2019s \u201cBulletin de victoire\u201d (\u201cForecast of Victory\u201d), with its memorable depiction of a furious Uncle Sam; the forecast, however, was premature, as the U.S. was not in the least eager to enter the war. As the horrors continued, the darkness and bitterness of the times wove their way through the images of subsequent years, such as, for example, one for New Year\u2019s Day 1916 in which the Grim Reaper pays a courtesy call on Kaiser Wilhelm II (\u201cI owe him a card!\u201d).<\/p>\n<p>In February 1917, M\u00e9tivet portrayed war as a game of cards between the valorous Marianne-as-warrior-woman and an ugly, brutish warrior hag\u2014his standard depiction of Germany, often accompanied by vultures and skulls. France has \u201call the aces,\u201d thanks to the <em>cigognes<\/em> (\u201cstorks\u201d) air force squadron to which the drawing is dedicated. Six months later, M\u00e9tivet recast this image for <em>La\u00a0Ba\u00efonnette<\/em>, another war-themed publication, transforming the game of cards into one of chess. As a color center spread, more than four times the size of its black and white prototype, the reworked version provided a canvas well suited to M\u00e9tivet the renowned poster artist, with his longstanding taste for the symbolic. We see in the lower left that the French shield is decorated with the emblems of its Allies (now including the United States), as the warrior-goddess, clearly out of patience, makes a critical move toward winning the game. Battlefield smoke forms a backdrop, but a glorious sunrise is breaking behind the winner-to-be. And in a detail characteristic of M\u00e9tivet at his best, the helmets of each player form a parallel staging of the drama: each takes the shape of a horse in battle. France\u2019s helmet is Pegasus, rearing up to fly to victory\u2014a victory that in reality was still more than a year away.<\/p>\n<p><em>Le Rire Rouge<\/em> continued on through the Allied victory in November 1918 and for several subsequent weeks, ending with issue number 215, dated December 28, 1918. Two weeks prior, M\u00e9tivet had included among his contributions a simple drawing titled \u201cLe retour du prisonnier\u201d (\u201cThe Return of the Prisoner\u201d) that acknowledged the personal devastation apparent in those who had \u201creturned from Hell\u201d as broken men. Its pathos is too deliberate, too conventional, to impress one as art, but its worth is in its gesture of humanity. As I look at it I think back to the image with which <em>Le Rire Rouge<\/em> began\u2014that eager young conscript\u2014and I wonder what became of Maurice Juven.<\/p>\n<p>I <em>do<\/em> know what F\u00e9lix Juven did next. With his magazine\u2019s first issue of the new year, dated January 4, 1919, he dropped the word \u201crouge,\u201d reset the numbering to indicate a new series, and <em>Le Rire<\/em> returned. Issue No. 1 opened with a M\u00e9tivet drawing that addressed the hope of a lasting peace, with the title \u201cL\u2019\u00e9bauche,\u201d which can mean \u201cfirst draft,\u201d \u201cfirst signs,\u201d or \u201cbeginning.\u201d<\/p>\n<p><em>Robert Pranzatelli is the founding editor of the<\/em><a href=\"http:\/\/thefolioclub.blogspot.com\" target=\"_blank\"> Folio Club<\/a><em>, an independent publishing project. He is also\u00a0a longtime staff member of Yale University Press.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Given the recent centennial of the beginning of the Great War (as it was then known), I\u2019ve found myself thinking again of Lucien M\u00e9tivet, the French artist I wrote about here last year, best known for his works from the 1890s. The advent of the war brought an abrupt halt to the publication of Le [&hellip;]<\/p>\n","protected":false},"author":527,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[12976,15085,865,2783,10824,15084,10819,269,15083,14550,183,7740],"class_list":["post-75861","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-drawings","tag-felix-juven","tag-france","tag-illustrations","tag-le-rire","tag-le-rire-rouge","tag-lucien-metivet","tag-magazines","tag-the-great-war","tag-twentieth-century","tag-war","tag-world-war-i"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Les Combats Modernes<\/title>\n<meta name=\"description\" content=\"Robert Pranzatelli on French artist Lucien M\u00e9tivet and the weekly journal \u201cLe Rire Rouge.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/08\/25\/les-combats-modernes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les Combats Modernes by Robert Pranzatelli\" \/>\n<meta property=\"og:description\" content=\"August 25, 2014 \u2013 Given the recent centennial of the beginning of the Great War (as it was then known), I\u2019ve found myself thinking again of Lucien M\u00e9tivet, the French\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/08\/25\/les-combats-modernes\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-08-25T16:00:47+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-08-25T19:20:19+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"675\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Robert Pranzatelli\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Robert Pranzatelli\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/08\/25\/les-combats-modernes\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/08\/25\/les-combats-modernes\/\"},\"author\":{\"name\":\"Robert Pranzatelli\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/5ca98b236723d78a0e3647289857dd08\"},\"headline\":\"Les Combats Modernes\",\"datePublished\":\"2014-08-25T16:00:47+00:00\",\"dateModified\":\"2014-08-25T19:20:19+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/08\/25\/les-combats-modernes\/\"},\"wordCount\":1020,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"keywords\":[\"drawings\",\"F\u00e9lix Juven\",\"France\",\"illustrations\",\"Le Rire\",\"Le Rire Rouge\",\"Lucien M\u00e9tivet\",\"magazines\",\"the Great War\",\"twentieth century\",\"war\",\"World War I\"],\"articleSection\":[\"Arts &amp; 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