List of Illustrations  ix

Acknowledgments  xiii

Introduction  1

Chapter 1. Fascism, Modernism, and Modernity  17

Chapter 2. The Jew as Anti-Artist: Georges Sorel and the Aesthetics of the Anti-Enlightenment  63

Chapter 3. La Cite Francaise: Georges Valois, Le Corbusier, and Fascist Theories of Urbanism  111

Chapter 4. Machine Primitives: Philippe Lamour and the Fascist Cult of Youth  155

Chapter 5. Classical Violence: Thierry Maulnier and the Legacy of the Cercle Proudhon  203

Conclusion  247

Notes  255

Bibliography  323

Index  345

“If one wants to learn a great deal about how numerous art and cultural critics during the interwar period, especially in France, exploited modernist aesthetics on behalf of fascism, Antliff’s book is the place to go.”—Robert Soucy, American Historical Review

“The book is superb on cultural politics and the various fascist discourses on art and culture in the interwar period. . . . Avant-Garde Fascism is an important and accomplished work, and it is definitely required reading for anyone interested in either fascism or modern art.”—Ihor Junyk, Journal of Modern History

“A richly documented work of intellectual historiography, Avant-Garde Fascism is essential reading for scholars and students of twentieth-century France, and of modernist art and literature more broadly.”—Jonathan P. Eburne, Canadian Journal of History

“Antliff clearly demonstrates that he is sensitive to the subtle complexities of the readings and misreadings of literature and art by the writers he studies. . . . It is precisely this subtlety of concrete, historical analysis, alongside the admirably detailed and finely textured account of the use of aesthetic ideas in French fascist thought, that makes this book such an important study. . . .”—Anthony White, Nineteeth-Century Art Worldwide

“Avant-Garde Fascism puts a spotlight on theories of aesthetics and revolution that some anticapitalist, anti-democratic intellectuals propounded in France from 1909 to 1939. . . . [Antliff] has meticulously reconstructed Sorelian currents of thought through the interwar years. His stated reason is to show that fascism in France was not just opportunist praxis, but also serious theorizing, particularly about art and culture. Along the way AvantGarde Fascism points out related artistic works and their parallels in Fascist Italy and Germany,”
but above all it tells of French ideas, unfolding point-counterpoint, in the decades before
France’s anti-democratic nationalists found themselves in a Nazi-dominated Europe.”—Charles Rearick, H-France, H-Net Reviews

“If one wants to learn a great deal about how numerous art and cultural critics during the interwar period, especially in France, exploited modernist aesthetics on behalf of fascism, Antliff’s book is the place to go.”—Robert Soucy, American Historical Review

“The book is superb on cultural politics and the various fascist discourses on art and culture in the interwar period. . . . Avant-Garde Fascism is an important and accomplished work, and it is definitely required reading for anyone interested in either fascism or modern art.”—Ihor Junyk, Journal of Modern History

“A richly documented work of intellectual historiography, Avant-Garde Fascism is essential reading for scholars and students of twentieth-century France, and of modernist art and literature more broadly.”—Jonathan P. Eburne, Canadian Journal of History

“Antliff clearly demonstrates that he is sensitive to the subtle complexities of the readings and misreadings of literature and art by the writers he studies. . . . It is precisely this subtlety of concrete, historical analysis, alongside the admirably detailed and finely textured account of the use of aesthetic ideas in French fascist thought, that makes this book such an important study. . . .”—Anthony White, Nineteeth-Century Art Worldwide

“Avant-Garde Fascism puts a spotlight on theories of aesthetics and revolution that some anticapitalist, anti-democratic intellectuals propounded in France from 1909 to 1939. . . . [Antliff] has meticulously reconstructed Sorelian currents of thought through the interwar years. His stated reason is to show that fascism in France was not just opportunist praxis, but also serious theorizing, particularly about art and culture. Along the way AvantGarde Fascism points out related artistic works and their parallels in Fascist Italy and Germany,”
but above all it tells of French ideas, unfolding point-counterpoint, in the decades before
France’s anti-democratic nationalists found themselves in a Nazi-dominated Europe.”—Charles Rearick, H-France, H-Net Reviews

“If there is an avant-garde within the historiography of modern European culture, then Mark Antliff is one of its luminaries. This remarkable book contributes in a scholarly and exciting way to the history of ideas, art, visual culture, and politics, while enriching comparative studies in both modernism and generic fascism. The complex and ideologically sophisticated fascist milieu of inter-war France has finally been released from the prison of intellectual history: French fascism’s distinctive personality is revealed as a nexus of visionary artistic, social, and cultural schemes to regenerate the nation’s productive dynamism in a way that would heal the degeneracy of the age and place the nation at the cutting edge of modernity.”—Roger Griffin, author of Modernism and Fascism: The Sense of a Beginning under Mussolini and Hitler

“This outstanding study adds an important dimension to our understanding of French fascism. Mark Antliff deftly identifies a variety of ways in which fascists in France and elsewhere activated myths of the past to propel challenging yet seductive visions of achievable futures. This approach is not only crucial to a better grasp of the real causes of fascism’s success in the early twentieth century; it also implies a similar alertness to the threats—and the appeal—posed by the fundamentalisms that seek power in apparently democratic societies today.”—Terry Smith, editor of In Visible Touch: Modernism and Masculinity

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