Seiz Breur

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Reason for Warning: This article addresses the sensitive topic of collaboration with the Nazi regime during World War II, particularly in the context of the Breton nationalist movement.

Seiz Breur is an art movement that originated in Brittany in 1923 and dissolved in 1947. Founded by a group of Breton artists during the interwar period, it sought to create a contemporary Breton aesthetic by integrating Breton culture and language into modern art. The movement drew inspiration from the English Arts and Crafts movement and the German Bauhaus. It was primarily focused on visual arts, but the movement also extended to architecture and furniture design.

The group, officially known as "Ar Seiz Breur" (The Seven Brothers) upon its formation in 1923 and later as "Unvaniezh Seiz Breur" (Union of Seven Brothers) after 1927, comprised approximately sixty artists, craftspeople, and architects. Key figures in the movement included Jeanne Malivel, René-Yves Creston, Suzanne Candré-Creston, Xavier de Langlais, James Bouillé, Jorj Robin, Pierre Péron, and Joseph Savina. Jeanne Malivel, a professor at the Rennes School of Fine Arts, initiated the movement after a meeting in 1923 at the pardon du Folgoët with James Bouillé and René-Yves Creston, drawing the movements name from the folk story "Les sept frères."^[1]

Seiz Breur rejected what they perceived as a distorted, touristic view of Brittany, aiming instead to express a "living soul" of Breton art in line with contemporary needs. The movement was closely associated with the Breton resistance movement, which sought to preserve and revitalize Breton culture and language in the face of French centralization. They promoted the use of diverse disciplines, new materials like concrete, and new techniques such as photocollage and cinema. Their work spanned various mediums, including books, postcards, stamps, calendars, jewelry, furniture, and posters.

The movement is recognized as a precursor to modern Breton art, influencing contemporary Breton creation and culture. However, the involvement of some members with Nazi ideology and collaborationism during World War II has impacted its historical perception.

History[]

Social Context[]

The Seiz Breur movement emerged in Brittany, a region in northwestern France with a distinct Celtic heritage and a long history of resisting French assimilation. Breton nationalism, fueled by a desire to preserve the region's cultural and linguistic identity, played a major role in the development of the Seiz Breur movement.

Historically, Brittany was an independent duchy until its annexation by the Kingdom of France in 1532. While initially granted certain privileges, Brittany gradually faced increasing integration and centralization under French rule. This process intensified during the French Revolution, particularly the Jacobin period, when the revolutionaries sought to create a unified French nation, suppressing regional cultures and languages, including Breton and Gallo. This suppression, often referred to as "Vergonha" (shame) in Occitan, led to a decline in Breton cultural expression. However, the rise of the Romantic movement in the late 18th century sparked a renewed interest in Celtic traditions and a desire to preserve Breton culture.

The Seiz Breur movement was directly influenced by the resurgence of Breton nationalism. It sought to revitalize Breton art and culture in the face of increasing French dominance, promoting a distinct Breton identity while embracing modern artistic expressions. Seiz Breur artists actively participated in cultural and political movements that aimed to resist French assimilation and promote Breton autonomy.

Origins[]

The Seiz Breur movement's origins trace back to Jeanne Malivel (1895-1926), a wood engraver and decorator who played a major role in its foundation. Malivel, along with architect James Bouillé and painter-engraver René-Yves Creston, and his wife Suzanne Creston, formed the core of the early movement. These three artists, working in decorative arts, met in 1923 at the pardon du Folgoët and decided to collaborate in creating a modern Breton art that merged tradition with contemporary needs. Other artists, including Suzanne Candré and Georges Robin, later joined them.

The movement's name, Ar Seiz Breur, meaning "The Seven Brothers," originates from a Gallo folktale collected and illustrated by Jeanne Malivel. This tale, not collected in the Loudéac region, but more likely in the Rennes area, tells a story of naivety leading to tragedy, followed by redemption and renewal. This story is a variant of the international folktale type "The Little Girl Who Seeks Her Brothers."

The founders of Seiz Breur sought to reject what they perceived as a dated and tourist-influenced view of Brittany, filled with clichés and folklore. They aimed to create a modern Breton art that reflected the region's living culture. The movement's emergence occurred within a broader European context, where applied arts gained importance due to ideological, economic, cultural, and social changes brought about by industrial growth. In Brittany, organizations like the Union Régionaliste Bretonne and the Fédération Régionaliste de Bretagne had already shown interest in promoting regional arts and crafts.

In 1923, Jeanne Malivel returned to Brittany with the goal of organizing a Breton participation in the 1925 Exposition des Arts Décoratifs in Paris. This exposition, initially planned for 1915 but postponed due to World War I, aimed to showcase regional arts. Malivel reunited with René-Yves and Suzanne Creston, and proposed the name Ar Seiz Breur for their group, which was to be limited in membership. They began planning a Breton pavilion for the exposition, which they initially intended to manage entirely.

However, another group, led by painter Jean-Julien Lemordant, had also formed to organize the Breton participation. Despite lacking funding and networks, Seiz Breur managed to contribute significantly to the Breton pavilion, known as Ty Breiz, particularly in the design of the Osté, a communal hall.

Dt-seiz-breur-photo de groupe a douarnenez — Group photo at Douarnenez, 1935. Featuring (from the right) René-Yves Creston, Suzanne Creston, Youenn Drezen, Pierre Péron, and Jakez Riou with his wife.

After Malivel's death in 1926 and a period of uncertainty, René-Yves Creston took the lead in consolidating the movement. He promoted the legend of Seiz Breur and organized events like the 1927 Saint-Nazaire exhibition, which paid homage to Malivel. In 1929, the Unvaniez ar Seiz Breur (Union of the Seven Brothers) was established, broadening the movement to include architects, musicians, writers, and others.

Timeline[]

1923: Formation of the Seiz Breur group.
1925: Participation in the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, as part of the Côtes-du-Nord section, showcasing diverse works by Breton artists and artisans. This event helped the group gain initial recognition.
1926: Death of Jeanne Malivel, a key founder of the movement.
1928: Launch of the illustrated review "Kornog" (Occident), serving as a platform for Seiz Breur's artistic theories. The group officially reorganizes and is renamed "Unvaniez Seiz Breur" (Union of Seven Brothers).
1929: Seiz Breur exhibition of Breton art held in Douarnenez, Brittany.
1931: Publication of "Keltia" commences, replacing the "Kornog" review.
1937: Seiz Breur members undertake the majority of the design and implementation of the Brittany Pavilion at the Exposition Internationale des Arts et Techniques dans la Vie moderne, Paris.
1939-1945: Outbreak of World War II, causing the mobilization of numerous Seiz Breur members and disrupting the movement's activities.
1940: Publication of the "Programme de Seiz Breur dans un manifeste en treize points," outlining the movement's core artistic principles.
1940-1944: Wartime, Seiz Breur members are dispersed. Exhibitions under the name "Eost Breiziz" (Breton Harvest) are held in Rennes and Paris.
1944: Xavier de Langlais succeeds René-Yves Creston as the president of the group, marking a period of shifting ideologies within the membership.
1947-1948: The movement concludes its activities as a formal group; Rafig Tullou serves as the final secretary.

Disbandment[]

By 1948, the Seiz Breur movement dissolved amidst post-war scrutiny of its members' wartime activities. This scrutiny stemmed from associations with Breton nationalism and alleged collaboration with Nazi ideology during the Occupation. Key figures like Xavier de Langlais contributed to pro-Nazi publications, while others held positions within Nazi-backed Breton organizations.

The post-war period saw numerous Seiz Breur members facing legal consequences, including imprisonment and sentences of "national indignity." Some, like Christian Le Part and Jeanne du Guerny, faced more severe repercussions due to their direct involvement with collaborationist forces. Yann Goulet fled into exile, while others received relatively lenient sentences, sparking controversy and accusations of leniency.

A 2000-2001 exhibition at the Musée de Bretagne in Rennes aimed to revisit the movement's legacy. However, it faced criticism for downplaying Seiz Breur's ideological complexities and the extent of its members' collaboration. The exhibition's focus on artistic contributions, while omitting details of both collaboration and Resistance involvement, fueled accusations of historical revisionism.^[2]

Visuals[]

The Seiz Breur movement sought to revitalize Breton artistic expression by rejecting the perceived stagnation of traditional Breton art, which they deemed overly reliant on repetitive motifs and commercialized "biniouseries."^[3] They aimed to counteract the influence of mass media and external cultural forces, such as the adoption of Sulpician-style religious statuary and Parisian embroidery patterns. The movement's founders, Jeanne Malivel, René-Yves Creston, and others, believed Breton art should reflect an evolving culture rather than replicate past forms.

Inspirations for the Seiz Breur style were drawn from Celtic mythology, Breton legends (including Brocéliande and the Arthurian cycle), traditional Breton religious practices, and the daily lives of rural and maritime communities. The movement advocated for the integration of diverse artistic disciplines, including architecture, crafts, decoration, literature, music, painting, sculpture, woodworking, ceramics, stained glass, metalwork, cabinetmaking, textiles, frescoes, illustration, and typography.

Seiz Breur artists produced a wide array of works, encompassing embroidered banners, faience figurines, liturgical objects, and everyday items such as books, postcards, stamps, calendars, jewelry, furniture, and posters. They encouraged the use of modern materials like concrete and innovative techniques like photocollage and cinema. Characteristic motifs in their art included saw-tooth patterns, spirals, triskeles, hermines, palettes, and peacock feathers, often rendered with a modern aesthetic influenced by Art Deco.

The movement's goals were articulated in the "Kornog" review and a 1940 manifesto, which emphasized the creation of a modern Breton national art rooted in popular traditions. This involved drawing inspiration from folk art's "freshness of imagination" and adapting decorative and constructive forms to the materials and functions of objects.

Religious themes played a significant role in Seiz Breur's output. Artists like Robert Micheau-Vernez and Xavier de Langlais created stained glass windows, religious sculptures, and frescoes for churches and chapels, aiming to reintroduce regional references in contrast to prevailing Sulpician styles. James Bouillé designed liturgical objects, such as a bishop's crosier, to modernize sacred art. Jules-Charles Le Bozec and Jean Fréour contributed sculptures and bas-reliefs depicting Breton saints and historical figures.

Seiz Breur artists also explored secular themes related to Breton history and identity, producing works commemorating historical figures like Nominoë and Glenmor, as well as depictions of Breton professions and daily life. The movement's architectural contributions included private residences and public buildings that reflected a modern interpretation of Breton design.

Philosophy[]

The Seiz Breur movement's philosophy centered on the revitalization of Breton art by bridging traditional forms with modern aesthetics. Founded in 1923, the movement arose from a perceived stagnation in Breton artistic expression, which its founders attributed to the influence of mass media and tourism. The movement aimed to counteract the proliferation of what they termed "biniouseries," mass-produced items that perpetuated stereotypical and outdated representations of Breton culture.

Central to their philosophy was the belief that Breton art should evolve, reflecting a living culture rather than merely replicating historical styles. They sought to integrate a wide array of artistic disciplines, including architecture, crafts, decoration, literature, music, painting, and sculpture, promoting a renewal of Breton artistic expression.

The group's philosophy also emphasized the importance of national identity in artistic creation. They sought to awaken a distinct Breton artistic spirit, drawing from folk art's "freshness of imagination" and the "genius of our people." This involved adapting decorative and constructive forms to the inherent qualities of materials and the intended function of objects.

The movement's ideology was articulated in its publications, particularly the "Kornog" review, which served as a platform for disseminating their theories and promoting a modern Breton artistic vision. The movement's motto, "Netra na den ne vir ouzimp kerzout war-du ar pal. Avel a-dreñv, avel a-benn, Seiz Breur, war-eeun!" (Nothing and no one will prevent us from walking towards the goal. Wind behind, wind against, Seiz Breur, straight ahead!), represented their determination to forge a new path for Breton art.

Controversy[]

The Seiz Breur movement, while influential in modern Breton art, faces criticism due to associations between some of its members and the Nazi regime during World War II. In 1942, the establishment of the Institut Celtique de Bretagne led to ideological divergences within the group. While some members embraced Breton nationalism and collaborated with the Nazi regime, others actively participated in the French Resistance.

During the occupation, certain Seiz Breur members, such as Fañch Éliès, Florian Le Roy, Morvan Marchal, and Xavier de Langlais, engaged in collaborationist activities, including participation in Nazi propaganda, SS intelligence, and antisemitic publications. Conversely, individuals like René-Yves Creston, Charles Penther, Gaston Sébilleau, and André Batillat were involved in Resistance efforts.

These conflicting actions among members led to the movement's discrediting and dissolution by 1948, despite attempts at revival. This complex history, including the conflicting wartime activities of its members, was revisited in a 2000-2001 exhibition at the Musée de Bretagne in Rennes, which, while sparking renewed interest, did not fully resolve the ambiguities surrounding the movement's wartime activities and ideology. The exhibition notably omitted the French Resistance contributions of several members.