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Caricature of Emile Combes, cover of Le Rire magazine
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Caricature of Emile Combes, cover of Le Rire magazine
CHT293257 Caricature of Emile Combes, cover of Le Rire magazine, 12th March 1903 (colour litho) by Leandre, Charles (1862-1934); Private Collection; (add.info.: Emile Combes (1835-1921) became a freemason and is portrayed in the cartoon as the Attila of the rue Cadet (central office of Freemasons in Paris); the scalps of monks refer to the policy of separation of church and state and anti-clericalism introduced in France by Combes in the wake of the Dreyfus affair; ); eArchives Charmet; French, out of copyright
Media ID 23178348
© Archives Charmet / Bridgeman Images
Anti Clerical Comical Freemasonry French Politician Laicite Mason Premier Monks
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This vibrant and comical print captures the caricature of Emile Combes, featured on the cover of Le Rire magazine on March 12th, 1903. Created by renowned artist Charles Leandre, this colorful lithograph showcases the satirical portrayal of Combes as the "Attila of the rue Cadet" symbolizing his role as a prominent figure in French politics during his tenure as Prime Minister from 1902 to 1905. Emile Combes is depicted with his distinctive profile and signature mustache, embodying both humor and political commentary. The cartoon highlights his affiliation with Freemasonry, portraying him amidst a backdrop of horse imagery that represents this secret society's central office in Paris. Additionally, the scalps of monks adorning his belt allude to Combes' policy of separating church and state and promoting anti-clericalism following the infamous Dreyfus affair. Leandre's artwork cleverly combines elements of satire and wit to convey a humorous yet critical perspective on Emile Combes' political career. Through this portrait-like depiction, we witness an amalgamation of religious symbolism intertwined with political commentary. This print offers viewers a glimpse into early 20th-century French politics while showcasing Leandre's artistic prowess in capturing both likeness and satire. It serves as a testament to how art can be used not only for aesthetic pleasure but also as a medium for social critique.
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