Andre Malraux – born Nov. 3, 1901, Paris died Nov. 23, 1976, Paris

The philosophy and theories of art proposed by Malraux are, in truth, open to criticism, yet (for me) they come as close to an approximation of my own feelings about art as any that I have found. As a young artist and political activist I read his works (along with Camus, Sartre and Antoine de Saint-Exupery et al) back in the 70s. It is certain that the words I absorbed then have formed the framework on which my own ‘art’ is based.

What appeals so much to me about these, essentially existential, writers is the view of art as the defining characteristic of the ‘life’ of the man or woman who is the ‘artist’, and that their art is their means of shaking their fist at an absurd universe – the means of marking their existence on a basically disinterested world.

Malraux is the ultimate ‘Art-adventurer’ a sort of Indiana Jones, boys’ own hero for painters. (This is a man who, amongst other things, invented the Viet Minh, uncovered lost cities, fought in the Spanish civil War and the French resistance became the French Minister of Culture and, in between all this, wrote stunning novels and philosophical works – The only thing he didn’t do was paint …..I think).

He is one of my all time heroes – no question, and has been a huge influence on my work.

The following mini-biography has been collated from numerous internet sources and the more unreliable recesses of my own pitiful memory.

Malraux was a French novelist, art historian, and statesman, who became an active supporter of General Charles de Gaulle and, after de Gaulle was elected president in 1958, served for 10 years as France’s minister of cultural affairs.

His major works include the novel La Condition humaine (1933; Man’s Fate); Les Voix du silence (1951; The Voices of Silence), a history and philosophy of world art; and Le Musée imaginaire de la sculpture mondiale (1952–54; Museum Without Walls).

Malraux was born into a well-to-do family. The details of his early life and education are obscure, however. At the age of 21 he left France in search of a Khmer temple of whose discovery he had read in an archaeological bulletin. Plunging into the Cambodian forest, he reached the temple, which was not then being considered for restoration. He had some bas-reliefs removed from it and took them back to Phnom Penh, the capital of Cambodia. Arrested at once and sentenced to imprisonment, he appealed to Paris and was released. Malraux’s mistreatment in jail by the French colonial authorities turned him into a fervent anticolonialist and an advocate of social change.

While in Southeast Asia he organized the Young Annam League (the precursor of the Viet Minh, or Viet Nam League for Independence), became a leading writer and pamphleteer, and founded a newspaper, L’Indochine Enchaînée (“Indochina in Chains”). Crossing to China, he apparently participated in several Chinese revolutionary incidents and may possibly have met Mikhail Borodin, the Russian Communist adviser to Sun Yat-sen and then to Chiang Kai-shek.
Malraux was to return to the Far East several times.

In 1929 he made important discoveries of Greco-Buddhist art in Afghanistan and Iran. In 1934 he flew over the Rub’ al-Khali in Arabia and discovered what may have been the site of the Queen of Sheba’s legendary city. After his second return from Indochina in 1926 he published his first novel, La Tentation de l’Occident (The Temptation of the West). His novels Les Conquérants (The Conquerors), published in 1928, La Voie royale (The Royal Way), published in 1930, and the masterpiece La Condition humaine in 1933 (awarded the Prix Goncourt) established his reputation as a leading French novelist and a charismatic, politically committed intellectual.

Though he captivated Paris with his exceptional intelligence, lyrical prose, astonishing memory, and breadth of knowledge, it was not generally appreciated that his true life was elsewhere than in the literary salons or on the committee of La Nouvelle Revue Française or at literary congresses. As fascism, in the shape of Nazism, rose in the 1930s, Malraux recognized its threat and presided over committees pressing for the liberation of the international communists Ernst Thälmann and Georgi Dimitrov from their imprisonment under the Nazis. He simultaneously eschewed a rigid Marxism, participated in the Ligue Nationale Contre l’Antisémitisme (National League Against Anti-Semitism), and in 1935—before the world in general had learned that concentration camps existed—published Le Temps du mépris (Days of Wrath), a short novel describing the brutal imprisonment of a communist by the Nazis.

At the same time, he began to write his Psychologie de l’art (3 vol., 1947–50; The Psychology of Art), an activity that bore a relationship to his other interests, for to Malraux artistic ideas, like the philosophy of action expressed in his own novels, would always be part of man’s eternal questioning of destiny and his response to it.

Upon the outbreak of the Spanish Civil War in 1936, Malraux went to Spain, joined the Republican forces, and organized for them an international air squadron, becoming its colonel. After flying numerous aerial missions at the front, he visited the United States in order to collect money for medical assistance to Spain. His novel L’Espoir (Man’s Hope), based on his experiences in Spain, was published in 1937. A motion-picture version of L’Espoir that Malraux produced and directed in Barcelona in 1938 was not shown in France until after the country’s liberation at the end of World War II.

When World War II broke out, Malraux enlisted as a private soldier in a French tank unit. He was captured but escaped to the free zone of France, where he joined the resistance movement. His life in the French underground movement began in the Corrèze département in south-central France. He was shot and captured (1944) by the Germans and made to undergo a mock execution. After his liberation by the French Forces of the Interior, he formed a Free French brigade that he commanded during the 1st French Army’s campaign against Strasbourg in Alsace. During this time of trial he abandoned his earlier enthusiasm for revolutionary action and Marxism and rediscovered the sense of promise held out by Western culture.On the Alsatian front he met General Charles de Gaulle, with whom his destiny was thenceforth to be linked. He was appointed temporary minister of information (November 1945–January 1946) in de Gaulle’s first government and then followed de Gaulle into retirement, from which he emerged to deliver brilliant speeches as a national delegate to the Gaullist Rassemblement du Peuple Français, or RPF (French People’s Rally).

Withdrawing to his villa at Boulogne in northern France, he devoted himself to composing his monumental meditation on art, Les Voix du Silence, which was published in 1951.

When de Gaulle returned to power in France in 1958, he appointed Malraux minister of cultural affairs in the first Cabinet of the Fifth Republic. For 10 years he was minister of cultural affairs and the intimate friend of de Gaulle. He proved an innovative and forceful cultural administrator.

Literary works.

Between the acts of his dramatic and absorbing life, Malraux wrote several brilliant and powerful novels dealing with the tragic ambiguities of political idealism and revolutionary struggle. His first important novel, Les Conquérants (1928), is a tense and vivid description of a revolutionary strike in Canton. La Voie royale (1930) is a thriller set among the Khmer temples of Cambodia that Malraux himself explored. Malraux’s masterpiece is La Condition humaine (1933), which made him known to readers all over the world. This novel is set in Shanghai during the crushing by Chiang Kai-shek and the Nationalists of their former Communist allies in 1927. Its main characters are several Chinese Communist conspirators and European adventurers who are betrayed both by the Nationalists and by emissaries of Soviet Russia. Each of these complex, introspective personalities is affected differently by the tragic fate awaiting him, but the brotherhood arising out of a common political activity seems to them the only antidote to the meaningless solitude that is the hallmark of the human condition.

In the novel Le Temps du mépris (1935; Days of Contempt, or Days of Wrath), Malraux tells a story of the underground resistance to the Nazis within Hitler’s Germany. Despite Malraux’s evident Marxist sympathies and his bitter criticisms of fascism, this was the only one of his books that was allowed to be published inside the Soviet Union.

From his experience in the Spanish Civil War, Malraux constructed his most pessimistic political novel, L’Espoir (1937; Man’s Hope, or Days of Hope). This book dramatically re-creates the first nine months of the Spanish Civil War.

After 1945 Malraux virtually abandoned the writing of novels and turned instead to the history and criticism of art. His Les Voix du silence was a revised version of his Psychologie de l’art. Les Voix du silence is a brilliant and well-documented synthesis of the history of art in all countries and through all ages. The work is also a philosophical meditation on art as a supreme expression of human creativity and as one that enables man to transcend the meaningless absurdity and insignificance of his own condition.

Malraux continued to explore this approach in La Métamorphose des Dieux, 3 vol. (1957–76; The Metamorphosis of the Gods). He published his autobiography, Antimémoires, in 1967. After the death of his companion, the novelist Louise de Vilmorin, Malraux lived and worked in solitude at Verrières-le-Buisson, near Paris, where he was first buried. In 1996, on the 20th anniversary of his death, his body was enshrined in the Panthéon in Paris.

Hi Mufa, With hindsight that sentence is perhaps a bit ‘loose’ (“the view of art as the defining characteristic of the ‘life’ of the man or woman who is the ‘artist’)

My (more exact) meaning, strictly in terms of reference to myself and my own ‘art’ is that, the aknowlegement of an absurd and indifferent universe (existentialism) requires that I try to make sense of my own place in it through my painting – I am defining my ‘life’ to myself, not to the outside world or the viewer of my work (this is in danger of getting a bit meta-physical) – my last posting on the Extinction critique alludes to this element.

In taking this approach the artist becomes the ‘Revolutionary Hero’ that Malraux views as the greatest challenger to the indifferent and mundane and petit-bourgois because he/she has realised the absurdity of the human condition and has attempted to bring a ‘Voice in the Silence’

It is unimportant whether an artist is full-time, amateur, professional or has only ever produced a single artwork in their entire lives – provided they have given ‘Voice’ they have made a true revolutionary statement.
(this is looking more like ‘What can the artist do in the world of today?’ with every passing sentence!)

This is not an art that reaches out for approval – this is the art of the Black paintings of Goya or the nightmare visions of Bacon – art that calls out from the existential void….......it ain’t pretty….......(but I love it !)

ps. I am not advocating this approach to art for everyone – this is what works for me!.
Nor would I overly criticise another artist for taking a different approach – I would simply accept that what works for them is different.