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Caricature of Justin-Louis-Emile Combes (1835-1921) eating the clerics, cover of l'Almanach du Rire, 1903 (colour litho)
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Caricature of Justin-Louis-Emile Combes (1835-1921) eating the clerics, cover of l'Almanach du Rire, 1903 (colour litho)
CHT190308 Caricature of Justin-Louis-Emile Combes (1835-1921) eating the clerics, cover of l'Almanach du Rire, 1903 (colour litho) by Gousse, Henri (1872-1914); Bibliotheque des Arts Decoratifs, Paris, France; (add.info.: anticlerical policy following Dreyfus Affair;); © Archives Charmet
Media ID 31715166
© Archives Charmet / Bridgeman Images
Anti Clerical Expulsion French Politician Premier Monks Religious Orders
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EDITORS COMMENTS
The caricature of Justin-Louis-Emile Combes captured in this colorful lithograph is a striking representation of the French politician's anti-clerical policies during his tenure as Prime Minister from 1902 to 1905. Created by artist Henri Gousse for the cover of l'Almanach du Rire in 1903, the image portrays Combes devouring clerics, symbolizing his aggressive stance against religious orders and institutions. Combes, known for his strong moustache and distinctive profile, is depicted with an air of authority as he consumes priests and monks. This portrayal reflects the controversial expulsion of religious orders that occurred under his leadership, particularly following the infamous Dreyfus Affair. The lithograph serves as a powerful commentary on the tension between religion and politics at that time. It captures both Combes' determination to separate church and state and the public sentiment towards these actions. The exaggerated nature of caricature emphasizes not only Combes' role but also society's perception of him as a "mangeur de cures" or eater of clerics. Preserved in the archives at Bibliotheque des Arts Decoratifs in Paris, France, this print offers a glimpse into an important period in French history where political ideologies clashed with religious traditions. It stands as a reminder of how art can be used to convey complex social issues while simultaneously showcasing Gousse's artistic talent in capturing likeness through satire.
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