A friend and I recently toured
la Monnaie de Paris (
the Paris Mint) to view
the exhibit of
150 works by French humanist photographer Willy Ronis, who would have turned 100 this year.


The photos were/are terrific, but… Needless to say, and as we found out while touring
the exhibit, the "humanist" descriptive is shorthand for communist. Indeed, for
communist militant. For communist militant who photographed
workers' strikes,
leftist demonstrations, and
other social conflicts and who traveled to East Germany to show the French that life behind the Iron Curtain was as normal as that in France.

What's more, we soon learned from
the exhibit's captions that by 1947 — only two years after the end of the war — French photographers were in demand because Americans (i.e., American photographers) were
personae non gratae in French workers' working places!
American reporters … were often unwelcome in places with social conflict — the Cold War had started — and to cover this type of story, Life often had to turn to French photographers.
To recap:
• A photographer (i.e., a "passive" job) and a communist militant =
a hero (then and today — i.e., witness the very
existence of
exhibits like this one), someone to be welcomed with open arms.
• Americans = causes of international hostility, unsavory people
who
deserve (!) to be scorned and to be made felt unwelcome.
Isn't it rewarding to realize — this a couple of years after
"nos amis américains" stormed
the beaches of Normandy to proceed towards the liberation of Paris and the rest of Europe —
1) whom it is that the French consider a hero and
2) whom it is, conversely, that they consider uncouth and unwelcome in their midst?