ABSTRACT
This chapter shows that the comments on the Metro series emphasised the notion of the popular and the 'common man'. It also shows that how Jean Dubuffet’s work opposed the art promoted by the Nazis. As a strategy of public intimidation, Germaine Tillion argued in her essay De la Collaboration; it represented a huge psychological mistake and tactical error by the German occupiers. For Dubuffet and his supporters, the emphasis on the 'common man', the popular culture and their different facets in his visual and textual production of the mid-1940s represented strategies of Liberation which were either antecedent or concurrent with the Liberation of France itself in the winter of 1944. Dubuffet's and his supporters equated the overthrowing of traditional means of representation in the arts to the challenging of the social structures which established them and the creation of a 'new order' for French society after the Liberation.
