George Groslier - Knowledge (XXG)

348:. Upon his arrival in Phnom Penh in May 1917, he was charged with a new mission: to found a new Cambodian art museum and organize a school of Cambodian arts. From 1917 to his retirement in 1942, Groslier changed the focus of his work from that of merely describing Cambodian culture for a European audience to what he called a "rescue mission" to save the indigenous national art forms of Cambodia from destruction. His vision for the museum was to build collections from the full range of Cambodia's traditional works of art. At the art school, Groslier did not try to make the native culture adapt to that of the colonizing power; on the contrary, he insisted that the school be run by Cambodians for Cambodians and that no European influence be allowed. He was also intolerant of any attempts by Europeans to loot or damage native art. In 1923, the 22-year-old writer 865:"As you can see," told me, "we have settled in and are well equipped. But for two years, at its very beginnings, the School of Arts was functioning in a dark, nondescript warehouse a third the size of what was needed... Every night during the rainy season we had to remove every piece of silk from the looms, because of leaks in our worm-eaten roof. It was a tedious task for masters and students alike. We had recruited a handful of professors and artisans to get the classes going. Not one failed to show up. Not one quit their job. Not a one. In fact, these educators were so enthusiastic that they refused their vacations. Outside its walls, all of them promoted the school, recruited students and sought ancient and rare objects." 800: 890: 591:) in Paris in 1913. Although the first edition totaled only 30 copies, this seminal work became, in one scholar's words, "the first commentary in any language – Asian or European – on one of the world's most refined performing arts whose roots stretch to antiquity." The book's value also lies in revealing performance practices for this art form that have since vanished. Groslier, for instance, noted in his book that wires were used to suspend some performers in mid-air during one of the performances he witnessed, which no longer occurs in Cambodian traditional dance performances today. 958: 1273: 665:... resemble this forest. Like her, they are full of mystery. In their gestures, in their types, in their habits, in their implements, you sometimes discover a vestige of ancient times surviving to this day, mixed in with modern custom. You stumble upon it suddenly, as if in the depths of a forest. It might be a jewel, a humble bit of pottery, the shape of a statue's lip, a corrupted word of Sanskrit. The whole country holds vigil over its own sleeping past, deriving no profit from it, but unwilling to let it go. 970:

perceived himself to be the victim of what he regarded as corrupt colonial forces, began to champion the cause of the Indochinese people against the French colonists, establishing the previously apolitical artist as a serious left-wing author. One scholar defines the Banteay Srei incident and its aftermath as "how Malraux became Malraux." In 1930, he incorporated aspects of the incident into a novel about two looters journeying through the Cambodian jungle in search of treasure, titled

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generated through these successive grafts, ripened in the heat, their nudity polished in childhood by the air and the waters... One would see no gesture, pose or movement that was not essential and harmonious with the surroundings — each so immediate, so supple, so deft, so spare, drawing on the atmosphere for buoyancy, and on nothing but ambient light for finery. To those with open eyes, this living beauty is all the more engrossing for its presence in all places and at all times.

835:, now known as the Royal University of Fine Arts), next to the museum, to serve the future by training new generations of artists. Groslier's explicit goal was, as he expressed it, to "do nothing but Cambodian art in the Cambodian way." Within the school, George established a series of workshops or guilds based on the "six great arts of Cambodia" including jewelry, painting and temple planning, metal work and casting, sculpture, furniture making and carpentry and weaving. 966:

that, in taking the statues, he had been acting within the law as it then existed. At least one commentator agrees that Malraux and his accomplice were treated harshly: "...if these two young men were to be imprisoned for taking the sculpture from Banteay Srei, should not the same penalty be exacted from the various Governors, High Commissioners, and administrators of Indochina who had done the very same thing to similar monuments?"

1139:(War Godmother) program, in which civilian women established pen pal relationships with soldiers at the front. After Suzanne's friends had chosen their pen pals, Suzanne took a letter from balloonist George Groslier and began a correspondence with him. As noted above, Suzanne and George fell in love and were married in May 1916. This was not unusual: many pen pal relationships begun by the War Godmother program ended in marriage. 839:

souvenirs, and thus discourage the foreigners from stealing the original artworks of the country. This arts program, according to Copin, served the interests of the colonial power, France; however, "it also served the interests of Cambodia, spotlighting the kingdom as a unique entity within the landscape of Indochina, and fostering an assemblage of a national cultural heritage that is today fundamental to Khmer identity."

1056:, he had indicated that he had no desire to write about Phnom Penh, as it was of little interest to him in comparison with the country's ancient temples. But by the time he wrote this novel, his attitude had changed radically. In this story about a French engineer who takes a Cambodian mistress, he sympathetically describes native urban life, contrasting it favorably with the world of Grolier's fellow Western colonists. 560: 1032:

not be sweet-talked by this European who speaks their tongue and behaves for all the world like a native son of the land. We proceed from discovery to discovery, from temple and ruin to the minutia of daily life, from the droll to the picturesque, and see it all through the eyes of a deeply cultured man, there to illuminate every encounter. Could one hope for a more captivating or wonderful guide?

500:, who was then in his sixties. (Groslier would dedicate his first book about Cambodia to the older painter.) In 1908, Maignan supported Groslier in his bid to compete in the challenging Prix de Rome art competition. A victory in this contest would have essentially ensured a successful career, but despite advancing further in the competition than had been the case with many famous artists (e.g. 811:), known from 1920 as the Albert Sarraut Museum, which opened its doors to the public during the Cambodia New Year on April 13, 1920. (It continues to operate today as the National Museum of Cambodia.) His vision, shared and supported by Sarraut and by his peers, was for the museum to build traditional collections from the full range of Cambodia's ancient works of art, including sculptures, 1185: 791:

withstood time, wars, and religions has now succumbed to civilization... Our steamships and automobiles generate a smoke in which champa flowers wither..." In the summer of 1917, Groslier initiated a national survey to quantify the state of traditional arts, and produced a report that predictably painted a very pessimistic picture of its present condition.

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Srei had never been officially designated as a protected site. In the words of scholar Lindsay French, "Malraux, furious that EFEO should have such a monopoly over the temples, argued that since Banteay Srei had never been specifically 'classified' as a monument to be preserved, the stones were not legal artifacts and there was no basis for his arrest."

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Paris." In July of the following year, Malraux was sentenced to three years and Chevasson to 18 months in prison. However, there were many irregularities in the conduct of the case by the prosecution. It created a "secret dossier," withheld from the defense, with which it sought to demonize Malraux and Chevasson by their association with left-wing

1093:(civilizing mission) — was increasingly seen by many, in the words of Groslier's biographer, Kent Davis, "less as altruism and more as a quest for power and profit." Groslier, however, who saw the exposition as an opportunity to open world markets to Cambodian art, wanted the work of Cambodian artists to be the highlight of this expo. 1328:

the fact that he was given them for widely divergent activities and services: for painting, for writing, for museum work, for charity, and from the governments of France, Cambodia, Laos and Annam (Vietnam). Davis points out yet another interesting fact: in the more than 100 surviving photos of Groslier, he never appears wearing

580:'s birthday, and three additional "supplications" in the throne room, Groslier, with the special help of Gravelle, gained access to royal dancers and teachers connected to the king's court. He assembled hundreds of original sketches, numerous paintings and detailed written information, which he brought back with him to France. 787:'immortal' now seemed to Groslier to be on the verge of vanishing." (From this point to the end of his life, Groslier continually resided in Cambodia, returning to Europe only for brief vacations or for educational initiatives on behalf of his professional mission, e.g., the 1931 Paris International Exposition (see below).) 909:(The Temple of Women). The article revealed the site as neglected and overgrown with vegetation. Apparently, Malraux, before he left France, made a detailed study of the applicable laws and determined (at least to his own satisfaction) that the site was abandoned property to which no one could stake legal claim. 1256:

country. Nicole later insisted that her father used his radio solely to listen to music. However, Copin remarks that he "apparently supported local resistance efforts," and Davis concedes that this was at least possible, though not proven. Eyewitnesses in the camp report that the Japanese military police, the

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in both ice skating and tennis and became a champion at both. With her skating partner, a man named Pigueron, she won five gold medals at the national championships and several medals at the Paris city championships. In tennis, she competed in the world championships in 1914, and won three gold medals.

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Over 50 prominent literary figures in France signed a petition for the release of the men. Both sentences were later reduced on appeal, and the men were eventually allowed to return to France without serving any jail time. Malraux depicted himself as the victim in the affair, as he sincerely believed

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Groslier proved brilliant at the public relations challenge of rallying French colonial public opinion (and the administration) to the cause of saving Cambodian art. He portrayed Cambodian culture as being as venerable and exalted as French culture and bemoaned the fact that "everything here that has

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In addition to his administrative duties, Groslier initiated a scholarly study of Cambodia's unique traditional dance arts, the first that a European had ever undertaken. (Before Groslier, few French colonial scholars even mentioned dance in their analyses of Cambodian culture.) Although he witnessed

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However, because France was officially, at that time, an ally of Japan, Cambodia temporarily avoided the violence and disorder that was tearing apart so much of the rest of the world, and the life of the French colonists, although more isolated from the outside world, went on more or less as before.

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as Governor-General of Indochina. On September 22, under heavy pressure from Germany, Decoux signed a treaty giving Japanese forces free movement through the area, effectively ending resistance against them. Although the Vichy regime continued to administer Indochina, the Japanese, which stationed a

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The incident had two repercussions. It prompted the colonial administration to belatedly begin a serious restoration of the decrepit Banteay Srei site, headed by Groslier's friend Parmentier, whose earlier article had brought the site to Malraux' attention in the first place. And Malraux, because he

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Furthermore, the basic legal case against Malraux was very questionable. It was true that the Governor General of Indochina had designated EFEO as the protector of Indochinese archeological sites and forbade anyone except members of EFEO from taking any artifacts out of the country. However, Banteay

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During his lifetime, Groslier won many awards and honors from many different counties. Davis quotes historian Joel Montague as saying that Groslier was "a bit of an oddity" in that he won his awards not over a short span of time, but throughout his life, from his teens to his fifties, as well as in

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Suzanne Poujade, Groslier's wife, was born in Paris in 1893. (By a strange coincidence, Albert Sarraut, Groslier's future mentor and employer, was a friend of the Poujade family.) She had been very thin as a child and a doctor had recommended sports as therapy. As a result, in her teens she trained

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In these pages the reader journeys alongside a double character, split between the learned archeologist, carrying out a government mission, and the adoptive son of Cambodia, by turns critical and empathetic as he sizes up the creatures he meets: river fishermen, peasants, bonzes, old women who will

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The incident created an enormous scandal in both colonial Indochina and France itself, despite the fact that Malraux was, at that time, virtually unknown outside French literary circles. As Copin puts it, "the controversial court cases that ensued shook the colonial administration from Indochina to

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Though the two institutions were administered by Frenchmen (including of course, Groslier), he pursued his own agenda by transferring true control of both to Cambodians. In 1917, he installed the former royal architect Tep Nimit Mak as an administrator of the school, and later assembled, with great

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Over the remainder of 1913, he traveled the length and breadth of the country documenting the most remote Khmer monuments and recording his impressions and adventures. Groslier traveled on his own, isolated in remote jungles, rivers and mountains in primitive and demanding conditions, assisted only

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Nicole, who had not been notified of her father's fate, was called into the office of the camp commander. Without a word, the man gestured in the direction of a nearby table. On or near the table were her father's last remains: his eyeglasses, a pair of shoes and his ashes in a box. She retrieved

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In the words of one scholar: "From 1917 to 1942, Groslier had shaped his career as a rescue mission and established institutions, principally an art school and museum, which he described as a life raft to save Cambodia's national arts from vanishing... Those arts he had only years ago described as

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Upon Groslier's arrival in Phnom Penh in May 1917, Sarraut, now Governor General of Indochina, terminated his military service. He charged him with two new missions: to found a museum of Cambodian art and to organize a school of Cambodian arts. Sarraut believed that the future of colonial rule lay

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enthusiast. (A photo dating from 1933 reveals his rather sophisticated system, and it may have become more elaborate in the intervening years.) This fact aroused the suspicions of the Japanese authorities, who feared that Groslier might be using his radio to help anti-occupation forces within the

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During the children's youth, they spent much time in France at the family home there and attending school. In June 1939, just before the outbreak of a new war, Suzanne traveled to France with young Bernard (Gilbert had already been in the country for several years as a high school student), while

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Through these disciplines of learning and art he roamed majestically, like that familiar Asiatic figure the elephant, all while exploring the past and absorbing the present of the country that witnessed his birth and, ultimately, his death. Drawing from this matchless wellspring of riches, he was

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In the summer of 1923, at the age of 22, he set out for Indochina with his wife, Clara, and a colleague, Louis Chevasson. The party concealed their true purpose – to take priceless traditional art objects and sell them to a European art museum – by pretending to be mere sightseeing tourists and

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Groslier went on to organize the guilds to produce and sell Cambodian art through a worldwide network, enabling artists to gain an income and self-sufficiency. He also encouraged them to produce reproductions of traditional Khmer masterpieces as a way of satisfying foreign tourists' hunger for

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Many races had slowly wrought this people over the centuries. The Chinese had lightened the complexion, and the Siamese and the Annamites had refined its forms, after the Aryan, perhaps, had widened its eyes. And thus the country abounded, end to end, with lovely girls, robust and complex,

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Albert Sarraut was then charged with assembling an Air Force team in the Far East and, knowing Groslier was familiar with Cambodia and was fluent in the Khmer language, Sarraut had him reassigned to this mission in April 1917. Groslier headed back to French Indochina, accompanied by Suzanne.

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The one restriction placed upon these "masters" was that they "purge all Western influence" from their teaching.... "We don't expand on the pedagogical methods of the master," Groslier declared: "No change is to be brought to their habits, their working methods, or the materials they use."

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We were all herded to a concentration camp and forced to stay there, in that small camp. Men and women were separated. I did not see my father. I was alone. Many people in the camp became so ugly. Greedy. Mean. There were arguments over food, money and supplies. This bothered me so

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scholars. Malraux had even received special permission from the authorities to explore the Banteay Srei site. However, upon meeting Groslier, Malraux inadvertently aroused the former's suspicions by referring repeatedly to the "commercial value" of the pieces in the Sarraut Museum.

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with soldiers as a way of boosting morale. A relationship developed between Groslier and a pen pal named Suzanne Cecile Poujade, resulting in their marriage in Paris on May 27, 1916. (During this brief break from service, he arranged the publication of his second book on Cambodia.)

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assignment in September, to work again under his mentor, Albert Sarraut, who was mission leader. On the long, circuitous trip, his ship was falsely reported sunk, causing great sorrow to everyone but his wife, who was certain he was alive. By the time he arrived safe and sound in

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Is this a travel diary, a breviary of subjective archeology, an ethnological meditation? Mixed works do not lend themselves to classification. Too much science, cry the pure writers. Too much poetry, cry the scientists. Groslier fortunately indulged in both, never minding the

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made such travel increasingly dangerous, and Suzanne was forced to remain in France with their two sons, while Nicole, their daughter, stayed with her father in Cambodia. When the Japanese military occupied Cambodia, because French colonies were then administered by the

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in southwest France, where some of her father's family lived and where she worked as a nurse for the war effort. It was while staying in the area, both to pass the time and to do something novel for their country, that she and some friends decided to participate in the

305:. Born in Phnom Penh to a French civil servant – he was the first French child ever born in Cambodia – Groslier was taken by his mother to France at the age of two and grew up in Marseille. Aspiring to become a painter, he tried but failed to win the prestigious 722:, a horrific conflict that left 250,000 dead and 500,000 wounded between February and December 1916. Although she was not authorized to accompany him, Suzanne made her way to the town to join him, using documents issued under her maiden name to avoid detection. 1175:

southern France, whose administration still controlled the French colonies, including Cambodia. However, because of the war, sea travel between France and Southeast Asia was disrupted, and neither Suzanne, Gilbert, nor Bernard would ever see Groslier again.

360:, with the intention of selling them to an art museum. Although Malraux claimed that he was acting within the law, Groslier immediately had him arrested, scarring the former's reputation in Indochina. Groslier would later contemptuously refer to Malraux as " 1292:

If there is a Frenchman whom destiny seems purposely to have selected to become a link between Cambodia and France — one of those bonds of mind and heart that no one, whatever his politics, can permit himself to denounce — that Frenchman's name is George

775: 317:). It was the very first scholarly work ever published in any language on Cambodian dance. He then returned to Cambodia, traveling the length and breadth of the country to examine its ancient monuments and architecture. From this experience came his book 1264:

the objects and left. "My God," she later wrote, "I was frightened and lonely that day." After Indochina was re-occupied by the French (with Bernard as part of this invading force), Groslier's ashes were sent to France, where they are now interred.

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River, ostensibly to inspect pagodas along his route, but actually to record, for a literary work, his impressions of the river, its wildlife and the people along its banks. (He made a second, similar journey in early 1930.) The result was the book

484:, including Cambodia. He grew up with an awareness of and interest in the land in which he had been born, but no great desire to return there. In 1904, at the age of 17, George published his first book, a self-published poetry collection entitled 1208:

It was during this period that Groslier, who was still in his fifties, retired. At this time, also, the Japanese became increasingly interested in Cambodian culture, particularly Angkor. A translation of Groslier's 1924 book on the subject,

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planned by Groslier in collaboration with the architect of the Exposition and members of the Department of Public Works (whom Groslier claimed did nothing). Decorative details and the sculpted wood entrance of the building were completed by

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Suzanne Groslier's notes confirm that preparations for the exhibition began a year in advance of the official opening, so that the Cambodian exhibition was ready before those of any of the other participants. Despite the ongoing worldwide

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In 2008, DatAsia Press editor Kent Davis began working with Nicole Groslier and her family, documenting her father's life, translating a number of his books to English, and restoring them to print, as listed in the bibliography below.

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Despite his own training as a painter, Groslier would never teach at the school. "I am not Khmer," he declared, and the "fundamental principle" of the School was "only to make Cambodian art and only to have it be made by Cambodians."

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In 1923, a visiting French journalist, François de Tessan, arrived at the school and came away with a very favorable impression of both the school and Groslier, who proudly described to de Tessan its dedicated masters and students:

1118:, the exposition, which attracted 33 million visitors, was a resounding success for Cambodian art. In fact, such a demand for indigenous Cambodian crafts was created that a permanent sales office for such items was opened in Paris. 536:

and friend, commissioned Groslier to carry out an educational assignment in Cambodia. Upon his return to his birthplace, Groslier was soon working with prominent leaders in the field of Khmer archaeology, including Jean Commaille,

1231:.) In Asia, too, the Allies were encroaching upon the increasingly desperate Japanese. On March 9, 1945, Japanese authorities, promising autonomy to the local population, overthrew the French colonial regime, and four days later 855:

The doctrine of the "impenetrable sphere" of pure "Cambodian art" is shown clearly by the absence of French personnel in official photos taken of the School and its students shortly after it was put under Groslier and his French

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On September 17, 1929, his wife and children set out on a voyage to a home that the family owned in France, where they would remain for three years. Four days later, Groslier began a solitary journey from Phnom Penh via the

516:), Groslier was eliminated at the final level, and the young painter took this as a crushing defeat. However, this setback turned out to be a fortunate one, as it created the opportunity for his future career in Cambodia. 414:

In addition to his extensive body of scholarly writings on the art, archaeology and history of the Khmer people of Cambodia, Groslier's books include detailed travelogues as well as works of fiction – such as the novel

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for the delivery. She gave birth to a daughter, who immediately died, so Angélina decided to return to her family home in France to protect two-year-old George from the harsh climate and dangers of colonial life.

464:). On February 4, 1887, a son, George Groslier, was born to the couple. In 1889, his mother became pregnant with a second child, but due to the primitive medical situation in Cambodia, she was forced to travel to 383:

made further advances in Asia, the Japanese relieved French officials of their authority, rounded up all foreign nationals, and placed them under guard in concentration camps. Because of his known enthusiasm for

1301:, "the palace and the arts school still grace the skyline." However, in 2019 an initiative was started to rename this street in memory of Georges Groslier, with various expressions of support or objection. 990:

Groslier was a very prolific writer throughout his career, but the period between the mid-1920s through the early-1930s was particularly productive for him. In the second half of 1924, he published

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All Groslier's major work was inspired by his profound love and respect for the Cambodian people and their culture. Referring to his numerous talents, literary scholar Henri Copin has written:

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As Maxime Prodromidès observes, what set George Groslier apart from other authors was his close contact with the Khmer people, with his passion split between the art and life of the country:

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Between 1920 and 1939, Groslier's family frequently traveled between France and Cambodia so that the three children could attend schools in France. In 1939, however, events leading up to the

823:. Simultaneously he enlisted Cambodians in preserving their own heritage by providing an organization to catalog the nation's historical resources "to give all Khmers a stake in that past." 1242:

The Japanese proceeded to round up all foreign nationals in the country, including Groslier and his daughter, and place them in concentration camps. As Nicole Groslier describes it:

1312:," a term traditionally used for military personnel and civilians, killed during a period of French military conflict, who are considered to have died in service to their country. 901:. In France in 1919, when he was eighteen years old, the young Malraux had eagerly read an article by Groslier's friend, Parmentier, that appeared in an official publication by L' 1096:

The focal point of the exhibition was a full-sized reproduction of the top level of Angkor Wat, reconstructed in the center of Paris, as well as a Cambodian pavilion that was

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André Malraux in 1933, after establishing his reputation as a prominent left-wing writer, which had begun in the aftermath of the infamous "Banteay Srei" incident.

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In June 1914, Groslier returned to France to enlist in the French army; the war began only weeks later. In 1915, Groslier was assigned to serve as a balloonist at

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not in assimilating cultures but, in his words, in "understanding so that they may evolve, under our tutelage, in the framework of their civilization."

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In 1923, Groslier proved his commitment to preserving Cambodia's heritage when he organized the arrest of André Malraux, the future novelist and French

3511: 607:(Project Manager in Cambodia for the Minister of Public Education and Fine Arts). On April 1, 1913, George returned to Cambodia with new assignments. 410:

able to convey, in writings both knowledgeable and sensitive, the ties and emotions that bound him to the land of the Khmer and its singular culture.

44: 36: 427:(Grand Prize of Colonial Literature) in 1929 – describing his impressions of, and interactions with, Cambodians. Both institutions he founded, the 3506: 3486: 1467:

Arts et Archéologie Khmers. Revue des Recherches sur les Art, les Monuments et l 'Ethnographie du Cambodge, depuis les Origines jusqu'à nos Jours

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It was also during this period that he added another title to his long list of accomplishments: novelist. In 1926, he published his first novel,

388:, Groslier was suspected by the Japanese of being part of the anti-Japanese resistance. On June 18, 1945, in Phnom Penh, while imprisoned by the 3491: 1319:

In October 2015, the Royal University of Fine Arts in Phnom Penh honored Groslier with a statue next to H. M. Sisowath on the school grounds.

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Nicole remained behind with her father. In June 1940, the Nazis invaded France, and Suzanne and her sons eventually took refuge in unoccupied

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difficulty, Cambodian master artists to teach. As the institution grew, Groslier maintained his hands-off approach. As Ingrid Muan describes:

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Funded by a subscription from the Minister of Colonies and the "High Patronage of His Majesty Sisowath, King of Cambodia," Groslier published

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In 1885, a French couple, civil servant Antoine-Georges Groslier and his wife Angélina (née Legrand), arrived in Cambodia to serve the

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de Tessan, François (1924). "XXV, Le Musée et L'école Des Arts Cambodgiens" [The Museum and School of Cambodian Arts].

1940: 870: 449: 1167:, would follow in his father's footsteps and become a renowned archaeologist and curator of the National Museum of Cambodia. 3471: 600: 432: 337:. It was during this time that he met and married sportswoman Suzanne Cecile Poujade; they eventually had three children. 3239:. Transcultural Research – Heidelberg Studies on Asia and Europe in a Global Context. Springer International Publishing. 869:

Groslier's approach was exactly the opposite of that of the founders of another Indochinese institution, the Hanoi-based

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Statue of George Groslier at the Royal University of Fine Arts (formerly the School of Cambodian Arts) in Phnom Penh

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forces. The Vichy government shortly afterwards collapsed. (Groslier's son, Bernard, participated actively in the

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and discovered his talents for writing and painting. At the age of seven, he attended the Universal Exposition in

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Recherches sur les Cambodgiens d 'après les textes et les monuments depuis les premiers siècles de notre ère

1162: 1069:) in 1929, but afterwards fell into obscurity, until its re-release in modern French and English editions. 255: 1224: 931: 905:(EFEO), describing the impressive temple monuments of Cambodia, including those at a 10th Century temple, 774: 380: 1776:, Saigon, Feb. 1928, pp. 347-366; mars 1928, pp. 435-450; avril 1928, pp. 499-505; mai 1928, pp. 546-554. 330: 1105:

at the School of Cambodian Arts... The entire middle gallery of the exhibition space was reserved for "

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signed a treaty with France to protect his country from incursions by neighboring Siam (present-day

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began, and his wife noted somewhat nervously in her diary that "George bore some resemblance to

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La sculpture Khmère ancienne ; illustrée de 175 reproductions hors texte en similigravure

1228: 691: 297:– studied, described, popularized and worked to preserve the arts, culture and history of the 182: 2788: 1375: 1232: 1115: 730: 719: 538: 509: 481: 465: 368: 349: 341: 957: 661:), penning lively accounts that blended his subjective impressions with objective details. 1252: 1236: 1027:), published in 1931. Copin offers a highly laudatory description of the book's approach: 831:

As the museum preserved Cambodia's past, Groslier organized the School of Cambodian Arts (

679: 605:

Chargé de Mission au Cambodge par le Ministère de l'Instruction publique et des Beaux-arts

385: 277: 978:.) Although Groslier's daughter recalls that her father privately referred to Malraux as 659:

In the Shadow of Angkor: Notes and Impressions on the Unknown Temples of Ancient Cambodia

323:

In the Shadow of Angkor: Notes and Impressions on the Unknown Temples of Ancient Cambodia

1223:

The political situation changed drastically in August 1944, when Paris was liberated by

889: 695: 655:

A l'ombre d 'Angkor; notes et impressions sur les temples inconnus de l'ancien Cambodge

632: 525: 505: 497: 345: 319:

A l'ombre d 'Angkor; notes et impressions sur les temples inconnus de l'ancien Cambodge

3263:

A l'ombre d'Angkor; notes et impressions sur les temples inconnus de l'ancien Cambodge

1443:

A l'ombre d'Angkor; notes et impressions sur les temples inconnus de l'ancien Cambodge

221:

A l'ombre d'Angkor; notes et impressions sur les temples inconnus de l'ancien Cambodge

3450: 2596: 1499:. Translated from the French by Paule Fercoq Du Leslay. Evreux: impr. Hérissey, 1933. 1359: 755: 542: 286: 186: 1420:

The following is a list of published work by George Groslier in French and English.

1142:

The couple had three children, all of whom were born in Cambodia like their father:

694:

Aerostation. Observation balloons were vital to the war effort as a means of aerial

678:

Publication of the book was, however, delayed until 1916 due to the outbreak of the

559: 1368:

1913 – La Société de Géographie Commercial (Section d'Angers) – Médaille de vermeil

1346:

1909 – L'Exposition artistique du Régiment du Génie (Painting) – Médaille de Bronze

1172: 1131: 906: 376: 357: 306: 298: 126: 2792: 1235:

declared Cambodia's independence from France and its alliance with the crumbling

1491:

L'enseignement et la mise en pratique des arts indigènes au Cambodge (1918–1930)

1340:

1905 – L'Enseignement Moderne (Io Prix de Diction de Paris) — Médaille de Bronze

1200: 1188: 1086: 943: 706:

From there, Groslier returned to his unit, the Fifth Squadron, now stationed in

620: 564: 513: 373: 334: 290: 131: 1358:

1911–1914 – Ordre du Million d'Éléphants et du Parasol blanc (Laos, H. M. King

1184: 1281: 1272: 820: 707: 546: 545:. By all accounts, he was awed by his first glimpse of the ancient temples of 533: 473: 353: 1538:

Monsieur De La Garde, Roi: Roman, Inspiré Des Chroniques Royales Du Cambodge

1257: 1082: 1077:

Groslier played a major role in preparing the Cambodian exhibitions for the

947: 759: 735: 389: 1604:"Le temple de Preah Vihear". Ibid, 1921–1922, vol. 1. fasc. 3, pp. 275-294. 1410:

1943–1944 – L'Ordre Royal du Cambodge (H. M. Norodom Sihanouk) – Commandeur

1204:

garrison of 8,000 troops in Cambodia, were the true masters of the region.

920:, Malraux arrived at Banteay Srei, seized four priceless statues depicting 1469:. Paris: Société d'Editions Géographiques, Maritimes et Coloniales, 1925. 927: 816: 739: 715: 640: 612: 603:), was so satisfied with Groslier's work that he issued him a new title: 457: 302: 282: 1732:. Paris. Laurens, 1932 (English translation of 1924 French publication). 3363: 1487:

Paris: Société d'éditions géographiques, maritimes et coloniales, 1931.

1398:

1932 – L'Académie des Sciences Coloniales de Paris – Médaille de Bronze

1349:

1911–1914 – L'Ordre Royal du Cambodge (H. M. King Sisowath) – Chevalier

1102: 747: 726: 699: 461: 393: 294: 142: 1749:"Contemporary Cambodian art studied in the Light of the Past Forms." 1699:"La Direction des Arts cambodgiens et l'École des Arts cambodgiens." 1493:. Paris: Sté d'éditions géographiques, maritimes et coloniales, 1931. 1015: 922: 812: 807:

Groslier drafted the architectural plans for the Museum of Cambodia (

711: 636: 628: 1601:"Le temple de Ta Prohm (Ba Ti)." Ibid, vol. 1. fasc. 2, pp. 139-148. 934:

by car just as Malraux' boat arrived, went on board, identified the

611:

by native helpers. Some of the Khmer temples he documented included

2776: 1297:

Historian Penny Edwards observes that, though there is no longer a

1271: 1183: 956: 888: 798: 773: 624: 558: 379:

regime, violence was initially avoided. But in March 1945, as the

3209:. Translated by Rodriguez, Pedro. Paris: La Renaissance du livre. 1715:

10th Congress of the Far-Eastern Association of Tropical Medicine

819:, jewelry, fragments of monuments, wooden objects, paintings and 729:

entered the war and Groslier was transferred to that front on an

1355:

1911–1914 – Médaille d'Or du Roi (Cambodia, H. M. King Sisowath)

563:

Portrait of George Groslier, from an advertisement for the wine

477: 3236:

Cultural Heritage as Civilizing Mission: From Decay to Recovery

1598:"Le temple de Phnom Chisor." Ibid, vol. 1, fasc. 1, pp. 65-81. 1025:

Waters and Lights: Journal of a Voyage on the Cambodian Mekong

20: 3401:

Citing Angkor: The "Cambodian Arts" in the Age of Restoration

3294:

In the Shadow of Angkor – Unknown Temples of Ancient Cambodia

1876:

In the Shadow of Angkor – Unknown Temples of Ancient Cambodia

1461:

Angkor...Ouvrage orné de 103 gravures et de 5 cartes et plans

1212:, was published by a Japanese press in Tokyo under the title 3130:"Restoring the Name of the 'Cambodia Scholar' - Khmer Times" 1671:"Seconde étude sur la psychologie de l'artisan cambodgien." 1485:

Eaux et lumières; journal de route sur le Mékong cambodgien.

1479:

Les collections khmères du Musée Albert Sarraut à Phnom-Penh

1395:

1931 – L'Exposition Coloniale de Paris – Médaille de vermeil

1288:("Groslier Street") in front of the National Museum, saying 1769:, Saigon, 3° trim. 1926, pp. 2-10; March 1927, pp. 307-366. 1371:

1925 – La Société de Géographie de Paris – Médaille Dupleix

1021:

Eaux et lumières; journal de route sur le Mékong cambodgien

492:). Beginning about 1905, Groslier attended the prestigious 3336:

Water and Light – A Travel Journal of the Cambodian Mekong

1902:

Water and Light – A Travel Journal of the Cambodian Mekong

1392:

1931 – L'Exposition Coloniale de Paris – Diplôma d'Honneur

1337:

1905 – Orphelinat des Arts (Painting) – Médaille de Bronze

1065:

The book received the Grand Prize of Colonial Literature (

599:

Sarraut, the Minister of Public Education (and soon to be

1251:

Since at least the 1930s, Groslier had been a passionate

3374:

Museum Frictions: Public Cultures/Global Transformations

285:

who – through his work as a painter, writer, historian,

524:

In 1910, the Ministry of Public Education, whose head,

48: 1706:"L'Orfèvrerie cambodgienne à l'Exposition Coloniale." 1644:

Publications on indigenous arts of Cambodia (selected)

1146:

Nicole, born June 15, 1918 (godfather: Albert Sarraut)

3184:"Le Khmérophile: The Art and Life of George Groslier" 1552:. Ellery Queen Mystère Magazine, N°69 and N°70, 1953. 1332:

of his many decorations. The list of awards follows:

1199:

In July 1940, the Vichy government appointed Admiral

244:

Nicole Groslier, born June 15, 1918 – died early 2015

2837:"Writer Malraux's Pivotal Indochina Years Revisited" 1664:"Étude sur la psychologie de l'artisan cambodgien." 1591:"Objets cultuels en bronze dans l'ancien Cambodge." 1620:"Les collections khmères du Musée Albert Sarraut." 1343:

1907 – Prix de Rome (Painting) – Second Grand Prize

237: 229: 208: 200: 177: 167: 159: 151: 110: 96: 77: 70: 3412:. Cityscapes. New York: Oxford University Press. 653:He published his experiences in his second book, 619:(to which he had to hike 50 kilometers on foot), 281:; February 4, 1887 – June 18, 1945) was a French 3216:Cambodge: The Cultivation of a Nation, 1860–1945 2042: 2040: 2038: 1497:Angkor, with 103 illustrations, 5 maps and plans 762:and then to Paris to be reunited with his wife. 3315:Return to Clay – A Romance of Colonial Cambodia 1696:, Paris, Jan.-Mar. 1929. vol. 214, pp. 125-143. 1638:. Saigon, 1941, N.S., vol. 16. N°l pp. 121-126. 1437:Danseuses cambodgiennes – anciennes et modernes 1401:1934 – Officier de l'Etoile d'Anjouan (Comores) 1290: 1284:of Phnom Penh honored Groslier by inaugurating 1244: 1130:At the outbreak of the war, Suzanne headed for 1098: 1058: 1029: 863: 845: 758:." After completing his duties, George went to 671: 663: 585:Danseuses Cambodgiennes – Anciennes et Modernes 407: 311:Danseuses Cambodgiennes – Anciennes et Modernes 2199: 2197: 1636:Bulletin de la Société des Eudes Indochinoises 1634:"Les Monuments khmers sont-ils des tombeaux?" 1457:. 2 vol. Paris : A. Challamel, 1921–1926. 1365:1912 – Ordre du Khim-Khanh (Annam) – Chevalier 950:," and by the fact of Clara's Jewish origins. 875:École Supérieure des Beaux-Arts de l'Indochine 3207:Dans l'Asie qui s'éveille; essais indochinois 2461: 2459: 2214: 2212: 930:. Groslier, who had been tipped off, reached 452:. The Protectorate was established when King 352:, later to become world-famous, removed some 216:Danseuses cambodgiennes anciennes et modernes 8: 3076: 3074: 3037: 3035: 2974: 2972: 2908: 2906: 2904: 2879: 2877: 2875: 2873: 2871: 2869: 2813: 2811: 2809: 2753: 2751: 2666: 2664: 2662: 2660: 2658: 2645: 2643: 2641: 2616: 2614: 2530: 2528: 2515: 2513: 2476: 2474: 2434: 2432: 2407: 2405: 2403: 2390: 2388: 2327: 2325: 2323: 2287: 2285: 2248: 2246: 2244: 2231: 2229: 2227: 2184: 2182: 2145: 2143: 2130: 2128: 2126: 2124: 2122: 2120: 2118: 1864:. Phnom Penh, Cambodia: DatAsia Press, 2011 974:. (In 1935, the book appeared in English as 2947: 2945: 2069: 2067: 2025: 2023: 1998: 1996: 1994: 1992: 1967: 1965: 1772:"Le Singe qui montre la Lanterne magique." 1723:Miscellaneous English language publications 877:), which sought to train Asian students in 778:Groslier's mentor, Albert Sarraut, in 1917 3371:Karp, I.; Foundation, Rockefeller (2006). 2583: 2581: 2579: 1915:Road of the Strong – A Romance of Cambodia 1685:"Avec les danseuses royales du Cambodge." 1573:Miscellaneous French language publications 1544:Les Donneurs de Sang, Phnom Penh et Saigon 1381:1929 – Le prix de littérature coloniale – 325:). In June 1914, Groslier enlisted in the 67: 3431:. Civilisations & sociétés. Kailash. 3142: 3026: 3002: 2830: 2828: 2826: 2770: 2768: 2766: 2670: 2465: 2303: 2264: 2134: 2097: 1917:. Holmes Beach, FL: DatAsia Press, 2016. 1904:. Holmes Beach, FL: DatAsia Press, 2016. 1891:. Holmes Beach, FL: DatAsia Press, 2014. 1878:. Holmes Beach, FL: DatAsia Press, 2014. 1703:, Saigon, March 1930, N° 45, pp. 119-127. 881:modes of art, rather than native styles. 827:Establishing the School of Cambodian Arts 576:just three evening performances for King 494:École nationale supérieure des Beaux-Arts 172:École nationale supérieure des Beaux-Arts 3403:(Thesis). New York: Columbia University. 3218:. Honolulu: University of Hawaii Press. 3188:Cambodian Dancers – Ancient & Modern 3165:Cambodian Dancers – Ancient & Modern 3014: 2990: 2951: 2936: 2558: 2046: 2014: 1862:Cambodian Dancers – Ancient & Modern 1851:. Holmes Beach, FL: DatAsia Press, 2010 1849:Cambodian Dancers – Ancient & Modern 1796:, Saigon, August 1931, N° 55, pp. 69-76. 1739:, 1922, vol. 22, N° 1, pp. 47-55, 74-75. 1195:from 1940 to 1945, photographed in 1919 396:. He was later officially recognized as 247:Gilbert Groslier, born September 8, 1922 3502:French civilians killed in World War II 2315: 1961: 1595:, 1921-3, vol. 1, fasc. 3, pp. 221-228. 1534:. Paris : Emile-Paul frères, 1928. 1352:1911–1914 – Ordre Royal du Munisaraphon 994:, and in 1925, he published two books: 803:The National Museum of Cambodia (2013) 3356:André Malraux: The Indochina Adventure 1889:Return to Clay – A Romance of Cambodia 1692:"Le théâtre et la danse au Cambodge." 1588:, 1916, 5e Série, vol. 4, pp. 129-139. 1584:"Objets anciens trouvés au Cambodge." 1578:Archaeological publications (selected) 1073:1931 International Exposition in Paris 589:Cambodian Dancers – Ancient and Modern 315:Cambodian Dancers – Ancient and Modern 3273:Cambodian Dancers: Ancient and Modern 1675:, 1921, vol. 1. fasc. 2, pp. 205-220. 1668:, 1921, vol. 1, fasc. 2, pp. 125-137. 1546:. Saigon : Albert Portail, 1941. 276: 7: 2895: 2860: 2777:"Hierarchies of value at Angkor Wat" 2742: 2589:"Information for Visitors (English)" 1753:, Boston, 1930. vol. 2, pp. 127-141. 1627:"Les Temples inconnus du Cambodge." 1193:Governor-General of French Indochina 1152:Bernard-Philippe, born May 10, 1926. 595:Second Project in Cambodia (1913–14) 356:statues from a 10th Century temple, 49:move details into the article's body 3429:Angkor: chronique d'une renaissance 3339:. Holmes Beach, FL: DatAsia Press. 3318:. Holmes Beach, FL: DatAsia Press. 3297:. Holmes Beach, FL: DatAsia Press. 3276:. Holmes Beach, FL: DatAsia Press. 2963: 2504: 2492: 2218: 2203: 1661:, Hué, Oct.-Dec. 1920, pp. 444-452. 1308:officially recognized Groslier as " 961:The temple of Banteay Srei in 2009 520:First project in Cambodia (1910–12) 496:, studying under classical painter 402:("Died in the service of France"). 3497:20th-century French archaeologists 1983: 1765:"Propos sur la maison coloniale." 1713:"Les Arts indigènes au Cambodge." 1608:Angkor, Les Villes d 'Art célèbres 1451:. Paris : A. Challamel, 1921. 1445:. Paris : A. Challamel, 1913. 1439:. Paris : A. Challamel, 1913. 795:Founding of the Museum of Cambodia 14: 3517:French people in French Indochina 3116: 3104: 3080: 3065: 3053: 3041: 2978: 2924: 2912: 2883: 2835:Vachon, Michelle (May 25, 2015). 2817: 2757: 2730: 2718: 2694: 2682: 2649: 2632: 2620: 2570: 2534: 2519: 2480: 2450: 2438: 2423: 2411: 2394: 2379: 2367: 2355: 2343: 2331: 2291: 2276: 2252: 2235: 2188: 2173: 2161: 2149: 2109: 2085: 2073: 2058: 2029: 2002: 1730:Angkor, Les Villes d'Art célèbres 1650:"L'agonie des Arts cambodgiens." 1002:) and a massive two-volume work, 916:On December 23, in his boat, the 567:that appeared in the publication 3512:Archaeologists of Southeast Asia 3092: 2775:French, Lindsay (May 29, 1999). 2706: 2546: 1971: 1624:, XVI, Paris, G. Van Oest, 1931. 1407:1939 – Dragon d'Annam – Officier 1404:1939 – Mérite Social – Chevalier 1067:Le prix de littérature coloniale 903:École française d'Extrême-Orient 871:School of Fine Arts of Indochina 472:Groslier began his education in 435:, are still in operation today. 344:because of his knowledge of the 340:He was ultimately reassigned to 25: 1941:List of French-language authors 1787:La Mode masculine aux colonies. 1149:Gilbert, born September 8, 1922 1089:— what the French called their 425:Le prix de littérature colonial 3507:French expatriates in Cambodia 3487:20th-century French historians 3410:Phnom Penh, A Cultural History 1678:"La reprise des arts khmèrs." 1659:Bulletin des Amis du Vieux-Hué 1540:. Paris: L'Illustration, 1934. 293:, architect, photographer and 1: 3492:20th-century French novelists 2793:10.1080/00141844.1999.9981597 1746:, 1923. vol. 23. pp. 587-589. 1742:"The Oldest Living Monarch." 1735:"Royal Dancers of Cambodia." 1682:, Nov. 15, 1925. pp. 395-422. 1654:, Hanoï, 2e sem. 1918, p.207. 1509:). Tokyo: Shinkigensha, 1943. 1475:. Paris : G. Crès, 1925. 1280:On October 4, 1946, Governor 1180:Japanese occupation and death 770:Professional life in Cambodia 742:. He spent the winter on the 718:and key supply point for the 601:Governor General of Indochina 480:, which featured exhibits on 433:Royal University of Fine Arts 3427:Prodromidès, Maxime (1997). 1374:1926 – Ordre national de la 996:La Sculpture khmère ancienne 899:Minister of Cultural Affairs 710:, about 60 km south of 635:, as well as temples of the 532:, would become his lifelong 3358:. London: Pall Mall Press. 1717:, Hanoi, 1938, pp. 161-181. 1689:, May 1, 1928, pp. 536-565. 1657:"Question d'art indigène." 1481:. Paris: G. van Oest, 1931. 1455:Arts et Archéologie khmères 986:Scholarly and literary work 429:National Museum of Cambodia 3533: 1673:Arts et Archéologie khmers 1666:Arts et Archéologie khmers 1593:Arts et Archéologie khmers 1463:. Paris: H. Laurens, 1924. 1004:Arts et Archéologie Khmers 833:École des Arts Cambodgiens 750:. At about this time, the 738:, he had been promoted to 233:Suzanne Poujade, 1893–1979 3377:. Duke University Press. 3354:Langlois, Walter (2006). 3333:Groslier, George (2014). 3312:Groslier, George (2016). 3291:Groslier, George (2014). 3270:Groslier, George (2010). 3261:Groslier, George (1913). 1936:List of French architects 1505:(Japanese translation of 1158:Bernard-Philippe Groslier 1042:The Road of the Strongest 1008:Khmer Arts and Archeology 460:) and Annam (present-day 251:Bernard-Philippe Groslier 3408:Osborne, Milton (2008). 1829:. Paris: Kailash, 1994. 1816:. Paris: Kailash, 1994. 1789:Paris : Adam, 1931. 1122:Marriage and family life 1052:). In his earlier book, 530:Prime Minister of France 444:Early life and education 364:" ("the little thief"). 3214:Edwards, Penny (2008). 1610:. Paris, Laurens, 1924. 1054:In the Shadow of Angkor 1000:Ancient Khmer Sculpture 648:In the Shadow of Angkor 3265:. Paris: A. Challamel. 3159:Cravath, Paul (2010). 2595:. 2013. Archived from 1779:"C'est une idylle..." 1431:La Chanson d'un Jeune. 1295: 1277: 1249: 1196: 1111: 1063: 1034: 962: 894: 885:André Malraux incident 867: 858: 804: 779: 676: 667: 572: 412: 392:, Groslier died under 329:and was employed as a 3399:Muan, Ingrid (2001). 1827:Le Retour à l 'argile 1814:La Route du plus fort 1617:, Saigon, Sept. 1925. 1522:La Route du plus fort 1433:Self-published, 1904. 1275: 1187: 1091:mission civilisatrice 1038:La Route du plus fort 960: 892: 802: 777: 562: 486:La Chanson d'un Jeune 333:in the early part of 3472:French photographers 3182:Davis, Kent (2010). 1565:Les Ruines d 'Angkor 1532:Le Retour à l'argile 1304:On May 5, 1947, the 1046:Le Retour à l'argile 278:[ʒɔʁʒɡʁolje] 106:Phnom Penh, Cambodia 91:Phnom Penh, Cambodia 3462:French ethnologists 3233:Falser, M. (2015). 3132:. October 10, 2019. 2593:cambodiamuseum.info 2279:, pp. 187, 189 1783:, Paris, July 1929. 1631:, Paris, June 1931. 1613:"La fin d'Angkor." 1586:Revue archéologique 1550:Le Christ Byzentine 1310:Mort pour la France 1079:Colonial Exposition 714:. The town was the 686:World War I service 454:Norodom of Cambodia 450:French Protectorate 423:(1928)), which won 399:Mort pour la France 260:, born May 10, 1926 3145:, pp. 177–181 3119:, pp. 260–261 3068:, pp. 257–258 2733:, pp. 234–235 2697:, pp. 218–219 2635:, pp. 215–216 2561:, pp. 106–107 2426:, pp. 204–205 2164:, pp. 172–177 1652:Revue Indochinoise 1567:. Indochine, 1911. 1278: 1197: 1137:marraine de guerre 963: 946:, whom it called " 895: 805: 780: 752:Russian Revolution 573: 3419:978-0-19-534248-2 3384:978-0-8223-3894-9 3346:978-1-934431-87-0 3325:978-1-934431-94-8 3304:978-1-934431-90-0 3283:978-1-934431-03-0 3246:978-3-319-13638-7 3225:978-0-8248-3346-6 3197:978-1-934431-12-2 3190:. DatAsia Press. 3174:978-1-934431-12-2 3167:. DatAsia Press. 2939:, pp. xi–xii 2841:cambodiadaily.com 1923:978-1-934431-16-0 1910:978-1-934431-87-0 1897:978-1-934431-94-8 1884:978-1-934431-90-0 1870:978-1-934431-03-0 1857:978-1-934431-12-2 1835:978-2-909052-49-6 1822:978-2-909052-52-6 1781:Mercure de France 1694:Journal Asiatique 1687:Mercure de France 1680:La Revue de Paris 1526:Emile-Paul frères 1383:Retour à l'Argile 1323:Awards and honors 1306:French government 1229:French Resistance 809:Musée du Cambodge 639:group, including 554:Cambodian Dancers 417:Retour à l'Argile 267: 266: 201:Years active 66: 65: 45:length guidelines 3524: 3442: 3423: 3404: 3395: 3393: 3391: 3367: 3350: 3329: 3308: 3287: 3266: 3257: 3255: 3253: 3229: 3210: 3201: 3178: 3146: 3140: 3134: 3133: 3126: 3120: 3114: 3108: 3102: 3096: 3090: 3084: 3078: 3069: 3063: 3057: 3051: 3045: 3039: 3030: 3024: 3018: 3012: 3006: 3000: 2994: 2988: 2982: 2976: 2967: 2961: 2955: 2949: 2940: 2934: 2928: 2922: 2916: 2910: 2899: 2893: 2887: 2881: 2864: 2858: 2852: 2851: 2849: 2847: 2832: 2821: 2815: 2804: 2803: 2801: 2799: 2772: 2761: 2755: 2746: 2740: 2734: 2728: 2722: 2716: 2710: 2709:, pp. 77–78 2704: 2698: 2692: 2686: 2680: 2674: 2668: 2653: 2647: 2636: 2630: 2624: 2618: 2609: 2608: 2606: 2604: 2585: 2574: 2568: 2562: 2556: 2550: 2544: 2538: 2532: 2523: 2517: 2508: 2502: 2496: 2490: 2484: 2478: 2469: 2463: 2454: 2448: 2442: 2436: 2427: 2421: 2415: 2409: 2398: 2392: 2383: 2377: 2371: 2365: 2359: 2353: 2347: 2341: 2335: 2329: 2318: 2313: 2307: 2301: 2295: 2289: 2280: 2274: 2268: 2262: 2256: 2250: 2239: 2233: 2222: 2216: 2207: 2201: 2192: 2186: 2177: 2171: 2165: 2159: 2153: 2147: 2138: 2132: 2113: 2107: 2101: 2095: 2089: 2083: 2077: 2071: 2062: 2056: 2050: 2044: 2033: 2027: 2018: 2012: 2006: 2000: 1987: 1981: 1975: 1969: 1424:Nonfiction books 1376:Légion d'honneur 1166: 1156:The last child, 1107:Arts cambodgiens 815:, inscriptions, 725:In August 1916, 720:Battle of Verdun 539:Henri Parmentier 502:Eugène Delacroix 482:French Indochina 369:Second World War 342:French Indochina 280: 275: 259: 103: 88:February 4, 1887 87: 85: 68: 61: 58: 52: 43:Please read the 29: 28: 21: 3532: 3531: 3527: 3526: 3525: 3523: 3522: 3521: 3467:French painters 3457:French curators 3447: 3446: 3445: 3439: 3426: 3420: 3407: 3398: 3389: 3387: 3385: 3370: 3353: 3347: 3332: 3326: 3311: 3305: 3290: 3284: 3269: 3260: 3251: 3249: 3247: 3232: 3226: 3213: 3204: 3198: 3181: 3175: 3158: 3154: 3149: 3141: 3137: 3128: 3127: 3123: 3115: 3111: 3103: 3099: 3091: 3087: 3079: 3072: 3064: 3060: 3052: 3048: 3040: 3033: 3025: 3021: 3013: 3009: 3001: 2997: 2989: 2985: 2977: 2970: 2962: 2958: 2950: 2943: 2935: 2931: 2923: 2919: 2911: 2902: 2894: 2890: 2882: 2867: 2859: 2855: 2845: 2843: 2834: 2833: 2824: 2816: 2807: 2797: 2795: 2774: 2773: 2764: 2756: 2749: 2741: 2737: 2729: 2725: 2717: 2713: 2705: 2701: 2693: 2689: 2681: 2677: 2669: 2656: 2648: 2639: 2631: 2627: 2619: 2612: 2602: 2600: 2587: 2586: 2577: 2569: 2565: 2557: 2553: 2545: 2541: 2533: 2526: 2518: 2511: 2503: 2499: 2491: 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72:George Groslier 62: 56: 53: 42: 39:may be too long 34:This article's 30: 26: 17: 16:French polymath 12: 11: 5: 3530: 3528: 3520: 3519: 3514: 3509: 3504: 3499: 3494: 3489: 3484: 3479: 3474: 3469: 3464: 3459: 3449: 3448: 3444: 3443: 3437: 3424: 3418: 3405: 3396: 3383: 3368: 3351: 3345: 3330: 3324: 3309: 3303: 3288: 3282: 3267: 3258: 3245: 3230: 3224: 3211: 3202: 3196: 3179: 3173: 3155: 3153: 3150: 3148: 3147: 3135: 3121: 3109: 3097: 3085: 3070: 3058: 3046: 3031: 3019: 3007: 2995: 2983: 2968: 2956: 2954:, pp. xii 2941: 2929: 2917: 2900: 2888: 2865: 2853: 2822: 2805: 2787:(2): 176–177. 2762: 2747: 2735: 2723: 2711: 2699: 2687: 2675: 2654: 2637: 2625: 2610: 2599:on May 3, 2016 2575: 2563: 2551: 2539: 2524: 2509: 2497: 2485: 2470: 2468:, p. xiii 2455: 2443: 2428: 2416: 2399: 2384: 2372: 2360: 2348: 2336: 2319: 2308: 2296: 2281: 2269: 2257: 2240: 2223: 2208: 2193: 2178: 2166: 2154: 2139: 2114: 2102: 2090: 2078: 2063: 2051: 2034: 2019: 2007: 1988: 1976: 1960: 1958: 1955: 1953: 1950: 1948: 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771: 768: 696:reconnaissance 687: 684: 674:contradiction. 650: 645: 633:Banteay Chhmar 596: 593: 556: 551: 526:Albert Sarraut 521: 518: 506:Gustave Moreau 498:Albert Maignan 445: 442: 440: 437: 421:Return to Clay 346:Khmer language 265: 264: 262: 261: 248: 245: 241: 239: 235: 234: 231: 227: 226: 224: 223: 218: 212: 210: 206: 205: 202: 198: 197: 179: 175: 174: 169: 165: 164: 161: 157: 156: 153: 149: 148: 146: 145: 140: 137: 134: 129: 124: 121: 118: 114: 112: 108: 107: 104:(aged 58) 98: 94: 93: 79: 75: 74: 71: 64: 63: 33: 31: 24: 15: 13: 10: 9: 6: 4: 3: 2: 3529: 3518: 3515: 3513: 3510: 3508: 3505: 3503: 3500: 3498: 3495: 3493: 3490: 3488: 3485: 3483: 3480: 3478: 3475: 3473: 3470: 3468: 3465: 3463: 3460: 3458: 3455: 3454: 3452: 3440: 3438:9782842680022 3434: 3430: 3425: 3421: 3415: 3411: 3406: 3402: 3397: 3386: 3380: 3376: 3375: 3369: 3365: 3361: 3357: 3352: 3348: 3342: 3338: 3337: 3331: 3327: 3321: 3317: 3316: 3310: 3306: 3300: 3296: 3295: 3289: 3285: 3279: 3275: 3274: 3268: 3264: 3259: 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Paris, 1293:Groslier. 1258:Kempeitai 1083:Vincennes 944:bohemians 760:Liverpool 736:Bucharest 731:Air Force 439:Biography 390:Kempeitai 168:Education 136:architect 123:historian 47:and help 2896:Langlois 2861:Langlois 2846:June 22, 2798:June 19, 2743:Langlois 2603:July 15, 1930:See also 1708:La Perle 1103:ateliers 928:Thailand 817:ceramics 740:corporal 716:railhead 700:pen pals 641:Ta Prohm 578:Sisowath 458:Thailand 431:and the 303:Cambodia 283:polymath 238:Children 152:Language 3390:May 12, 3252:May 12, 3152:Sources 2964:Osborne 2505:Edwards 2493:Edwards 2219:Cravath 2204:Cravath 1842:English 1528:, 1926. 1173:(Vichy) 879:Western 813:bronzes 748:courier 727:Romania 613:Wat Phu 462:Vietnam 394:torture 295:curator 274:French: 204:1910–45 195:history 191:culture 178:Subject 143:curator 117:Painter 3435: 3416: 3381: 3362: 3343: 3322: 3301: 3280: 3243: 3222: 3194: 3171: 2781:Ethnos 1984:Falser 1921: 1908: 1895: 1882: 1868: 1855: 1833: 1820: 1807:French 1515:Novels 1507:Angkor 1268:Legacy 1225:Allied 1210:Angkor 1132:Lavaur 1016:Mekong 992:Angkor 936:devata 923:devata 918:Hainan 756:Stalin 712:Verdun 637:Angkor 629:Bakong 569:Femina 534:mentor 466:Saigon 381:Allies 230:Spouse 163:French 155:French 120:writer 3117:Davis 3105:Davis 3081:Davis 3066:Davis 3054:Davis 3042:Davis 2979:Davis 2925:Davis 2913:Davis 2884:Davis 2818:Davis 2758:Davis 2731:Davis 2719:Davis 2695:Davis 2683:Davis 2650:Davis 2633:Davis 2621:Davis 2571:Davis 2535:Davis 2520:Davis 2481:Davis 2451:Davis 2439:Davis 2424:Davis 2412:Davis 2395:Davis 2380:Davis 2368:Davis 2356:Davis 2344:Davis 2332:Davis 2292:Davis 2277:Davis 2253:Davis 2236:Davis 2189:Davis 2174:Davis 2162:Davis 2150:Davis 2110:Davis 2086:Davis 2074:Davis 2059:Davis 2030:Davis 2003:Davis 1952:Notes 1416:Works 1247:much. 1165:] 625:Lolei 377:Vichy 258:] 183:dance 3433:ISBN 3414:ISBN 3392:2016 3379:ISBN 3360:ASIN 3341:ISBN 3320:ISBN 3299:ISBN 3278:ISBN 3254:2016 3241:ISBN 3220:ISBN 3192:ISBN 3169:ISBN 3093:Muan 2848:2016 2800:2016 2707:Muan 2605:2016 2547:Muan 1972:Karp 1919:ISBN 1906:ISBN 1893:ISBN 1880:ISBN 1866:ISBN 1853:ISBN 1831:ISBN 1818:ISBN 1744:Asia 1737:Asia 631:and 541:and 512:and 478:Lyon 374:Axis 372:pro- 193:and 97:Died 78:Born 2789:doi 1330:any 1220:). 1010:). 301:of 187:art 3453:: 3186:. 3163:. 3073:^ 3034:^ 2971:^ 2944:^ 2903:^ 2868:^ 2839:. 2825:^ 2808:^ 2785:64 2783:. 2779:. 2765:^ 2750:^ 2657:^ 2640:^ 2613:^ 2591:. 2578:^ 2527:^ 2512:^ 2473:^ 2458:^ 2431:^ 2402:^ 2387:^ 2322:^ 2284:^ 2243:^ 2226:^ 2211:^ 2196:^ 2181:^ 2142:^ 2117:^ 2066:^ 2037:^ 2022:^ 1991:^ 1964:^ 1239:. 1191:, 1163:fr 1109:." 682:. 643:. 627:, 623:, 615:, 508:, 504:, 289:, 256:fr 189:, 185:, 3441:. 3422:. 3394:. 3366:. 3349:. 3328:. 3307:. 3286:. 3256:. 3228:. 3200:. 3177:. 2850:. 2802:. 2791:: 2607:. 1872:. 1389:) 1385:( 1216:( 1048:( 1040:( 1023:( 1006:( 998:( 873:( 657:( 587:( 488:( 419:( 321:( 313:( 272:( 86:) 82:( 59:) 55:( 51:. 41:.

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