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In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the Mc Carthyite era, and certainly not the sort of people normally likely to receive US government backing. Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US.Russian art, strapped into the communist ideological straitjacket, could not compete.For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact.
Unknown to the artists, the new American art was secretly promoted under a policy known as the "long leash" - arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.
In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert.
But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled. This philistinism, combined with Joseph Mc Carthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing.
It was this office which subsidised the animated version of George Orwell's Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra's international touring programme.
Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides.