Seiz Breur was an artistic movement founded in 1923 in Brittany. Although it adopted the symbolic name seiz breur, meaning seven brothers in the Breton language, this did not refer to the number of members, but to the title of a folk-story. At its height it had fifty members united as the "Unvaniezh Seiz Breur" (Union of the Seven Brothers). Though predominantly dedicated to the visual arts, the group also included writers, composers and architects. It is recognised today as an initiator of modern Celto-Breton art, but its memory has been marred by the association of several of its members with Nazi ideology and collaborationism. Origins A young designer and illustrator, Jeanne Malivel (1895–1926), played an important role in paving the way for the movement's foundation. Her early work revived the tradition of wood engraving to illustrate the book L'Histoire de notre Bretagne by Jeanne Coroller-Danio. Malivel's work was picked up by the painter and engraver René-Yves Creston, along with his wife Suzanne Creston and the architect James Bouillé. These three young Breton artists met in 1923 at a Pardon in Le Folgoët, and decided to work together at creating a modern form of Breton art, combining the best of the traditional with avant-garde styles. Name The name they chose refers to Ar Seiz Breur (The Seven Brothers), a folk-tale collected and published by Malivel in its Gallo language form. It tells the story of a beautiful and virtuous young woman who finds her lost seven brothers, but is then victimised by an evil witch who turns the brothers into cows. One of the cows is a small Breton cow and "the young girl always loved best the Breton one". She is seen by the king who marries her, but the witch throws her into a precipice. The witch also tries to make the king kill the Breton cow. However, the cows lead the king to their lost sister, who is restored, and the brothers regain human form. The story was interpreted as a metaphor for devotion to Brittany and of threats to its existence. Early history The movement arose from ideas broadly similar to the Arts and Crafts Movement inflected by the earlier activities in Brittany of the Synthetists of the Pont-Aven School. It was based on the idea that traditional Breton art, so rich in the past, had become stagnant for some of the following reasons: The spread