‘And what’s all that for? It’s to make my fertiliser …’ On 8 August 1945, French cartoonist Kb2 illustrates the scepticism and speculation of France (Marianne) as to the reasons given by Germany (Germania) to justify its industrial power. At the end of the war, France is preoccupied by concerns over its security and economic prosperity and wants to avoid any revival of German economic and military might.

‘Doctor’s appointment. “Thank you for coming, the child is doing very well!”’ On 23 September 1947, two years after the end of the Second World War, French cartoonist Kb2 paints an ironic picture of the attention paid by the United States (in the centre, Uncle Sam) and the United Kingdom (on the right, John Bull) to the economic recovery of defeated Germany and to the question of the Ruhr. The young Germania, wearing a Wehrmacht helmet and waving a little Nazi flag, is pampered by the two Western Allies, to the annoyance of France (on the left, Marianne), who seems irritated at these Anglo-American efforts. For Paris, the question of the Ruhr and its international governance has security and economic implications. The French are keen to prevent the resources of this German industrial basin from being used for military purposes, as had been the case under Hitler. But they also want to prevent the re-establishment of major trusts that would enable Germany to regain its industrial might. In November 1947, the Americans and British set up a German administration in the Bizone to manage the Ruhr mines. As expected, France immediately expresses its dissatisfaction with this arrangement.

‘… under protest from the French, on 10 November 1948 the Ruhr agreement is concluded … and passes into German trusteeship …’ On 13 November 1948, German cartoonist Ernst Maria Lang illustrates the decision by the British and American authorities of the Bizone to adopt a decree — Law No 75 — on the reorganisation and deconcentration of the steel and mining industries of the Ruhr. France, once again unhappy at being presented with a fait accompli, reiterates that it cannot accept giving a future German Government the right to settle the question of ownership of the Ruhr industries. Under the benevolent gaze of the United States (Uncle Sam), driving the ‘Ruhr’ car, the little ‘German Michel’ has got in the front seat so that it can take hold of the reins, while the two passengers, France (Marianne) and the United Kingdom (John Bull), are wary of the new role that has been given to West Germany.

‘Nothing’s changed. Deep down, they’ve always had a soft spot for me!’ On 16 November 1949, French cartoonist Kb2 illustrates France’s worries at the possible resurgence of German industrial power and emphasises the United States’ support for the Federal Republic of Germany. Five days later, under the Petersberg Agreement, the FRG accedes to the International Authority for the Ruhr and many of Germany’s industrial installations are removed from the list of reparations and industries to be dismantled. The young Marianne (France) is not impressed at the gift given by Uncle Sam (United States) to the smiling young Germania, wearing a Wehrmacht helmet and clutching an industrial complex.

‘Innocent games’. On 16 November 1949, French cartoonist Pol Ferjac shows a Germania with a smile at the corner of her lips who, while playing leapfrog with the Western Allies in a ruined Germany, kicks Marianne in the rear with her boot. Uncle Sam (the United States) and John Bull (the United Kingdom) don’t seem to react to this German provocation, while Marianne doesn’t hide her dismay. In the aftermath of the Second World War, the question of the future of the industrial potential of the Ruhr is a cause of concern for Paris. France proposes to its US and British partners that an international organisation be established to manage the Ruhr’s industries and the distribution of output. This organisation would meet both security and economic concerns, with the aim of preventing the resources of the Ruhr from being used for military purposes, as had been the case under the Hitler regime. But the French also want to prevent the re-establishment of major trusts that would enable Germany to regain its industrial might.

‘Adenauer’s foreign policy. Oh la la!’ On 18 November 1949, German cartoonist Ernst Maria Lang takes an ironic look at the discussions between Chancellor Adenauer and France (depicted as Marianne) on stopping the dismantling of industry and putting an end to Allied control of the Ruhr industries. Kurt Schumacher, leader of the Social Democratic Party of Germany, who is opposed to the Allies’ plan to dismantle German industry, forcefully reminds the Chancellor of his views.

‘Robert, where are you taking me?’ On 23 June 1950, following the proposals submitted by Robert Schuman, French Foreign Minister, for the establishment of a coal and steel pool in Europe, German cartoonist Peter Leger speculates on the future of the Ruhr Statute and the little ‘German Michel’, held prisoner and chained to his jailer Robert Schuman.