A monumental artwork measuring 33 feet long and 6.5 feet high sits largely hidden from public view in Les Sables-d'Olonne, France, prompting questions about why such an impressive piece of art remains so inaccessible. The mural, titled "The Sea Raiders" (Les ravisseurs de la mer), was created by Brazilian artist Maria Morgan-Snell and has become the subject of concern among local residents who believe it deserves greater visibility.
The artwork's story began in 1957-1958 when the French Ministry of Posts commissioned Morgan-Snell to decorate the Post Office Hotel, then located on Rue du Maréchal Leclerc where the Shell Museum currently stands. The fresco was installed in 1958 and remained visible to residents of Les Sables-d'Olonne for 20 years until the post office relocated in 1979. "For 20 years, the people of Les Sables could admire this monumental work until 1979, the year the post office moved," explains Hervé Retureau, a historian specializing in Les Sables-d'Olonne.
"The Sea Raiders" is a triptych that celebrates maritime workers, particularly marine carpenters. Retureau sees echoes of Victor Hugo's "The Toilers of the Sea" in the artwork's themes. The mural depicts a wooden shipbuilding yard, with the Arundel Tower at its center and fishermen throughout the composition. "It's an ode to the sea, to the workers of the sea, a tribute to the laborers who are represented here almost like titans," Retureau describes. "There's a mythological aspect with these emphasized musculatures. It's truly a spectacular work, full of details, showing the dynamism of the port which, at that time, had six maritime shipyards."
After the post office's relocation in 1979, the triptych reportedly went to the Chaume festival hall, though Retureau cannot guarantee this account. "There are no photos and no one ever talked about it," he notes. What is certain is that the painting disappeared for 20 years, lost in bureaucratic transitions and municipal changes.
The artwork's rediscovery came through the efforts of Gérard Faugeron, deputy to Mayor Louis Guédon, who began searching for it in 1999 at the request of Léo Leboucher, author of three books on vintage postcards of Les Sables. Faugeron fought to locate the fresco, which was finally found in 2000. "It was stored in the depths of the city's technical services in conditions that were not favorable for its proper conservation," according to historical records.
In 2002, the city had the mural restored and chose to display it at the Atlantes Congress Center, believing this would make it "visible to the public." However, this decision has proven problematic for public accessibility. The fresco is difficult to see for two main reasons: from the ground floor, it's hidden by the Vendée Globe room, and even when taking the stairs to the upper level, visitors must remember to look up to notice it. Additionally, entry to the Atlantes Center is restricted to those attending events such as concerts, shows, conferences, or exhibitions.
Retureau acknowledges the visibility problem: "It should be made more visible and accessible to everyone. But its imposing size doesn't leave many options." The artwork is classified as a heritage object and, while entrusted to the city of Les Sables-d'Olonne, still belongs to the artist's heirs following Morgan-Snell's death in 2007.
With several major projects currently underway in the city, including a new museum at Sainte-Croix Abbey, the Nacéo sea museum, and a new media library, questions arise about whether it's time to provide "The Sea Raiders" with a more suitable setting. Retureau had considered the Nacéo museum but notes that "the ceiling height won't be sufficient, nor will there be the necessary distance to properly admire such a painting."
When questioned about potential relocation, city officials explain they haven't reached that stage in current projects "but we are always ready to discuss it with people sensitive to art." The city defends the current location by pointing out that "with about a hundred events hosted each year on site, nearly 50,000 visitors pass in front of the painting."
Despite this defense, city officials acknowledge public concerns and announce they will "install a sign to attract the attention of passersby and provide information about the work and its author." This modest step represents a compromise while larger questions about the mural's proper display remain unresolved, leaving this tribute to maritime workers and the sea continuing its ironic fate of remaining largely hidden from the very community it was meant to celebrate.
