This work was painted in Amsterdam and its original title was ‘A Nous la Liberté'. In a letter to the curator of the Tate Modern, dated 6 February 1988 Constant recalled the ‘general mood' from which the painting emerged and explained why the title was later changed:

After the five years of the German Occupation, during which hardly any work of other painters was to be seen, the Rijksmuseum in Amsterdam organised a large show of contemporary Dutch art, entitled ‘Kunst in vryheid' (Art in freedom).

According to Constant, "this exhibition was a deception by the lack of any creative freedom - the worst kind of academicism. Shortly after (in 1946) I met Asger Jorn in Paris, who appeared to be a kindred mind. Our friendship would lead, 2 years later, to the foundation of Cobra. The title of this painting was originally ‘A Nous la Liberté' opposing the false ‘freedom' of the above mentioned exhibition (and what followed after). A few years later, Cobra had fallen apart and many of its former members were classified in museums as ‘experimentals', forming a new ‘style' contradictory to the real aims of the movement - My disappointment about this development led me to change the title to ‘Après Nous la Liberté'. I changed the title to express my doubts about the possibility of ‘free art' in an unfree society, and, at the same time, my hopes for the freedom all men are longing for." *
 

*https://www.tate.org.uk/art/artworks/constant-after-us-liberty-t03705

The Roman numbering was not given by Constant but serves to distinguish between different works with the same name.

A drawing on a page from one of the notebooks of his wife at the time, Matie van Domselaer, who was studying ancient languages.

Edition: 25

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