School of Paris

This article treats at the same time École of Paris and Nouvelle School of Paris

Definitions

The generic term École of Paris poses problem when is used it to indicate a group of artists in particular. Actually, the term does not refer to any school having truly existed; the expression " School of Paris" , which was the subject of unsuitable employment, thus remains ambiguous and deserves to be clarified.

In its Dictionary of the painters of the School of Paris , Lydia Harambourg justifies in 1993 the use of the term by the continuity which it makes it possible to establish between the various phases of development of the Modern art on behalf of artists having had Paris for residence. Its book does not present a school or a particular current, but twenty years of painting to Paris: “The École term of Paris will be kept, because no other can better indicate, in these years of post-war period, the supremacy of the capital as regards art”. In this case, the School of Paris gathers all the artists having contributed to make of Paris the hearth of artistic creation until in the Années 1960.

One generally distinguishes three great periods from change in the Parisian artistic landscape at the 20th century, each one being the demonstration of a revival of the preceding one. The first period goes from 1900 to the Années 1920, the second covers the inter-war period and the last indicates after second world war.

1900-1920

In 1920, André Warnod uses the expression " School of Paris" for the first time, in order to indicate the whole of the foreign artists made at the beginning of the XXe century in the capital in the search of favorable conditions with their Article Of 1900 with the First World War, Paris sees, indeed, the surge of artists often of Central Europe who fix themselves primarily at Montparnasse. Among them Marc Chagall, Pablo Picasso, Pascin, Amadeo Modigliani to only quote most famous. The expression " School of Paris" thus acquired, at this moment, a clean and commonly allowed direction.

Many are the Jewish painters of the School of Paris. These artists come from the East: Russia, Poland, Germany, Bulgaria, Czechoslovakia, Romania, Hungary. They were familiarized with the large French Masters of the XIXè century and know the impressionist via their professors like Josef Panckiewicz with Cracow, Ilia Répine with Saint Pétersbourg, Adolf Fényes, Isaac Perlmutter with Budapest and Lovis Corinth with Berlin. Old of a score of years for the majority, they were actors of the Jewish emancipation, take part in the movement of social alarm clock and intellectual in Europe which is characterized by the loss of the monk and the political commitment, and are in coincidence with the cosmopolitan context of the large capitals of the time, Vienna, Berlin and especially Paris. According to the study of Nadine Nieszawer ( Jewish Painters in Paris 1905-1939 ), they will be more than five hundred painters in Paris of the inter-war period, forming a network of friendship and, gradually, knowing each other all.

Inter-war period

The Entre-deux-guerres knows the arrival of other artists (Russian in particular, like André Lanskoy, Serge Poliakoff, Alexandre Garbell etc) and sees the emergence of new tendencies stylistics, the such Abstraction, as well as the importance of the color in painting.

During the Second world war

A group of painters, who undertake to expose under the occupation Nazi E, is gathered by the exposure Twenty young painters of French tradition , organized in 1941 by Jean Bazaine and the editor André Lejard. The heading of the exposure masks actually the demonstration of a painting nonin conformity with the ideology Nazi of the {degenerated Art.

“All these painters, of very diverse age and tendency, were agreement on the resistance necessary of painting. What made them accept this title general and assuaging, intended to reassure the occupant (...) It was not about anything else - of nothing less - to allow, by surprise, an exposure judéo-Marxist , in all his forms, at one time when the galleries dared to show only art of obedience Nazi. After refusal of a certain number of galleries, the Braun Gallery accepted the risk of the exposure, which was accommodated by streams of abuse of a well drawn up press”, will write in 1998 Jean Bazaine (quoted in Michel-Georges Bernard, Jean Moal , Ides and Calendes, Neuchâtel, 2001, p. 66-67).

Indeed these painters are well far from the traditional shapes of Article Rangés however under the term of “tradition”, they are not worried by the censure of the Régime of Vichy. " I remember varnishing rather well: two German officers arrived who are advanced until the medium of the gallery. They threw a glance, looked at, turned the heels. It is all. It was the time when the Germans wanted to still be gentils" , Bazaine will still say (maintenance, in Histoire of Art, 1940-1944 of Laurence Bertrand-Dorléac, publications of the Sorbonne, Paris, 1986, pp. 351-352). The exposure becomes the proclamation of a modern painting and federates several artists with not-figurative tendency: Jean Moal, Alfred Manessier, Charles Lapicque, Jean Bazaine, Edouard Pinion, Leon Gischia, Maurice Estève, Charles Walch, Gustave Singier, Jean Bertholle, Andre Beaudin and Lucien Lautrec.

Two years later, from February 6th to March 4th 1943, a collective exposure, " Twelve painters of aujourd'hui" , is held with the Galerie of France with Bazaine, Bores, Chauvin, Estève, André Fougeron, Gischia, Lapicque, Moal, Pignon, Singier, Villon, Lautrec, Tal Coat. In spite of their esthetic differences, emergent in this group these artists who will be appointed soon like members of a Nouvelle School of Paris .

Pierre Francastel, in a book written under the Occupation but published with the Release in 1946 ( New drawing. New painting. The School of Paris ), labellise indeed Romance style and cubist of these painters known as “of French tradition” by taking again the formula of Andre Warnod.

Post-war period

Today, the name of School of Paris recovers several meanings.

The expression was diverted by certain in the Années 1950 to define a nationalist esthetics; it then takes a strongly pejorative connotation in the vocabulary of the criticism of the end of the Années 1960 flagornant the School of New York. In addition, of the Parisian galleries relay confusion as for the use of the term. In January 1952, during an exposure to the gallery Babylon, Charles Estienne takes the party to gather only artists with abstract tendencies. They are presented there like guarantors of the New School of Paris born between 1940 and 1950. The gallery Carpenter, in 1960, widens its selection of artists. The article of Connaissance of Arts appeared at the time of the exposure recalls the contents of it: “Art present is in Paris, but also elsewhere: in Italy, for example. It is what the organizers of the annual exposure known as included/understood of the School of Paris (Charpentier gallery). They added to their twenty-seven guests Italian painters of which Peverelli which is the only one to live Paris. Among the others, Burri, Dova, Schneider, and Fontana were acquired an international reputation.”

The " young person peinture" school of Paris

Created just after the war, the living room of the " young person peinture" gathers the painters born during or shortly after the first world war. The painter Gaëtan de Rosnay is the vice-president. They are sometimes artists who appeared little during the Occupation or even at all because they took an active part in the conflict in the rows of the allied armies or those of Resistance.

Certain Parisian galleries actively support these artists as of the Libération: Suillerot gallery, gallery the Chaplain, gallery of the Elysium, Bernier gallery, gallery Drouant David, then Maurice Garnier.

Among the figurative painters most representative of this " young person peinture" are Bernard Buffet, Yves Brayer, Maurice Boitel, Louis Vuillermoz, Pierre-Henry, Daniel of Janerand, Michel de Gallard, Guy Bardone, Gaston Sébire, Jean Joyet, Eliane Thiollier, (1) Michel Thompson.

They are the same painters who will refuse to conform to the official standards of the era Malraux and which one finds works in principal the Parisian Salons, independent of the political power, during all second half of the XXe century.

Critics art and writers known wrote on the painters of the School of Paris of the forewords, the books and the articles, in particular in periodicals like " Libération" , " Figaro" , " Peintre" , " Combat" . They are in particular Georges-Emmanuel Clancier, Arthur Conte, Robert Beauvais, Jean Lescure, Jean Cassou, Bernard Dorival, André Warnod, Jean Chabanon, Raymond Cognat, Guy Dornand, Jean Bouret, Raymond Charmet, Florent Fels.

(1) General secretary of the Young Painting of 1957 to 1964.

Representatives of the School of Paris

Representatives of the first School of Paris

French painters and sculptors

Painters and sculptors come to settle in Paris

(Sources: Jean Cassou, Panorama of the contemporary visual arts , Gallimard, Paris, 1960, p. 161-164)

Representatives of the new School of Paris

figuration

abstraction, not figuration, allusive figuration

Others

  • Bleated Chagall (born Rosenfeld)
  • Helena Da Vinha
  • Nejad Devrim
  • Tadeusz Makowski
  • Nonda (Epaminondas Papadopoulos) (1922-2005)
  • David Peretz
  • Jacinto Salvado
  • Roberto Soler
  • Jos Verdegem (1897-1957)

  • Fahrelnissa Zeid

See too

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