school of Paris

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Related to school of Paris: Chaim Soutine, Neue Sachlichkeit

school of Paris.

The center of international art until after World War II, Paris was a mecca for artists who flocked there to participate in the most advanced aesthetic currents of their time. The school of Paris is not one style; the term describes many styles and movements. The practitioners and adherents of fauvismfauvism
[Fr. fauve=wild beast], name derisively hurled at and cheerfully adopted by a group of French painters, including Matisse, Rouault, Derain, Vlaminck, Friesz, Marquet, van Dongen, Braque, and Dufy.
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, cubismcubism,
art movement, primarily in painting, originating in Paris c.1907. Cubist Theory

Cubism began as an intellectual revolt against the artistic expression of previous eras.
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, and orphismorphism,
a short-lived movement in art founded in 1912 by Robert Delaunay, Frank Kupka, the Duchamp brothers, and Roger de la Fresnaye. Apollinaire coined the term orphism
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 all belonged to the school of Paris, as well as many artists whose styles fit into no one category. After the war, when New York City challenged Paris's preeminence in the art world, the school of Paris continued to produce major figures and styles in art: Jean Dubuffet and the Art Brut school are recent examples.

Paris, School of


(Ecole de Paris), the conventional designation for an international group of artists that formed in Paris mainly between 1910 and the late 1920’s.

In a narrow sense, the term “school of Paris” is used to designate a group of artists from various countries who, in the opinion of a number of critics, created their own variant of expressionism, marked by elements of fantasy and, at the same time, by extremely intimate images. Such artists included A. Modigliani from Italy, M. Chagall from Russia, J. Pascin from Bulgaria, C. Soutine from Lithuania, M. Kisling from Poland, and T. Foujita from Japan.

In a broad sense, the term “school of Paris” is used to designate all artists, both French and foreign, who lived in the Montparnasse quarter of Paris, the favorite haunt of bohemian artists. These artists continued, in various ways, the experiments of the early 20th century (fauvism, cubism) or created new movements (dadaism, surrealism) that were similar to avant-gardism in literature.


Nacenta, R. Ecole de Paris. Neuchâtel, 1960.
References in periodicals archive ?
Hans Hofmann's affinity with the School of Paris initially led to his popularity in the 1930's.
17, 2012 /PRNewswire-USNewswire/ --Fay Hutchinson, a teacher at the American School of Paris, in France, has been awarded an Endeavor Fellowship with the National Aeronautics and Space Administration (NASA).
On display were works made during the '60s, when Baselitz was in headlong rebellion against the School of Paris, which seemed to have reached a dead end in a tachism that had become decorative, and the School of New York, which was witnessing the birth of Pop and Minimalism.
John's University in New York, senior finance committee member of the board of trustees of the American School of Paris, assistant instructor in the Graduate School of Indiana University, research consultant at Harvard University, and an elementary-school teacher in the South Bronx, New York.
The term School of Paris encompasses most of the different artistic movements, which existed side by side in Paris in the 1920s and 1930s.
Lacking connections, he went to Paris, only to find that the School of Paris was dead.
Paris pour escale" (Paris stopover) was presented as a companion to "L'Ecole de Paris, 1904-1929, la part de l'autre" (The School of Paris, 1904-1929, the role of the other), a survey of foreign-born artists active in Paris in the early decades of the twentieth century.
Just as the School of Paris was, essentially, non-French painters in France, the School of London is essentially a band of outsiders--mostly emigres (from Eastern Europe, Ireland, or the United States), mostl y set apart by religious background (even Andrews, the one non-Jewish Englishman, was brought up as a Dissenter rather than in the Church of England).
In the mid-'30s and early '40s de Kooning made the figure his own, first fusing Depression-era affect with Roman mural style, then making a Picassoid attack on human anatomy, while Tworkov clung to the tamer School of Paris stuff he had learned from his previous mentor, the elegant colorist and neo-cubist Karl Knaths.
When it came to brushy non-objectivity, we preferred muscle and scale to easel-convenience and lingering School of Paris perfume.
By the time of Girl in Harbour Room, 1955, Heron had absorbed the School of Paris well enough to find his own voice.
At the beginning, there was a kind of School of Paris fussiness, a constant overorchestration of little vertical shards; in the middle there were the overdetermining themes like "Rituals" and "Atmospherics"; in the end there was, oddly, too much black (just about anything looks neon/wet-boulevard/outer-space exotic when floated on a big black canvas).

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