Парижская школа живописи начала XX века

Loose term for painters and artistic movements based in Paris during the early 20th century
the 20th century School of Paris
The School of Paris refers to the French and émigré artists who worked in Paris in the first half of the 20th century. The School of Paris was not a single art movement or institution, but refers to the importance of Paris as a center of Western art in the early decades of the 20th century. Between 1900 and 1940 the city drew artists from all over the world and became a centre for artistic activity. School of Paris coined by André Warnod, was used to describe this loose community, particularly of non French artists, centered in the cafes, salons and shared workspaces and galleries of Montparnasse. Many artists of Jewish origin formed a prominent part of the School of Paris and later heavily influenced art in Israel. Before World War I the name was also applied to artists involved in the many collaborations and overlapping new art movements, between post Impressionists and pointillism and Orphism, Fauvism and Cubism. In that period the artistic ferment took place in Montmartre and the well established art scene there. But Picasso moved away, the war scattered almost everyone, by the 1920s Montparnasse had become a center of the avant garde. After World War II the name was applied to another different group of abstract artists.

Before World War I, a group of expatriates in Paris created art in the styles of Post Impressionism, Cubism and Fauvism. The group in its broader sense included artists like Pablo Picasso, Marc Chagall, Amedeo Modigliani and Piet Mondrian. Associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes. Whilst in its more narrow description described Chagall and Modigliani. Picasso and Matisse have been described as twin leaders (chefs d'école) of the school before the war.

Many École de Paris artists lived in the iconic La Ruche, a complex of studio apartments and other facilities in Montparnasse on the Left Bank, at 2 Passage Dantzig, built by a successful sculptor, Alfred Boucher, who wanted to develop a creative hub where struggling artists could live, work and interact. Built from materials dismantled from the Medoc Wine Pavilion from the 1900 Paris World's Fair, it comprised 50 modest studios with large windows that let in a lot of light, with nearby buildings providing 50 more studios for the overflow of artists. La Ruche opened in 1902, with the blessing of the French government. It was often the first destination of émigré artists who arrived in Paris eager to join the art scene and find affordable housing. Artists who lived and worked in La Ruche include Amedeo Modigliani, Yitzhak Frenkel, Diego Rivera, Tsuguharu Foujita, Jacob, Soutine, Michel Kikoine, Moïse Kisling, Pinchus Krémègne, Ossip Zadkine, Jules Pascin, Marc Chagall, Amshey Nurenberg, Jacques Lipchitz, and more. The term soon gained currency, often as a derogatory label by critics who saw the foreign artists—many of whom were Jewish—as a threat to the purity of French art. Art critic Louis Vauxcelles, noted for coining the terms "Fauvism" and "Cubism" (also meant disparagingly), called immigrant artists unwashed "Slavs disguised as representatives of French art". School of Paris artists were progressively marginalized. Beginning in 1935, articles about Chagall no longer appeared in art publications (other than those published for Jewish audiences), and by June 1940 when the Vichy government took power, School of Paris artists could no longer exhibit in Paris at all. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse. The "core members were almost all Jews, and the resentment expressed toward them by French critics in the 1930s was unquestionably fueled by anti Semitism." Jewish members of the group included Emmanuel Mané Katz, Abraham Mintchine, Chaïm Soutine, Adolphe Féder, Marc Chagall, Yitzhak Frenkel Frenel, Moïse Kisling, Maxa Nordau and Shimshon Holzman. The artists of the Jewish School of Paris were stylistically diverse. Some, like Louis Marcoussis, worked in a cubist style, but most tended toward expression of mood rather than an emphasis on formal structure.

Artists of Jewish origin had a marked influence in the École de Paris. Paris the capital of the art world attracted Jewish artists from Eastern Europe, several of them fleeing persecution, discrimination and pogroms. Many of these artists settled in Montparnasse. Several Jewish painters were notable in the movement; these include Marc Chagall and Jules Pascin, the expressionists Chaïm Soutine and Isaac Frenkel Frenel as well as Amedeo Modigliani and Abraham Mintchine. Many Jewish artists were known for depicting Jewish themes in their work, and some artists' paintings were imbued with heavy emotional tones. Frenkel described the artists as "members of the minority characterized by restlessness whose expressionism is therefore extreme in its emotionalism". The term l'École de Paris coined by the art critic André Warnod in 1925 in the magazine Comœdia, was intended by Warnod to negate xenophobic attitudes towards the foreign artists, many of whom were Jewish Eastern European. Louis Vauxcelles wrote several monographs for the publisher Le Triangle, a prolific critic of Jewish painters. In a 1931 monograph, he wrote: "like a swarm of locusts, an invasion of Jewish colorists fell on Paris – on the Paris of Montparnasse. The causes of this exodus: the Russian revolution, and all that it brought with it of misery, pogroms, exactions, persecutions; the unfortunate young artists take refuge here, attracted by the influence of contemporary French art They will constitute [an element of] what the young critic will call the School of Paris. Many talents are to be considered in this crowd of metèques." leading to the dwindling of the Jewish School Of Paris. Others managed to left or fled Europe, mostly to Israel or the US. This phenomenon began with the return of École de Paris Isaac Frenkel Frenel to Mandatory Palestine in 1925 and his opening of the Histadrut Art Studio. His students were encouraged to continue their studies in Paris, and upon their return to Pre Independence Israel amplified the influence of the Jewish artists of the School of Paris they encountered. Furthermore, characteristically of Jewish Parisian Expressionism, the art was dramatic and even tragic, perhaps in connection to the suffering of the Jewish soul. During the 1930s several such painters would paint scenes in Israel in an Impressionist style and a Parisian light, greyer dimmer compared to the powerful Mediterranean sun.

Safed, a city in the mountains of the Galilee and one of the four holy cities of Judaism, was a Centre of École de Paris artists during the mid and late 20th century. Artists were attracted there by the romantic and mystical qualities of the Kabbalistic mountain city. The artists' quarter founded in 1949 was formed at first by Moshe Castel, Shimshon Holzman, Yitzhak Frenkel and other artists, many of them influenced by or part of the School of Paris. The painters of the community who were influenced by the Ecole de Paris attempted to express or reflect the mystics of Tzfat. Painting with colors that reflect the dynamism and spirituality of the ancient city, painting the fiery or serene sunsets over Mt Meron. Marc Chagall would walk the streets and paint portraits of religious children. Several of these artists would commute between Safed and Paris.

In the aftermath of the war, "nationalistic and anti Semitic attitudes were discredited, and the term took on a more general use denoting both foreign and French artists in Paris".

Post World War II (Après guerre), the term "New School of Paris" often referred to tachisme, and lyrical abstraction, a European parallel to American Abstract Expressionism. These artists include again foreign ones and are also related to CoBrA. Important proponents were Jean Dubuffet, Jean Fautrier, Pierre Soulages, Nicolas de Staël, Hans Hartung, Wols, Serge Poliakoff, Bram van Velde, Simon Hantaï, Gérard Schneider, Maria Helena Vieira da Silva, Zao Wou Ki, Chu Teh Chun, Georges Mathieu, André Masson, Jean Degottex, Pierre Tal Coat, Jean Messagier, Alfred Manessier, Jean Le Moal, Olivier Debré, Zoran Mušič, Jean Michel Coulon and Fahrelnissa Zeid, among others. Many of their exhibitions took place at the Galerie de France in Paris, and then at the Salon de Mai where a group of them exhibited until the 1970s. In 1996, UNESCO organized the 50th anniversary of the School of Paris (1954 1975), bringing together "100 painters of the New School of Paris." Notable artists included Arthur Aeschbacher, Jean Bazaine, Leonardo Cremonini, Olivier Debré, Chu Teh Chun, Jean Piaubert, Jean Cortot, Zao Wou ki, François Baron Renouard, among others. This grand exhibition featured a hundred painters from 28 different countries at the UNESCO headquarters in Paris. The exhibition's curators were the art critics Henry Galy Carles and Lydia Harambourg.

Art critics and renowned writers have written prefaces, books, and articles regarding the painters of the School of Paris, notably in periodicals such as Libération, Le Figaro, Le Peintre, Combat, Les Lettres françaises, Les Nouvelles littéraires. Among these writers and critiques were Waldermar George, Georges Emmanuel Clancier, Jean Paul Crespelle, Arthur Conte, Robert Beauvais, Jean Lescure, Jean Cassou, Bernard Dorival, André Warnod, Jean Pierre Pietri, George Besson, Georges Boudaille, Jean Albert Cartier, Jean Chabanon, Raymond Cogniat, Guy Dornand, Jean Bouret, Raymond Charmet, Florent Fels, Georges Charensol, Frank Elgar, Roger Van Gindertael, Georges Limbour, Marcel Zahar.