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Paris as a School

In 1925 the art critic André Warnod, defending artists at the Salon des Indépendants marginalised because they were foreign, wrote in Comœdia: “Can we regard as unwanted an artist for whom Paris is the Promised Land, the hallowed ground of painters and sculptors?” In his article criticising racism in the French art world Warnod coined the expression “School of Paris”. Since, this has come to denote less a movement than the generation of painters and sculptors of all nationalities drawn to Paris from the turn of the 20th century.

Many of these men and women were Jewish artists who had arrived in Paris before 1914 from European cities and provincial Jewish towns in the Russian Empire: Germans like Lou Albert-Lasard and Rudolf Levy, Bulgarians like Jules Pascin, Hungarians like Béla Czóbel and Alfred Reth, Poles like Mela Muter, Simon Mondzain and Marek Szwarc, Russians like Marc Chagall, Sonia Delaunay, Adolphe Feder, Michel Kikoine, Jacques Lipchitz, Mane-Katz, Chana Orloff, Chaim Soutine and Ossip Zadkine, Czechs like Georges Kars and Italians like Amedeo Modigliani.

They came in search of emancipation and a great many were eastern European Jews fleeing discrimination and poverty. Fascinated by republican France, they had been familiarised with the 19th-century French masters and the Impressionists by their teachers in Krakow and Munich. Often denied access to artistic training by education quotas in the Russian Empire, they came to Paris to come to grips with modernism and freely become creators in their own right.

Their sheer number gave rise to a belief in the existence of a “Jewish School” and fuelled the virulent anti-Semitism in the 1920s. Beyond their common desire to free themselves from the constraints of Jewish life, pursue their art and achieve a degree of recognition, all shared a rejection of systems and a will to take the individual path that their newly acquired status could at last permit. In fact, they were never a “school” as such, but artists linked by the history and ideals they shared and, for some, their tragic destiny.





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Room 1

  • 1. Sur la route de Wissous en 1918
  • 2. Lazar Markovitch Lissitzky, dit El Lissitzky
  • 3. Trajectoire des artistes de l'École de Paris

Room 2

  • 1. Ergy Landau
  • 2. Marc Vaux
  • 3. Béla Czóbel
  • 4. Jules Pascin
  • 5. Walter Bondy
  • 6. Académie Matisse
  • 7. Rudolf Levy
  • 8. Wilhelm Uhde, Walter Bondy, Rudolf Levy et Jules Pascin
  • 9. Albert Weisgerber
  • 10. Sonia Delaunay

Room 3

  • 1. Adolphe Feder
  • 2. Jacques Lipchitz
  • 3. Jacques Lipchitz
  • 4. Louis Marcoussis
  • 5. Henri Hayden
  • 6. Alfred Reth
  • 7. Alice Halicka
  • 8. Alice Halicka
  • 9. Otto Freundlich
  • 10. Otto Freundlich
  • 11. Sonia Delaunay
  • 12. Vladimir Baranoff-Rossiné

Room 4

  • 1. La Ruche
  • 2. Artistes de la Ruche, 1912 ou 1913
  • 3. Walter Limot
  • 4. Isaac Lichtenstein, Marek Szwarc et Joseph Tchaikov
  • 5. Makhmadim, Paris, no 5, 1912
  • 6. Marc Chagall
  • 7. Marc Chagall
  • 8. Ossip Zadkine
  • 9. Marc Vaux
  • 10. Michel Kikoïne
  • 11. Pinchus Krémègne
  • 12. Léon Indenbaum
  • 13. La Ruche
  • 14. Léon Indenbaum dans son atelier
  • 15. Walter Limot
  • 16. Marc Chagall
  • 17. Marc Chagall
  • 18. Marc Chagall
  • 19. Pinchus Krémègne
  • 20. Chaïm Soutine
  • 21. Chana Orloff
  • 22. Chana Orloff dans son atelier
  • 23. Morice Lipsi dans son atelier
  • 24. Morice Lipsi dans son atelier
  • 25. L'Atelier de Jacqes Chapiro
  • 26. La Ruche
  • 27. La Ruche
  • 28. Walter Limot
  • 29. Walter Limot
  • 30. Walter Limot
  • 31. Walter Limot

Room 5

  • 1. Amadéo Modigliani et Alfred Basler à droite
  • 2. Amedeo Modigliani
  • 3. Amedeo Modigliani
  • 4. Amedeo Modigliani
  • 5. Henri Cartier-Bresson
  • 6. Amedeo Modigliani
  • 7. Amedeo Modigliani
  • 8. Amedeo Modigliani
  • 9. Amedeo Modigliani
  • 10. Amedeo Modigliani
  • 11. Amedeo Modigliani
  • 12. Amedeo Modigliani
  • 13. Portrait d'Ary Justman par Amadeo Modigliani
  • 14. Moïse Kisling
  • 15. Eugène Zak

Room 6

  • 1. Mobilisation. Volontaires Juifs Polonais
  • 2. Simon Mondzain
  • 3. Simon Mondzain
  • 4. Simon Mondzain
  • 5. -
  • 6. -
  • 7. Marevna
  • 8. Marc Chagall
  • 9. Simon Mondzain
  • 10. Carte d'identité d'Ossip Zadkine

Room 7

  • 1. Krikor Djololian Arax
  • 2. André Kertész
  • 3. André Kertész
  • 4. Marianne Breslauer
  • 5. André Kertész
  • 6. Affiche du programme du bal de la Grande Ourse
  • 7. Jules Pascin
  • 8. Jules Pascin
  • 9. Jules Pascin
  • 10. Oser Warszawski
  • 11. Oser Warszawski
  • 12. Oser Warszawski
  • 13. Oser Warszawski
  • 14. Oser Warszawski
  • 15. Oser Warszawski
  • 16. Oser Warszawski
  • 17. Oser Warszawski
  • 18. Oser Warszawski
  • 19. Oser Warszawski
  • 20. Oser Warszawski
  • 21. Oser Warszawski
  • 22. Oser Warszawski
  • 23. Oser Warszawski
  • 24. Oser Warszawski
  • 25. Henri Hayden
  • 26. Lou Albert-Lasard
  • 27. Lou Albert-Lasard
  • 28. Lou Albert-Lasard
  • 29. Lou Albert-Lasard

Room 8

  • 1. Le Succès de Montparnasse
  • 2. Chaïm Soutine, Olga Sacharoff et Chana Orloff
  • 3. Chaïm Soutine
  • 4. Chaïm Soutine
  • 5. Chaïm Soutine
  • 6. Chaïm Soutine
  • 7. Louis Marcoussis
  • 8. Mela Muter
  • 9. Mela Muter
  • 10. Moïse Kisling
  • 11. Moïse Kisling dans son atelier
  • 12. Jules Pascin
  • 13. Jules Pascin
  • 14. Michel Kikoïne
  • 15. Georges Kars
  • 16. Georges Kars
  • 17. Samuel Granowsky
  • 18. Marek Szwarc
  • 19. Chana Orloff
  • 20. Chana Orloff
  • 21. Chana Orloff
  • 22. Chana Orloff
  • 23. Isaac Dobrinsky
  • 24. Isaac Dobrinsky
  • 25. Isaac Dobrinsky
  • 26. Isaac Dobrinsky
  • 27. Isaac Dobrinsky
  • 28. Isaac Dobrinsky
  • 29. Isaac Dobrinsky
  • 30. Isaac Dobrinsky
  • 31. Henri Epstein

Room 9

  • 1. Khaliastra
  • 2. Peretz Markish, Joseph Opatoshu et Oser Warszawski
  • 3. Relecture des épreuves de la revue Khaliastra
  • 4. Second numéro de la revue Khaliastra
  • 5. Marc Chagall
  • 6. Marc Chagall
  • 7. Marc Chagall
  • 8. Revue Ménorah, 1ère année, n°7
  • 9. La Revue Juive, 1ère année, n°1
  • 10. Lettre d'O. Warszawski à J. Lipchitz
  • 11. Alice Halicka
  • 12. Alice Halicka
  • 13. Les Enfants du ghetto
  • 14. Issachar Ryback
  • 15. Issachar Ryback
  • 16. Morice Lipsi
  • 17. Marc Chagall
  • 18. Mané-Katz
  • 19. Mané-Katz

Room 10

  • 1. Cartel Exposition à la galerie Berthe Weill
  • 2. Chana Orloff
  • 3. Chana Orloff
  • 4. Moïse Kisling
  • 5. Lettre de Kisling à son épouse
  • 6. Jacques Lipchitz
  • 7. 106 photos d'oeuvres d'artistes de l'École de Paris
  • 8. Hersch Fenster

End of the visit

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Paris as a School

In 1925 the art critic André Warnod, defending artists at the Salon des Indépendants marginalised because they were foreign, wrote in Comœdia: “Can we regard as unwanted an artist for whom Paris is the Promised Land, the hallowed ground of painters and sculptors?” In his article criticising racism in the French art world Warnod coined the expression “School of Paris”. Since, this has come to denote less a movement than the generation of painters and sculptors of all nationalities drawn to Paris from the turn of the 20th century.

Many of these men and women were Jewish artists who had arrived in Paris before 1914 from European cities and provincial Jewish towns in the Russian Empire: Germans like Lou Albert-Lasard and Rudolf Levy, Bulgarians like Jules Pascin, Hungarians like Béla Czóbel and Alfred Reth, Poles like Mela Muter, Simon Mondzain and Marek Szwarc, Russians like Marc Chagall, Sonia Delaunay, Adolphe Feder, Michel Kikoine, Jacques Lipchitz, Mane-Katz, Chana Orloff, Chaim Soutine and Ossip Zadkine, Czechs like Georges Kars and Italians like Amedeo Modigliani.

They came in search of emancipation and a great many were eastern European Jews fleeing discrimination and poverty. Fascinated by republican France, they had been familiarised with the 19th-century French masters and the Impressionists by their teachers in Krakow and Munich. Often denied access to artistic training by education quotas in the Russian Empire, they came to Paris to come to grips with modernism and freely become creators in their own right.

Their sheer number gave rise to a belief in the existence of a “Jewish School” and fuelled the virulent anti-Semitism in the 1920s. Beyond their common desire to free themselves from the constraints of Jewish life, pursue their art and achieve a degree of recognition, all shared a rejection of systems and a will to take the individual path that their newly acquired status could at last permit. In fact, they were never a “school” as such, but artists linked by the history and ideals they shared and, for some, their tragic destiny.





It's not quite over yet !


To access other features click on the button below




End the visit
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