Paris · 1904 -1940 · oil painting
Paris School: 100 essential paintings
Modigliani, Soutine, Valadon, Utrillo, Kisling, Gris, Delaunay, Matisse, Derain, Léger and Picabia tell the story of a capital where exile, friendship and the avant-gardes changed painting.
A community, never a unique style
What's called the School of Paris?
The School of Paris has neither a common manifesto, nor an official workshop, nor an obligatory aesthetic. The expression designates the constellation of French and foreign artists who made Paris their main place of work at the beginning of the 20th century. The critic André Warnod popularized it in 1925 to name an already very real environment: painters from Italy, Russia, Lithuania, Spain or Central Europe shared the same cafés, the same models, the same merchants and often the same difficulties.
Montmartre remains the territory of the white streets of Utrillo and cabaret souvenirs. Montparnasse then takes over with its poor workshops, La Ruche, the free academies and the cafés of the Vavin crossroads. Modigliani invents his stretched faces there; Soutine makes the flesh and landscapes vibrate; Kisling gives the models a silent clarity. Valadon, more independent of this geography of exile, imposes a painting of bodies freed from academic conventions.
Around this figurative core, Paris also acts as a laboratory. Matisse and Derain liberate color, Gris orders cubism, Delaunay makes light a circular movement, Léger translates the power of the mechanical world, Picabia refuses to fixate in a language. The term "School" must therefore not erase differences: its richness comes precisely from the coexistence of incompatible trajectories, brought together by the city.
The School of Paris is less a way of painting than a way of inhabiting modernity together, in a city that has become a workshop of the world.
Models, friends and patrons make up the human memory of Montparnasse, between emotional proximity and formal invention.
Streets of Montmartre, cafes and facades become pictorial structures as expressive as the figures.
Fauvism and Orphism release the tones of imitation to make light a building element.
From the chalky whites of Utrillo to the impastos of Soutine, the surface retains the rhythm of gesture and time.
One hundred oils to cross the Paris of the avant-gardes
Editorial selectionThe founding constellation
The twenty icons of the School of Paris
Amedeo Modigliani
Naked lying
In "Nude Reclining", Amedeo Modigliani affirms a solution that is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. Dark values retain shapes while light accents organize the path of the gaze. The work condenses individual invention and the circulation of forms that define this Parisian constellation.
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Chaïm Soutine
The Flayed Ox
In "Le Bœuf écorché", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Soutine twists the space with a thick and nervous touch which transforms flesh, house or object into living matter. The balance remains deliberately unstable, as if each mass could still move. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Suzanne Valadon
The Blue Room
In "The Blue Room", Suzanne Valadon affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Henri Matisse
Woman in hat
In "Woman in the Hat", Henri Matisse affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Juan Grey
Portrait of Pablo Picasso
In "Portrait of Pablo Picasso", Juan Gris affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the true springs of the portrait. Gris orders everyday objects in a readable cubist architecture, made up of plans, covers and rhythms. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. The work condenses individual invention and the circulation of forms that define this Parisian constellation.
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Robert Delaunay
The City of Paris
In "The City of Paris", Robert Delaunay affirms a solution that is not to be confused with any closed school. Facades, walls and roads regulate the depth like a stage, while color accidents make life in the neighborhood sensitive. Delaunay makes the city, window and disk vibrate with simultaneous contrasts which convert light into movement. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image close, material and open. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Maurice Utrillo
The Agile Rabbit, Montmartre
In "Le Lapin Agile, Montmartre", Maurice Utrillo affirms a solution that is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a stage, while color accidents make life in the neighborhood noticeable. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The tight framing removes the superfluous and gives the shapes an almost physical presence. The tight framing removes the superfluous and gives the shapes an almost physical presence. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Chaïm Soutine
The Little Pastry Chef
In "Le Petit Pâtissier", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Soutine twists the space with a thick and nervous touch that transforms flesh, house or object into living matter. The colors do not fill the contours: they themselves determine the volumes and distances. The colors do not fill the contours: they themselves determine the volumes and distances. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Amedeo Modigliani
Jeanne Hébuterne in the big hat
In "Jeanne Hébuterne with the Big Hat", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Henri Matisse
The happiness of living
In "Le Bonheur de vivre", Henri Matisse affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. The painting transforms concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Chaïm Soutine
Portrait of Madeleine Castaing
In "Portrait of Madeleine Castaing", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Soutine twists the space with a thick and nervous touch which transforms flesh, house or object into living matter. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Maurice Utrillo
Rue du Mont-Cénis
In "Rue du Mont-Cénis", Maurice Utrillo affirms a solution that is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a stage, while color accidents make life in the neighborhood noticeable. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The edges never completely close the stage: they allow us to imagine a space larger than the format. The edges never completely close the stage: they allow us to imagine a space larger than the format. The work condenses individual invention and the circulation of forms that define this Parisian constellation.
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Fernand Léger
Contrasts of forms
In "Contrasts of Forms", Fernand Léger affirms a solution which is not to be confused with any closed school. Nested planes, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple object represented. Léger gives the volumes the clarity of the machines and the figures the stable power of constructed elements. Dark values retain shapes while light accents organize the path of the gaze. Dark values retain shapes while light accents organize the path of the gaze. The work condenses individual invention and the circulation of shapes that define this Parisian constellation.
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André Derain
Mountains in Collioure
In "Montagnes à Collioure", André Derain affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. The balance remains deliberately unstable, as if each mass could still move. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Moses Kisling
Kiki de Montparnasse
In "Kiki de Montparnasse", Moïse Kisling affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Kisling unites precise drawing, smooth modeling and dense color in portraits of calm intensity. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Amedeo Modigliani
Portrait of Chaïm Soutine
In "Portrait of Chaïm Soutine", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The construction seems simple at first glance, stretches the neck and makes the line a form of psychological presence. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Suzanne Valadon
The Launch of the Net
In "The Launch of the Net", Suzanne Valadon affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. The work cond
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Francis Picabia
Udnie
In "Udnie", Francis Picabia affirms a solution that is not to be confused with any closed school. Nested planes, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Picabia changes language to preserve a critical freedom that runs through abstraction, mechanics and Dada irony. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image at the same time close, material and open. The tension between flat areas and depth keeps the image at the same time close, material and open. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Amedeo Modigliani
Paul Guillaume, Novo Pilota
In "Paul Guillaume, Novo Pilota", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The tight framing removes the superfluous and gives the line a form of psychological presence. The tight framing removes the superfluous and gives the shapes an almost physical presence. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
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Juan Grey
Pierrot in the cluster
In "Pierrot à la cluster", Juan Gris affirms a solution which is not to be confused with any closed school. Familiar objects acquire a new density thanks to differences in scale, repetitions of contour and the weight of the material. Gris orders everyday objects in a readable cubist architecture, made up of plans, repetitions and rhythms. Colors do not fill the contours: they themselves determine the volumes and distances. The colors do not fill the contours: they themselves determine the volumes and distances. The colors do not fill the contours: they themselves determine the volumes and distances. The work condenses individual invention and the circulation of forms which define this Parisian constellation.
See reproduction →Faces of a community
Montparnasse: portraits, models and workshops
Amedeo Modigliani
Portrait of Paul Guillaume
In "Portrait of Paul Guillaume", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Beatrice Hastings in front of a door
In "Beatrice Hastings in front of a door", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Jeanne Hébuterne
In "Jeanne Hébuterne", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
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Amedeo Modigliani
Portrait of Lunia Czechowska in a white blouse
In "Portrait of Lunia Czechowska in a white blouse", Amedeo Modigliani affirms a solution that is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the real springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Woman with blue eyes
In "Woman with Blue Eyes", Amedeo Modigliani affirms a solution that is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. Dark values retain shapes while light accents organize the path of the gaze. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Jeanne Hébuterne at Collier
In "Jeanne Hébuterne au Collier", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The balance remains deliberately unstable, as if each mass could still move. The balance remains deliberately unstable, as if each mass could still move. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Jeanne Hébuterne seated
In "Jeanne Hébuterne seated", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The touch does not just describe: it gives the pattern its weight, speed and temperature. The touch does not just describe: it gives the pattern its weight, its speed and its temperature. The touch does not just describe: it gives the pattern its weight, its speed and its temperature. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Portrait of Moses Kisling
In "Portrait of Moses Kisling", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The construction seems simple at first glance, stretches the neck and makes the line a form of psychological presence. The construction seems simple at first glance, but it is based on a precise play of repetitions and breaks. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
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Amedeo Modigliani
Portrait of Jeanne Hébuterne
In "Portrait of Jeanne Hébuterne", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Portrait of Pablo Picasso
In "Portrait of Pablo Picasso", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image close, material and open. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Naked sitting
In "Nude seated", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The tight framing removes the superfluous and gives the shapes an almost physical presence. The tight framing removes the superfluous and gives the shapes an almost physical presence. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Portrait of Diego Rivera
In "Portrait of Diego Rivera", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. Colors do not fill the contours: they themselves determine volumes and distances. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
Self-portrait
In "Self-portrait", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Amedeo Modigliani
The Little Peasant
In "The Little Peasant", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience language.
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Suzanne Valadon
Portrait of Erik Satie
In "Portrait of Erik Satie", Suzanne Valadon affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
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Suzanne Valadon
Naked with red sheet
In "Nude with a Red Sheet", Suzanne Valadon affirms a solution that is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
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Suzanne Valadon
Naked sitting on a sofa
In "Nude Sitting on a Sofa", Suzanne Valadon affirms a solution that is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. Dark values retain shapes while light accents organize the path of the gaze. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
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Suzanne Valadon
The Lady with the Little Dog
In "The Lady with the Little Dog", Suzanne Valadon affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. The balance remains deliberately unstable, as if each mass could still move. The balance remains deliberately unstable, as if each mass could still move. The painting remains deliberately unstable, as if each mass could still move. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
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Moses Kisling
Naked sitting
In "Nude Sitting", Moïse Kisling affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Kisling unites precise drawing, smooth modeling and dense color in portraits of calm intensity. The touch does not just describe: it gives the pattern its weight, speed and temperature. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
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Amedeo Modigliani
The Jewess
In "La Juive", Amedeo Modigliani affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Modigliani simplifies the face, stretches the neck and makes the line a form of psychological presence. The construction seems simple at first glance, stretches the neck and makes the line a form of psychological presence. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The painting preserves the memory of an environment where the portrait serves as much to recognize a person as to experience a language.
See reproduction →The city and its escapes
Montmartre, Céret and inhabited landscapes
Maurice Utrillo
Church of Clignancourt
In "Church of Clignancourt", Maurice Utrillo affirms a solution which is not to be confused with any closed school. Facades, walls and roadways regulate depth like a stage, while color accidents make life in the neighborhood noticeable. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
Rue Norvins in Montmartre
In "La Rue Norvins à Montmartre", Maurice Utrillo affirms a solution that is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a stage, while color accidents make life in the neighborhood noticeable. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The tension between flat areas and depth keeps the image close, material and open at the same time. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image close, material and open. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
Place du Tertre
In "Place du Tertre", Maurice Utrillo affirms a solution that is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a stage, while color accidents make life in the neighborhood noticeable. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The tight framing removes the superfluous and gives the shapes an almost physical presence. The tight framing removes the superfluous and gives the shapes an almost physical presence. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
The Impasse Cottin
In "L'Impasse Cottin", Maurice Utrillo affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The colors do not fill the contours: they themselves determine the volumes and distances. The colors do not fill the contours: they themselves determine the volumes and distances. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
Rue Lepic, the Galette mill
In "Rue Lepic, the Galette mill", Maurice Utrillo affirms a solution which is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a scene, while color accidents make life in the neighborhood noticeable. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The eye advances in successive echoes, from one line to another, from a dense tone and almost silent streets. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
Our Lady
In "Notre-Dame", Maurice Utrillo affirms a solution that is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a scene, while color accidents make life in the neighborhood noticeable. Utrillo built Montmartre with chalky whites, frontally laid walls and almost silent streets. The painting transforms concrete observation into personal language without losing the presence of the visible world. The painting transforms concrete observation into personal language without losing the presence of the visible world. The painting transforms concrete observation into personal language without losing the presence of the visible world. The painting transforms concrete observation into personal language without losing the presence of the visible world. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
Sacré-Cœur de Montmartre and the Château des Brouillards
In "Sacré-Cœur de Montmartre and the Château des Brouillards", Maurice Utrillo affirms a solution which is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a scene, while color accidents make life in the neighborhood noticeable. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
Rue Custine in Montmartre
In "Rue Custine à Montmartre", Maurice Utrillo affirms a solution which is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a stage, while color accidents make life in the neighborhood sensitive. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The edges never completely close the stage: they allow us to imagine a space larger than the format. The edges never completely close the stage: they allow us to imagine a space larger than the format. The edges never completely close the stage: they allow us to imagine a space larger than the format. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
Atelier Theater, Place Dancourt
In "Théâtre de l'Atelier, Place Dancourt", Maurice Utrillo affirms a solution which is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a stage, while color accidents make life in the neighborhood sensitive. Utrillo builds Montmartre with chalky whites, frontally laid walls and almost silent streets. The dark values retain the shapes while the light accents organize the path of the gaze. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Maurice Utrillo
The Red Wall, Boulevard de la Chapelle
In "Le Mur Rouge, Boulevard de la Chapelle", Maurice Utrillo affirms a solution which is not to be confused with any closed school. Facades, walls and roadways regulate the depth like a stage, while color accidents make life in the neighborhood noticeable. Utrillo built Montmartre with chalky whites, frontally laid walls and almost silent streets. The balance remains deliberately unstable, as if each mass could still move. The balance remains deliberately unstable, as if each mass could still move. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Chaïm Soutine
Landscape of Céret
In "Paysage de Céret", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Soutine twists space with a thick and nervous touch that transforms flesh, house or object into living matter. The touch does not just describe: it gives the pattern its weight, its speed and its temperature. The touch does not just describe: it gives the pattern its weight, its speed and its temperature. The touch does not just describe: it gives the pattern its weight, its speed and its temperature. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Chaïm Soutine
Houses in a landscape
In "Houses in a Landscape", Chaïm Soutine affirms a solution that is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Soutine twists space with a thick and nervous touch that transforms flesh, house or object into living matter. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The topography becomes the support for a direct experience of matter, slope, light and movement.
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Chaïm Soutine
Le Mas Passe-Temps, Céret
In "Le Mas Passe-Temps, Céret", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Soutine twists space with a thick and nervous touch that transforms flesh, house or object into living matter. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. The topography becomes the support for a direct experience of matter, slope, light and movement.
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André Derain
Big Ben
In "Big Ben", André Derain affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image close, material and open. The topography becomes the support for a direct experience of matter, slope, light and movement.
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André Derain
The Westminster Bridge
In "The Westminster Bridge", André Derain affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. The tight framing removes the superfluous and gives the shapes an almost physical presence. Topography becomes the support for a direct experience of matter, slope, light and movement.
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André Derain
Boats in Collioure
In "Bateaux à Collioure", André Derain affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. Colors do not fill the contours: they themselves determine the volumes and distances. Topography becomes the support for a direct experience of matter, slope, light and movement.
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André Derain
The port of Collioure
In "The Port of Collioure", André Derain affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. The eye advances in successive echoes, from one line to another, in a dense tone to a more breathable area. The eye advances in successive echoes, from one line to another, in a dense tone to a more breathable area. Topography becomes the support for a direct experience of matter, slope, light and movement.
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André Derain
Hyde Park
In "Hyde Park", André Derain affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. The painting transforms concrete observation into personal language without losing the presence of the visible world. Topography becomes the support for a direct experience of matter, slope, light and movement.
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André Derain
The Faubourg de Collioure
In "Le Faubourg de Collioure", André Derain affirms a solution which is not to be confused with any closed school. Facades, walls and roads regulate the depth like a scene, while color accidents make life in the neighborhood sensitive. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The topography retains the hesitations and repetitions which make the surface a living place. The topography becomes the support for a direct experience of matter, slope, light and movement.
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André Derain
The London Basin
In "The London Basin", André Derain affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Derain contrasts pure colors and highly simplified directions to give the landscape immediate energy. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. The topography becomes the support for a direct experience of matter, slope, light and movement.
See reproduction →Paris as a laboratory
Cubism, Fauvism and Orphism
Henri Matisse
The dance
In "La Danse", Henri Matisse affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. Dark values retain shapes while light accents organize the path of the gaze. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Henri Matisse
Luxury, calm and voluptuousness
In "Luxury, Calm and Voluptuousness", Henri Matisse affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. The balance remains deliberately unstable, as if each mass could still move. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Henri Matisse
Music
In "La Musique", Henri Matisse affirms a solution which is not to be confused with any closed school. Nested planes, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Matisse releases the color of imitation and makes each flat a force that organizes the entire surface. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Henri Matisse
The Red Workshop
In "L'Atelier rouge", Henri Matisse affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Henri Matisse
Blue nude (memory of Biskra)
In "Blue Nude (memory of Biskra)", Henri Matisse affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the true springs of the portrait. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Henri Matisse
The Red Trolley
In "La Desserte rouge", Henri Matisse affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Matisse frees color from imitation and makes each flat a force that organizes the entire surface. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image close, material and open. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Henri Matisse
Goldfish
In "The Goldfish", Henri Matisse affirms a solution which is not to be confused with any closed school. Familiar objects acquire a new density thanks to differences in scale, reversals of contour and the weight of the material. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. The tight framing removes the superfluous and gives the shapes an almost physical presence. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Henri Matisse
French window in Collioure
In "Window Door in Collioure", Henri Matisse affirms a solution which is not to be confused with any closed school. The landscape is worth less as a faithful view than as an organization of distances, masses and colored temperatures. Matisse frees color from imitation and makes each flat area a force that organizes the entire surface. Colors do not fill the contours: they themselves determine the volumes and distances. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Juan Grey
Pierrot on guitar
In "Pierrot on the guitar", Juan Gris affirms a solution which is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Gris orders everyday objects in a readable cubist architecture, made up of shots, repetitions and rhythms. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Juan Grey
Violin
In "Violin", Juan Gris affirms a solution that is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Gris orders everyday objects in a readable cubist architecture, made up of plans, repetitions and rhythms. The painting transforms a concrete observation into personal language, made up of plans, repetitions and rhythms. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Juan Grey
Harlequin on the violin
In "Harlequin on the Violin", Juan Gris affirms a solution that is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Gris orders everyday objects in a readable cubist architecture, made up of shots, repetitions and rhythms. The pictorial material preserves the everyday objects in a readable cubist architecture, made up of plans, repetitions and rhythms. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Juan Grey
Harlequin on guitar
In "Harlequin on Guitar", Juan Gris asserts a solution that is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Gris orders everyday objects in a readable cubist architecture, made up of shots, covers and rhythms. The edges never completely close the scene: they allow us to imagine a space larger than the format. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Juan Grey
Harlequin
In "Harlequin", Juan Gris asserts a solution that is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Gray orders everyday objects in a readable cubist architecture, made up of plans, repetitions and rhythms. Dark values retain shapes while light accents organize the path of the gaze. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Juan Grey
Seated harlequin
In "Sitting Harlequin", Juan Gris asserts a solution that is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Gris orders everyday objects in a readable cubist architecture, made up of plans, repetitions and rhythms. The balance remains deliberately unstable, as if each mass could still move. The balance remains deliberately unstable, as if each mass could still move. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Robert Delaunay
Simultaneous windows n°2
In "Simultaneous Windows n°2", Robert Delaunay affirms a solution which is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Delaunay makes the city, window and disk vibrate with simultaneous contrasts which convert light into movement. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The touch does not just describe: it gives the motif its weight, its speed and its temperature. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Robert Delaunay
The Eiffel Tower
In "The Eiffel Tower", Robert Delaunay affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Delaunay makes the city, window and disk vibrate with simultaneous contrasts which convert light into movement. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Robert Delaunay
Circular shapes
In "Circular Forms", Robert Delaunay affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Delaunay makes city, window and disk vibrate with simultaneous contrasts that convert light into movement. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Robert Delaunay
Simultaneous disk
In "Simultaneous Disc", Robert Delaunay affirms a solution which is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Delaunay makes city, window and disk vibrate with simultaneous contrasts which convert light into movement. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image close, material and open. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Robert Delaunay
The Cardiff Team
In "The Cardiff Team", Robert Delaunay asserts a solution that is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Delaunay makes the city, window and disk vibrate with simultaneous contrasts which convert light into movement. The tight framing removes the superfluous and gives the shapes an almost physical presence. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
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Robert Delaunay
Window with orange curtains
In "Window with Orange Curtains", Robert Delaunay affirms a solution that is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Delaunay makes the city, window and disk vibrate with simultaneous contrasts which convert light into movement. The colors do not fill the contours: they themselves determine the volumes and distances. The composition shows how Paris transforms the avant-gardes into a continuous dialogue rather than a succession of isolated doctrines.
See reproduction →After the manifestos
A cosmopolitan modernity
Chaïm Soutine
Self-portrait
In "Self-portrait", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the real springs of the portrait. Soutine twists the space with a thick and nervous touch which transforms flesh, house or object into living matter. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
Oranges on a green background
In "Oranges on a Green Background", Chaïm Soutine affirms a solution that is not to be confused with any closed school. Familiar objects acquire a new density thanks to differences in scale, twists of contour and the weight of the material. Soutine twists space with a thick and nervous touch that transforms flesh, house or object into living matter. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
Woman in red blouse
In "Woman in a Red Blouse", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the real springs of the portrait. Soutine twists the space with a thick and nervous touch which transforms flesh, house or object into living matter. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
The table
In "La Table", Chaïm Soutine affirms a solution that is not to be confused with any closed school. Familiar objects acquire a new density thanks to differences in scale, twists of contour and the weight of the material. Soutine twists the space with a thick and nervous touch that transforms flesh, house or object into living matter. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
The old man with clasped hands
In "The Old Man with Clasped Hands", Chaïm Soutine affirms a solution that is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the real springs of the portrait. Soutine twists the space with a thick and nervous touch that transforms flesh, house or object into living matter. Dark values retain shapes while light accents organize the path of the gaze. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
Still life on violin, bread and fish
In "Still Life with Violin, Bread and Fish", Chaïm Soutine affirms a solution that is not to be confused with any closed school. Nested planes, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Soutine twists the space with a thick and nervous touch which transforms flesh, house or object into living matter. The balance remains deliberately unstable, as if each mass could still move. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
The idiot
In "L'idiot", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the real springs of the portrait. Soutine twists the space with a thick and nervous touch that transforms flesh, house or object into living matter. The touch does not just describe: it gives the pattern its weight, its speed and its temperature. Its uniqueness reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
Young woman in a white coat
In "Young Woman in the White Blouse", Chaïm Soutine affirms a solution that is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the real springs of the portrait. Soutine twists the space with a thick and nervous touch that transforms flesh, house or object into living matter. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. The construction seems simple at first glance, but it is based on a precise play of repetitions and ruptures. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Chaïm Soutine
Farm girl
In "Fille de la ferme", Chaïm Soutine affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Soutine twists the space with a thick and nervous touch that transforms flesh, house or object into living matter. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative. Each interval counts as much as the central motif and prevents the composition from becoming purely illustrative.
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Suzanne Valadon
The joy of living
In "The Joy of Living", Suzanne Valadon affirms a solution that is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. The tension between flat areas and depth keeps the image close, material and open. The tension between flat areas and depth keeps the image at the same time close, material and open. The tension between flat areas and depth keeps the image at the same time close, material and open. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Suzanne Valadon
Self-portrait
In "Self-portrait", Suzanne Valadon affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. The tight framing removes the superfluous and gives the shapes an almost physical presence. Its tight framing removes the superfluous and gives the shapes an almost physical presence. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Suzanne Valadon
Portrait of Maurice Utrillo
In "Portrait of Maurice Utrillo", Suzanne Valadon affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and contour become the real springs of the portrait. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. Colors do not fill the contours: they themselves determine volumes and distances. Colors do not fill the contours: they themselves determine volumes and distances. The colors do not fill the contours: they themselves determine the volumes and distances. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Suzanne Valadon
André Utter and his dogs
In "André Utter and his dogs", Suzanne Valadon affirms a solution which is not to be confused with any closed school. The subject remains immediately readable, but its strength comes above all from the way in which lines, surfaces and colors occupy the entire field. Valadon affirms the real weight of bodies through firm contours, frank fabrics and a look without idealization. The eye advances in successive echoes, from one line to another, in a dense tone and a look without idealization. The eye advances in successive echoes, from one line to another, from a dense tone to a more breathable area. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Fernand Léger
The Woman in Blue
In "The Woman in Blue", Fernand Léger affirms a solution which is not to be confused with any closed school. The model is not reduced to an identity: posture, gaze, clothing and outline become the true springs of the portrait. Léger gives volumes the clarity of machines and figures the stable power of constructed elements. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. The painting transforms a concrete observation into personal language without losing the presence of the visible world. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Fernand Léger
The city
In "La Ville", Fernand Léger affirms a solution that is not to be confused with any closed school. Facades, walls and roads regulate the depth like a scene, while color accidents make life in the neighborhood sensitive. Léger gives the volumes the clarity of the machines and the figures the stable power of constructed elements. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make the surface a living place. The pictorial material preserves the hesitations and repetitions which make
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Fernand Léger
Mechanical elements
In "Mechanical Elements", Fernand Léger affirms a solution which is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Léger gives the volumes the clarity of the machines and the figures the stable power of constructed elements. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. The edges never completely close the scene: they allow us to imagine a space larger than the format. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Fernand Léger
The Alarm Clock
In "Le Réveil-matin", Fernand Léger affirms a solution which is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple object represented. Léger gives the volumes the clarity of the machines and the figures the stable power of constructed elements. Dark values retain shapes while light accents organize the path of the gaze. Dark values retain shapes while light accents organize the path of the gaze. Dark values retain shapes while light accents organize the path of the gaze. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Francis Picabia
Edtaonisl (ecclesiastic)
In "Edtaonisl (ecclesiastical)", Francis Picabia affirms a solution which is not to be confused with any closed school. Nested planes, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Picabia changes language to preserve a critical freedom that runs through abstraction, mechanics and Dada irony. The balance remains deliberately unstable, as if each mass could still move. The balance remains deliberately unstable, as if each mass could still move. The balance remains deliberately unstable, as if each mass could still move. The balance remains deliberately unstable, as if each mass could still move. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Francis Picabia
Catch as Catch Can
In "Catch as Catch Can", Francis Picabia affirms a solution that is not to be confused with any closed school. Nested shots, curves and diagonals circulate the eye: the subject becomes a constructed rhythm rather than a simple represented object. Picabia changes language to preserve a critical freedom that runs through abstraction, mechanics and Dada irony. The touch does not just describe: it gives the motif its weight, its speed and its temperature. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Francis Picabia
The Procession, Seville
In "The Procession, Seville", Francis Picabia affirms a solution that is not to be confused with any closed school. Facades, walls and roads regulate depth like a scene, while color accidents make life in the neighborhood sensitive. Picabia changes language to preserve a critical freedom that crosses abstraction, mechanics and Dada irony. The construction seems simple at first glance, but it is based on a precise play of repetitions and Dada irony. The construction seems simple at first glance, but it is based on a precise play of repetitions and breaks. Its singularity reminds us that the School of Paris designates a community of trajectories and not a unique way of painting.
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Workshops, cafes, merchants and places of passage
Mobility is at the heart of the Paris School. Artists arrive with different languages, training and memories. Many meet in academies where teaching is freer than in official institutions. Cafés serve as offices, lounges and sometimes refuges; portraits circulate as signs of friendship or recognition.
Merchants play a decisive role. Paul Guillaume supports Modigliani and Soutine; galleries give visibility to still precarious painters; collectors are gradually transforming a marginal environment into a major chapter of modern art. This recognition, however, erases neither the poverty nor the anti-Semitism which struck many immigrant artists, until the persecutions of the Second World War.
The landscape further expands this map. Céret offers Soutine a mineral and tormented material; Collioure reveals to Matisse and Derain a light that allows all daring; London becomes for Derain a colorful response to Monet. Paris remains the center, but its energy is constantly nourished by departures and returns.
Popular streets, cabarets and walls: Utrillo makes it a painted memory of the upper town.
Workshops, academies and cafés bring together artists, models, writers, merchants and exiles.
A cheap city of artists where several figures of cosmopolitan modernity meet.
Two southern laboratories where landscape, light and color move the rules learned in Paris.
The choice of paint
Oil as a common language
The corpus only brings together oil paintings, on canvas or on panel. This narrow choice makes it possible to follow what each artist does with the same medium: Modigliani thins the material in favor of the line, Soutine thickens it until the pattern trembles, Utrillo gives it the powdery opacity of a wall, Matisse and Derain deploy it in luminous flat areas.
Graphic works, pastels, inks, prints, photographs and collages have been excluded. In Juan Gris, whose cubist practice sometimes combines glued paper, graphite or charcoal, the selection retains painted oils such as the portraits of Pierrot and Harlequin. This material coherence does not standardize the paintings: on the contrary, it makes their differences more visible.
Frequently asked questions
Read the Paris School without simplifying it
Is the School of Paris an artistic movement?
Not in the sense of a group with a common manifesto or style. The expression brings together artists active in Paris, often from elsewhere, whose practices range from expressive figuration to cubism and abstraction.
Why do Modigliani and Soutine take center stage?
Their work embodies both the cosmopolitan community of Montparnasse and the affirmation of an immediately personal writing. Their portraits, nudes, landscapes and still lifes became major images of the period.
Why do we also find Matisse, Derain or Delaunay?
The School of Paris goes beyond the sole circle of immigrant artists from Montparnasse. The term also allows us to understand Paris as a center of exchanges between Fauvism, Cubism, Orphism, Expressionism and new figurations.
Are all the hundred works oil paintings?
Yes. The selection excludes drawings, inks, pastels, watercolors, prints, photographs and collages. The supports can be the canvas or the panel, but the medium chosen remains oil.
What period does this course cover?
The heart of the ranking is between 1904 and 1940, from the tawny explosion to the last years of Soutine. Some works shed light on the immediate origins or extensions of this Parisian modernity.
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