I use the intermediate acceptation of Ecole de Paris, the original one being too restrictive to be relevant here, and the one that is common to use today in the wider circles being so vague that it empties the name of all meaning.

The first meaning is extremely restrictive. It persists at least until the late forties. It consists in grouping among foreign painters, permanent immigrants or those who have resided for a long time in Paris, and are not attached to any significant pictorial movement. Temporary immigrant painters who have only received lessons for example, even if they have undergone major influences are considered painters of their country of origin. But painters permanently installed in Paris, ignored or denied by their own country of origin can benefit from this name. This is for example the case of Amedeo Modogliani whose Italian Gigi Chersa, after visiting his small exhibition at the Venice Biennale in 1922, judged him "guilty of having abandoned the safe paths of our tradition, and cited as an example of the aberration where can reach the perverted Parisian-metrical taste of snobbery ". Does this mean that all the foreign painters permanently installed in Paris are part of this School of Paris? No. It excludes those attached to a significant movement such as Cubism or Surrealism, for example. It is therefore only "a few foreigners, mainly Jews, who can be classified in the School of Paris: Modigliani, Pascin, Kisling, Chagall, and Soutine, to name only the most important" (Bernard Dorival).

The current meaning, even if it is a debate, brings together artists who helped to make Paris the home of artistic creation until the 1960s. That is to say, a lot of people ... Restrictions of foreign nationality or non-attachment to a pictorial movement no longer exist. We can find André Derain, Marie Laurencin, Maurice de Vlaminck, Maurice Utrillo, Juan Gris, Othon Coubine, Jules Pascin, Bernard Buffet, Bernard Lorjou, Paul Collomb, Edouaard Pignon, Pierre Soulages, Roger Bissiere, etc ... artists representing the diversity of pictorial art in Paris from the early 20th century to the 1960s. That is to say if we look for the significance ...

Limiting, as much as possible, the domain of this gallery to the French painting of the 20th century, I choose the intermediate definition including, no longer painters, but works made by foreign painters, permanently established in the capital, or during their stays in Paris and their travels in France or abroad during these periods. The works of the painters of the School of Paris, in the intermediate sense who have no main page in the gallery, are visible on this page. The works of the French painters, in the same case, are proposed on the French School page.