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((Short description|Art in France during the 20th century))
((More citations needed|date=July 2013))
[[File:Derain CharingCrossBridge.png|thumb|280px|[[André Derain]], 1906, ''Charing Cross Bridge, London'', co-founder of [[Fauvism]] with [[Matisse]]]]

'''20th-century French art''' developed out of the [[Impressionism]] and [[Post-Impressionism]] that dominated French art at the end of the 19th century. The first half of the 20th century in France saw the even more revolutionary experiments of [[Cubism]], [[Dada]] and [[Surrealism]], artistic movements that would have a major impact on western, and eventually world, art. After World War II, while French artists explored such tendencies as [[Tachism]], [[Fluxus]] and [[New realism]], France's preeminence in the visual arts progressively became eclipsed by developments elsewhere (the United States in particular).

((French art history))
==From Impressionism to World War II==
[[File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg|thumb|left|280px|[[Albert Gleizes]], 1912, ''[[Les Baigneuses (Gleizes)|Les Baigneuses (The Bathers)]]'', oil on canvas, 105 x 171 cm, [[Musée d'Art Moderne de la Ville de Paris]]]]
The early years of the twentieth century were dominated by [[Neo-Impressionism]] and [[Divisionism]], experiments in colour and content that [[Impressionism]], [[Post-Impressionism]] and [[Symbolism (art)|Symbolism]] had unleashed. The products of the far east also brought new influences. [[Les Nabis]] explored a decorative art in flat plains with a Japanese print graphic approach. From 1904 [[Fauvism|Les Fauves]] exploded in color (much like German [[Expressionism]]).

The influence of African tribal masks led [[Pablo Picasso]] to his ''[[Demoiselles d'Avignon]]'' of 1907. Picasso and [[Georges Braque]] (working independently) returned to and refined Cézanne's way of rationally understanding objects in a flat medium; but their experiments in cubism would also lead them to integrate all aspects of day-to-day life: newspapers, musical instruments, cigarettes, wine. Picasso and Braque exhibited their analytical [[Cubism]] under an exclusivity contract at the gallery of [[Daniel-Henry Kahnweiler]], located on a quiet street behind [[La Madeleine, Paris|La Madeleine]] in the [[8th arrondissement of Paris]]. At the same time, [[Jean Metzinger]], [[Albert Gleizes]], [[Henri Le Fauconnier]], [[Robert Delaunay]] and [[Fernand Léger]] exhibited alternate forms of Cubism at the [[Salon des Indépendants]] and the [[Salon d'Automne]]; massive exhibitions that brought Cubism to the attention of the general public. These artists had no intention of analyzing and describing mundane objects from daily life—a bowl of fruit, a pipe, violin or guitar—but chose subjects of vast proportion, of provocative social and cultural significance, expressing the dynamic qualities of modern urban life.<ref name="Daniel Robbins">[https://archive.org/stream/albertgleizes1881robb#page/n3/mode/2up Daniel Robbins, 1964, ''Albert Gleizes 1881 - 1953, A Retrospective Exhibition'', Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund.]</ref> Cubism in all its phases and divers styles would dominate Europe and America for the next ten years.

[[File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg|thumb|[[Jean Metzinger]], 1911, ''[[Le goûter (Tea Time)]]'', oil on canvas, 75.9 x 70.2 cm, Philadelphia Museum of Art. Exhibited at the 1911 Salon d'Automne. Published in ''Fantasio'', 15 Oct. 1911, ''[[Du "Cubisme"]]'' by Jean Metzinger and Albert Gleizes, 1912, and ''[[The Cubist Painters, Aesthetic Meditations|Les Peintres Cubistes]]'' by [[Guillaume Apollinaire]], 1913, Paris. [[André Salmon]] dubbed this painting "The Mona Lisa of Cubism"]]
[[World War I]] did not stop the dynamic creation of art in France. In 1916 a group of discontents met in a bar in Zurich (the [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]]) and create the most radical gesture possible: the anti-art of [[Dada]]. At the same time, [[Francis Picabia]] and [[Marcel Duchamp]] were exploring similar notions. At an art show in New York in 1917 Duchamp presented a white porcelain urinal signed ''R. Mutt'' as work of art, becoming the father of the "[[Readymades of Marcel Duchamp|readymade]]".

The killing fields of the war (nearly one-tenth of the French adult male population had been killed or wounded) had made many see the absurdity of existence. This was also the period when the ''[[Lost Generation]]'' took hold: rich Americans enjoying the liberties of [[Prohibition]]-free France in the 1920s and poor G.I.'s going abroad for the first time. Paris was also, for [[African-Americans]], amazingly free of the racial restrictions found in America ([[James Baldwin (writer)|James Baldwin]], [[Richard Wright (author)|Richard Wright]], [[Josephine Baker]]).

When Dada reached Paris, it was avidly embraced by a group of young artists and writers who were fascinated with the writings of [[Sigmund Freud]], and particularly by the notion of the [[unconscious mind]]. The provocative spirit of Dada became linked to the exploration of the unconscious mind through the use of [[automatic writing]], chance operations and, in some cases, altered states. The surrealists quickly turned to painting and sculpture. The shock of unexpected elements, the use of [[Frottage (surrealist technique)|Frottage]], [[collage]] and [[decalcomania]], the rendering of mysterious landscapes and dreamscapes were to become the key techniques through the rest of the 1930s.

[[World War II]] ended the feast. Many surrealists like [[Yves Tanguy]], [[Max Ernst]], [[André Breton]] and [[André Masson]] fled occupied France for New York and the States (Duchamp had already been in the U.S. since 1936), but the cohesion and vibrancy were lost in the American city.

''For a chronological list of artists from the period, go [[List of French artists#Twentieth century (Pre World War II)|here]].''

== School of Paris ==
((Main article|School of Paris))
[[File:Ecole de paris 001.jpg|thumb|[[André Warnod]], Les Berceau de la jeune peinture, sketch by Modigliani, L'École de Paris]]
The term "[[School of Paris]]" (French: École de Paris) denotes the French and émigré artists who were active in Paris during the first half of the 20th century. Rather than representing a singular art movement or institution, it underscores the significance of Paris as a hub for Western art during the early 1900s to 1940, attracting artists globally and emerging as a focal point for artistic endeavors. Coined by [[André Warnod]], the School of Paris describes a loosely connected community, particularly non-French artists, congregating in the cafes, salons, shared workspaces, and galleries, especially of [[Montparnasse]].<ref>André Warnod, ''Les Berceaux de la jeune peinture : Montmartre, Montparnasse'', l'École de Paris, Edition Albin Michel, 1925</ref><ref name="Alley">Alley, Ronald. "Ecole de Paris." ''Grove Art Online. Oxford Art Online''. Oxford University Press. Web.</ref> Many artists of Jewish descent played a notable role in the School of Paris, later exerting a substantial influence on [[Visual arts in Israel|art in Israel]].

Between World War I and World War II, artists in Paris engaged in experimental styles such as Cubism, Orphism, Surrealism, and Dada. Both French and foreign artists participated in this creative milieu, including figures like Jean Arp, Joan Miró, Constantin Brâncuși, Raoul Dufy, Tsuguharu Foujita, Belarusian artists [[Michel Kikoine]] and [[Pinchus Kremegne]], Lithuanian artists [[Jacques Lipchitz]] and [[Arbit Blatas]], who extensively documented key figures of the School of Paris, as well as Polish artists [[Marek Szwarc]] and [[Morice Lipsi]], and Russian-born prince [[Alexis Arapoff]].<ref name=":12">((Cite book |last=Meisler |first=Stanley |title=Shocking Paris: Soutine, Chagall and the Outsiders of Montparnasse |publisher=Palgrave Macmillan |year=2015 |isbn=978-1-137-27880-7))</ref><ref name=":2">Muratova, X. (1979). Paris. The Burlington Magazine, 121(912), 198-198. Retrieved May 4, 2021.</ref> Many of the artists lived in [[La Ruche (residence)|La Ruche]], meaning beehive in French, was a complex of studio apartments where several school of Paris artists lived when first arriving Paris.<ref name=":12" />

=== Jewish School of Paris ===
Artists of Jewish descent played a significant role in the École de Paris, drawn to the art capital of the world, Paris, from Eastern Europe to escape persecution and pogroms.<ref name=":4">((Cite web |date=2021-11-25 |title=The Jewish painters of l'École de Paris-from the Holocaust to today |url=https://k-larevue.com/en/the-jewish-painters-of-lecole-de-paris-from-the-holocaust-to-today/ |access-date=2023-11-19 |website=Jews, Europe, the XXIst century |language=en-US |quote=“ l’École de Paris is a term coined by the art critic André Warnod in 1925, in the magazine Comœdia, to define the group formed by foreign painters in Paris. The École de Paris does not designate a movement or a school in the academic sense of the term, but a historical fact. In Warnod’s mind, this term was intended to counter a latent xenophobia rather than to establish a theoretical approach.))</ref> [[Montparnasse]] became a hub for many of these artists, including notable painters like [[Marc Chagall]], [[Jules Pascin]], [[Chaïm Soutine]], [[Yitzhak Frenkel|Isaac Frenkel Frenel]], [[Amedeo Modigliani]], and [[Abraham Mintchine]].<ref name=":3">((Cite book |last=Nieszawer |first=Nadine |title=Histoire des Artistes Juifs de l'École de Paris: Stories of Jewish Artists of the School of Paris |year=2020 |isbn=979-8633355567 |location=France |language=French))</ref><ref>((Cite web |date=2019-01-02 |title=Alexandre FRENEL |url=https://ecoledeparis.org/alexandre-frenel/ |access-date=2023-11-19 |website=Bureau d’art Ecole de Paris |language=en-US))</ref><ref>((Cite web |date=2019-01-02 |title=Marc CHAGALL |url=https://ecoledeparis.org/marc-chagall/ |access-date=2023-11-19 |website=Bureau d’art Ecole de Paris |language=en-US))</ref> These artists often depicted Jewish themes, infusing their work with intense emotions.<ref name=":52">((Cite book |last=Barzel |first=Amnon |title=Frenel Isaac Alexander |publisher=Masada |year=1974 |location=Israel |pages=14 |language=English))</ref> Coined in 1925 by André Warnod, the term "l’École de Paris" aimed to counter xenophobia towards foreign artists, many of whom were Jewish Eastern Europeans.<ref name=":4" /> The Nazi occupation led to the tragic loss of several prominent Jewish artists during the Holocaust, contributing to the decline of the Jewish School Of Paris, with some artists relocating to Israel or the US.<ref name=":4" /><ref>((Cite news |date=6 July 2021 |title=Les peintres juifs de " l'École de Paris " imposent leur génie au MahJ |language=French |work=[[Times of Israel]] |url=https://fr.timesofisrael.com/les-peintres-juifs-de-lecole-de-paris-imposent-leur-genie-au-mahj/))</ref><ref name=":32">((Cite book |last=Nieszawer |first=Nadine |title=Histoire des Artistes Juifs de l'École de Paris: Stories of Jewish Artists of the School of Paris |year=2020 |isbn=979-8633355567 |location=France |language=French))</ref><ref name=":5">((Cite web |title=Paris School of Art ((!)) Encyclopedia.com |url=https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/paris-school-art |access-date=2023-11-19 |website=www.encyclopedia.com))</ref>

==Post World War II==
The French art scene immediately after the war went in several directions. Some continued the artistic experiments of the 1930s and 1940s, especially [[Surrealism]] and [[Geometric abstraction]], and others associated with [[Lyrical abstraction]], [[Tachisme]], [[Nuagisme]], [[:fr:Art informel|Art Informel]] and ''((lang|fr|paysagisme abstrait))'' (modes of expression along similar lines as [[Abstract Expressionism]] or [[action painting]] from New York). These artists included [[Wols]], [[Jean Fautrier]], [[Hans Hartung]], [[Jean-Paul Riopelle]], [[Jean Degottex]], [[Gérard Ernest Schneider]], [[Pierre Soulages]], [[Jean Messagier]] and [[Georges Mathieu]].<ref>[https://archive.org/stream/youngereuropeanp00swee#page/33/mode/2up Solomon R. Guggenheim Museum, New York, ''Younger European painters: a selection'', exhibition catalogue, 2 December 1953 - 21 February 1954]</ref>

At the same time, [[Jean Dubuffet]] dominated the early post-war years while exploring childlike drawings, graffiti and cartoons in a variety of media in what he called "Art Brut" (see [[Outsider art]]). Meanwhile, [[François Fiedler]] went searching for the perfect combination of color and texture amongst the multitudinous layers of paint that found its way onto his canvas.

In 1960, [[Pierre Restany]] and [[Yves Klein]] founded the [[New Realism]] movement (in French: ''Nouveau Réalisme''), and a joint declaration was signed on October 27, 1960, by nine people: Yves Klein, [[Arman]], [[:fr:Francois Dufrêne|Francois Dufrêne]], [[Raymond Hains]], [[Martial Raysse]], [[Pierre Restany]], [[Daniel Spoerri]], [[Jean Tinguely]] and [[Jacques de la Villeglé]]; in 1961 these were joined by [[César Baldaccini|César]], [[Mimmo Rotella]], then [[Niki de Saint Phalle]] and [[Gérard Deschamps]]. The artist [[Christo]] joined the group in 1963.  The members of the group saw the world as an image, from which they would take parts and incorporate them into their works. They sought to bring life and art closer together, and has often been compared with ''[[Pop Art]]''. Yves Klein had nude women roll around in blue paint and throw themselves at canvases; Niki de Saint-Phalle created bloated and vibrant plastic figures; Arman gathered together found objects in boxed or resin-coated assemblages; [[César Baldaccini]] produced a series of large compressed object-sculptures (similar to Chamberlain's crushed automobiles); Daniel Spoerri used meals and food as artistic material.

Associated in various ways with New Realism, the artists of the international [[Fluxus]] movement &ndash; named and loosely organized in 1962 by [[George Maciunas]] (1931–78), a [[Lithuania]]n-born [[United States|American]] artist &ndash; encouraged a [[do it yourself]] aesthetic, and valued simplicity over complexity. Like [[Dada]] before it, Fluxus included a strong current of anti-commercialism and an [[anti-art]] sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues. Outsourcing part of the creative process to commercial fabricators was not usually part of Fluxus practice. The most significant French Fluxus artist, [[Ben Vautier]] incorporated [[graffiti]] and found objects into his work.

Other artist in the period include [[Victor Vasarely]] who invented [[Op-Art]] by designing sophisticated optical patterns.

In May 1968, the radical youth movement, through their ''atelier populaire'', produced a great deal of poster-art protesting the moribund policies of president [[Charles de Gaulle]].

''For a chronological list of artists from the period, go [[List of French artists#Twentieth century (Post World War II)|here]].''

==Contemporary art in France==
((Expand section|date=June 2008))

Many contemporary artists continue to be haunted by the horrors of the war and the specter of the holocaust. [[Christian Boltanski]]'s harrowing installations of the lost and the anonymous are particularly powerful.

The work of his wife [[Annette Messager]], who represented France at the 2005 Venice Biennale, deals with issues of identity and feminism.

The photographer, installation artist and conceptual artist [[Sophie Calle]]'s work is distinguished by its use of arbitrary sets of constraints, and evokes the French literary movement of the 1960s known as [[Oulipo]]. Her work frequently depicts human vulnerability, and examines identity and intimacy. She is recognized for her detective-like ability to follow strangers and investigate their private lives. Her photographic work often includes panels of text of her own writing.

Beginning in the 1980s, the [[Figuration Libre]] movement was constituted around French figures like [[Remi Blanchard]], [[François Boisrond]], [[Robert Combas]], [[Hervé Di Rosa]], [[Richard Di Rosa]] and [[Louis Jammes]]. Between 1982 and 1985, these artists exhibited on several occasions with their American counterparts: [[Keith Haring]], [[Jean-Michel Basquiat]], [[Kenny Scharf]], [[Tseng Kwong Chi]] and inter alia, Crash (exhibitions in New York, London, Pittsburgh, and Paris). The Figuration Libre falls under the prolongation of artists and historical movements whose specificity was the opening to marginalized forms of expression, as the [[Cubism]] had opened with [[African art]] and [[Oceanic art]] (amongst other influences), and "[[Outsider Art|art brut]]" with the children's drawings, [[Pop art]] with advertising and comic strips.

[[Pierre et Gilles]] (Pierre Commoy and Gilles Blanchard), are gay French artistic and romantic partners. They produce highly stylized [[photograph]]s, building their own sets and costumes as well as retouching the photographs. Their work often features images from [[popular culture]], [[gay culture]] including [[porn]] (especially [[James Bidgood (filmmaker)|James Bidgood]]), and [[religion]].

Other important contemporary French artists include Jean-Pierre Raynaud, [[Orlan]], [[Ernest Pignon-Ernest]], [[Daniel Buren]], [[Jean-Marc Bustamante]], [[Pierre Huyghe]], Valérie Mréjen.

==See also==
*[[Tachisme]]
*[[Nouveau réalisme]]
*[[School of Paris]]
*[[France in the twentieth century]]

==References==
((Reflist))

==Further reading==
* Bishop, Michael.  ''Contemporary French Art 1: Eleven Studies'' (2008), covers Ben Vautier, Niki De Saint Phalle, François Morellet, Louise Bourgeois, Alexandre Hollan, Claude Viallat, Sophie Calle, Bernard Pagès, Jean-Pierre Pincemin, Annette Messager, and Gérard Titus-Carmel
* Bishop, Michael. ''Contemporary French Art 2: Gérard Garouste, Colette Deblé, Georges Rousse, Geneviève Asse, Martial Raysse, Christian Jaccard, Joël Kermarrec, Danièle Perronne, Daniel Dezeuze, Philippe Favier, Daniel Nadaud'' (Rodopi, 2011)
* Leighten, Patricia. ''The Liberation of Painting: Modernism and Anarchism in Avant-guerre Paris'' (U of Chicago Press, 2013)
* Perry, Gill, and Francis Frascina. ''Primitivism, Cubism, Abstraction: The Early Twentieth Century'' (1993)
* Silver, Kenneth E. ''Esprit de corps: the art of the Parisian avant-garde and the First World War, 1914-1925'' (Princeton University Press, 1989)

((Authority control))

((DEFAULTSORT:French Art Of The 20th Century))
[[Category:20th century in France|Art]]
[[Category:French art]]

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