“École de Paris” In and Out of Paris (1928–1930): A Transregional Perspective on the Exhibitions of the “School of Paris” in Venice, Cambridge, Recife, São Paulo, and Rio de Janeiro
Bibliographic record
Abstract
During the first decades of the twentieth century, the Paris quarter of Montparnasse became a focal point for an internationalized art field, and artists’ transnational mobility and migration laid the basis for the city’s image as cosmopolitan hub. Art critics and curators of the interwar period soon used the term École de Paris (“School of Paris”) for artists who immigrated to the French capital, and more rarely for French artists who attracted these foreigners with their art and academies, thus underscoring Paris’s status as a center of modern art. In the recent past, numerous studies on the School of Paris have focused on the role of foreign artists within the Parisian art scene and its dynamics of inclusion and exclusion.[1] The present article, however, examines how the label was shaped within transregional dynamics. It focuses on artists and critics that were both active within Paris and curated exhibitions of the School of Paris elsewhere. Thus, they transformed and relocated the label and the implied image of Paris as a center of modern art and a site of migrant artists.During the first decades of the twentieth century, the Paris quarter of Montparnasse became a focal point for an internationalized art field, and artists’ transnational mobility and migration laid the basis for the city’s image as cosmopolitan hub. Art critics and curators of the interwar period soon used the term École de Paris (“School of Paris”) for artists who immigrated to the French capital, and more rarely for French artists who attracted these foreigners with their art and academies, thus underscoring Paris’s status as a center of modern art. In the recent past, numerous studies on the School of Paris have focused on the role of foreign artists within the Parisian art scene and its dynamics of inclusion and exclusion.[1] The present article, however, examines how the label was shaped within transregional dynamics. It focuses on artists and critics that were both active within Paris and curated exhibitions of the School of Paris elsewhere. Thus, they transformed and relocated the label and the implied image of Paris as a center of modern art and a site of migrant artists.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.009 | 0.009 |
| Scholarly communication | 0.006 | 0.003 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.006 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".