Paris, still capital of artists after the Second World War, if not capital of the arts?
In any case, a very real and living point of convergence that this
"city open to indifference"
, according to Julien Alvard of the magazine
Cimaise
in 1955.
"Parisian art, devoid of a dominant style, without patronage, without a museum of strong modern art, without powerful galleries, without outstanding exhibitions, is in a state of weakness in the face of rising competition from New York and other European capitals”
, recalls the historian Jean-Paul Ameline, curator of “Paris and nowhere else” at the Palais de la Porte Dorée.
As a counter-example, he cites the creation of Documenta in Kassel in 1955 and the rise of Germany on the contemporary scene.
And demonstrates the intact attraction of the capital in 24 artists who arrived in Paris between 1945 and 1972, from Télémaque the Haitian and Arroyo the Spaniard to Erro the Icelandic and Joan Mitchell the American, from Zao Wou-ki the Chinese to Wifredo Lam the Cuban…
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