In the late and too often lamented 1920s, when Paris was the navel of the art world, there was not one but three dogmatic painting "academies"' jockeying for predominance. The first and most popular was still the followers of impressionism, who mostly painted light effects. The second, and most honored by the cognoscenti, was the lingering revolution of cubism, as exemplified by the works of Braque and Leger. The third and most chic was surrealism. But in 1926 a fourth group quietly challenged the reign of the other three. Dubbed the "neo-romantics," this...
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