School of Paris coined by André Warnod, was used to describe this loose community, particularly of non-French artists, centered in the cafes, salons and shared workspaces and galleries of Montparnasse.

The group in its broader sense included artists like Pablo Picasso, Marc Chagall, Amedeo Modigliani and Piet Mondrian.

Associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes.

[3] Many École de Paris artists lived in the iconic La Ruche, a complex of studio apartments and other facilities in Montparnasse on the Left Bank, at 2 Passage Dantzig, built by a successful sculptor, Alfred Boucher, who wanted to develop a creative hub where struggling artists could live, work and interact.

[4][6] Artists who lived and worked in La Ruche include Amedeo Modigliani, Yitzhak Frenkel, Diego Rivera, Tsuguharu Foujita, Jacob, Soutine, Michel Kikoine, Moïse Kisling, Pinchus Krémègne, Ossip Zadkine, Jules Pascin, Marc Chagall, Amshey Nurenberg, Jacques Lipchitz, and more.

"[13] One account points to the 1924 Salon des Indépendants, which decided to separate the works of French-born artists from those by immigrants; in response critic Roger Allard [fr] referred to them as the School of Paris.

[13][14] Jewish members of the group included Emmanuel Mané-Katz, Abraham Mintchine, Chaïm Soutine, Adolphe Féder, Marc Chagall, Yitzhak Frenkel Frenel, Moïse Kisling, Maxa Nordau and Shimshon Holzman.

The Musée d'Art et d'Histoire du Judaïsme has works from School of Paris artists including Pascin, Kikoine, Soutine, Mintchine, Orloff and Lipschitz.

Paris the capital of the art world attracted Jewish artists from Eastern Europe, several of them fleeing persecution, discrimination and pogroms.

[17] Several Jewish painters were notable in the movement; these include Marc Chagall and Jules Pascin, the expressionists Chaïm Soutine and Isaac Frenkel Frenel as well as Amedeo Modigliani and Abraham Mintchine.

The causes of this exodus: the Russian revolution, and all that it brought with it of misery, pogroms, exactions, persecutions; the unfortunate young artists take refuge here, attracted by the influence of contemporary French art ....

[24] This phenomenon began with the return of École de Paris Isaac Frenkel Frenel to Mandatory Palestine in 1925 and his opening of the Histadrut Art Studio.

[28] During the 1930s several such painters would paint scenes in Israel in an Impressionist style and a Parisian light, greyer dimmer compared to the powerful Mediterranean sun.

[35][33][32] In the same period, the School of Paris name was also extended to an informal association of classical composers, émigrés from Central and Eastern Europe to who met at the Café Du Dôme in Montparnasse.

[36] In the aftermath of the war, "nationalistic and anti-Semitic attitudes were discredited, and the term took on a more general use denoting both foreign and French artists in Paris".

[8] But although the "Jewish problem" trope continued to surface in public discourse, art critics ceased making ethnic distinctions in using the term.