Incoherents

The group sprang from the same Montmartre cabaret culture that spawned the Hydropathes of Émile Goudeau and Alfred Jarry's Ubu Roi.

The October 1882 show was attended by two thousand people, including Manet, Renoir, Camille Pissarro, and Richard Wagner.

It is said to have influenced filmmaker George Melies, whose surreal plots and surprise special effects reflected the nonsensical amusements of the Incoherent movement [1] The Incoherents were born in the late nineteenth century, a period that was rich in scientific discoveries and social innovations.

The official art traditions were even being questioned in the newspapers through satirical images which implied it was a dying craft.

Taking advantage of a power outage, and lit only by candlelight, they created a jumble of rebellious works, using all types of materials and any inspiration with the ultimate goal of making people laugh.

The exhibition adopts a true catalog, including a piece by Levy Orville in which he reverses an inkwell for the sake of aesthetics.

They hoped this occasion would see the image of the "Chief pipes Poyle sand without number, on a silver field," an ancient statue carving chisel of an academician who does not lead wide.

The artists were increasingly familiarizing themselves with the pictorial map and the pun, both of which helped to establish this kind of "Incoherent" art.

He lost the support of the satirical weekly magazine Le Courrier français who had declared him "the official unofficial Incoherent" in 1884.

Levy wanted this event to remind the good memories of the Incoherent arts and to announce the return of his exhibitions.

Inconsistency joined decadence, decay and other jokes with or without handles in the bag of old fashioned chiffes" Despite that, Levy still pulled on the Incoherent string until 1896 when it was met with massive indifference from the press.