Abstract

The historiography dedicated to the artistic Avant-gardes of the late 19th and early 20th centuries has insisted, in most cases, on transmitting a uniform narrative in which Paris is presented as the nerve centre of the most innovative artistic creation. The Modernity – produced, exhibited and marketed in the French capital – shows an openness irrevocably linked to the splendour of the Belle Époque at the end of the century and the reforms of the Third Republic before the outbreak of the First World War..