L'École de Tunis
Words by Aimée Lister
There was a pivotal post-independence art movement that redefined Tunisian identity through modernist expression. Emerging from Le Groupe des Dix, L’École de Tunis’ artists merged local traditions with contemporary styles, moving beyond colonial Orientalism. Their influence shaped Tunisia’s visual culture and left a lasting mark on its artistic heritage.
Several painters from the School of Tunis gathered at the Café de Paris in Tunis, photo taken by Jellal Ben Abdallah.
L'École de Tunis (1956-1980) is said to have been the “Golden Age” of Tunisian art. This movement came in the wake of independence from French colonialism and – as an article by the Fiker Institute asserts – its artists had a “defacto monopoly over the aesthetics of postcolonial creative output in Tunisia.” Artists confronted questions of what “Tunisianity” should mean, and where they should situate themselves and their art within the broader brushstrokes of “Modernity.”
The school started out as Le Groupe des Dix: they sent an official letter to the French Resident-General in February 1948 requesting an increase of the state’s art purchase budget alongside more access to state funding. In response, the government later passed a “law of one percent” that sets aside 1% of construction costs to the decoration of public buildings.
Over time, L'École de Tunis became more than just a collective; it was a movement that shaped Tunisia’s visual culture. Artists like Yahia Turki, Abdelaziz Gorgi, and Ammar Farhat merged local artistic traditions with contemporary styles, creating a distinct visual language rooted in Tunisian identity. Their work often drew inspiration from Arab-Muslim aesthetics, folklore, and daily life, moving away from colonial-era Orientalist depictions. This fusion of tradition and modernity positioned L'École de Tunis as a defining force in postcolonial Tunisian art, influencing generations of artists and leaving a lasting mark on the country’s cultural heritage.
