‘The Generation of the Thirties’ is a term that has been widely applied to Greek artists active in the interwar years and their artistic production. This article argues that the term is misleading due to its conceptual ambiguity. By focusing on Greek artists in Paris during the 1920s, it contends that the concept of the network, describing a dynamic cluster of historical actors sharing common ideologies, aesthetic ideas and interests, elucidates the formation and evolution of artists’ styles, aesthetic ideas, professional interests and cultural identities in a more meaningful way.
