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Fikret Adil described this new movement, which Fahr el nissa Zeid and her son Nejat Devrim had Joined as well, in an article titled "the New Paris School" in Yeni Istanbul newspaper as follows:

"According to the news coming from Paris, thirty artists, who are united under the name of "New Ecole de Paris" and the guidance of Charles Estienne, a French art critic, have held their first exhibition.

Opened by thirty artists in a show, Charles Etienne introduced the exhibition to the public. He explained the differences between "Ecole de Paris" and "New Ecole de Paris" as follows:

What is "Ecole de Paris"? In most simple words, the era of national schools has been closed. And this is the name given to the paintings produced by the artists from all over the world who have preferred Paris, a unique place to produce their masterpieces without losing their national identities. In a narrower sense, it may be even asserted that there no longer exists a French painting. It is only Paris that has achieved fame, and Paris is in France. Paris is the place where the painting of the 20th Century has best realized itself. This perception finds its way firstly through impressionism and then nabism, fauvism, cubism and lastly abstract art. The consciousness and the deep requirements of Ecole de Paris are to be found in the discovery process rather than in research ideology. Thus, different flavors can be sensed, developing in its most naked, most concrete form in and beyond the plastic phenomenon, and in the characteristics of Ecole de Paris.
"What is "New Ecole de Paris"?

Starting from the characteristics of the plastic phenomenon, it is the exploration of the hidden truth behind them as well as the admiration felt for this reality, which I do not think there may be a better way to describe the abstract art. At this point, the deepest aspect of surrealism and the most independent aspects of abstract, - though they seem to be two enemies at first, - get together.

Art does not imitate the nature; it is the feeling of it!
The representatives of the "New Ecole de Paris" must be sought between 1940 and 1950. Therefore, it is not possible to find artists such as Braque, Chagall, Leger, Matisse and Picasso in this period. Members of the "the New Ecole de Paris" belong to another generation, which is sometimes more mature in style, sometimes less experienced, but recognized worldwide.

"In fact we see the following names in the exhibition:
Hartung, Scheiden, Lapicque, Deyrolles, Marie Raymond, Bazaine, Soulages. Manassier, Poliakoff, Esteve, Carmen de Ribas, Chapoval, Calmettes, Atlan, Arnal, Denise Chesnay, Degottex, Dias, Dimitrienko, Duvillier, Lapoujade, Marcelle Loubchansky, Messagier, Pons James Pichette, Duentin, and finally. Fahrinnusa Zeid and Nejat Devrim" (Adil 1952:7).
With these words, Fahr el nissa Zeid was considered as an artist of international standards. At the same time, it can be said that in 1950's, Cubism-orientated national modern art style in Turkish art circles was replaced by international abstract art. It is evident that, the recognition of a new pluralistic art based on solidarity, rather than an evolutionary, hierarchic, linear concept of art, was debated. In this movement, Fahr el nissa had an important position. In fact, the 1950's are recalled as a period during which the discussions on "abstract art" made up agenda of those days in the Turkish art community, as it did in the world.