In the inter-war period, several teachers of Greek engraving modified their artistic output and laid the foundations for its development, marking the end of its close dependence on painting. Among them are Yannis Kephallinos, professor at the School of Fine Arts (1932), Dimitris Galanis, Angelos Theodoropoulos and Lykourgos Kogevinas, mainly landscapers, and Giorgos Oikonomidis, who conveyed the spirit of the concepts of Expressionism. Finally there were Dimitris Giannoukakis and Efthimis Papadimitriou, who stressed realistic elements in their initial phase. All these artists developed many and various techniques such as lithography, woodcut and copper-plate engraving. Some of them, such as Othon Pervolarakis, were engaged in lithography and worked in the field of the commercial poster. Nikos Chatzikyriakos-Ghikas also became an engraver.

Greek sculpture is represented in the same period by Thanassis Apartis, Grigoris Zevgolis, Kostas Dimitriadis, Antonis Sochos, Michalis Tombros, Titsa Chrysochooidou and Bella Raftopoulou. Most of these studied in Paris with Bourdelle. Michalis Tombros, influenced by the French sculptor Maillol, as well as Antonis Sochos and Thanassis Apartis, in response to the new trends, formed the post-classical generation. Yannoulis Chalepas articulated a completely personal idiom and became one of the sculptors who whole-heartedly adopted new European artistic trends. A disciple of Max Windmann, he returned to Greece and produced, especially during his so-called 'post-rational' period (1918-32), work that was characterized by 'primitive' elements and probably dictated by his disturbed mental state. Other - younger - sculptors, such as Vassos Phalireas and Yannis Pappas, produced their more mature work after the inter-war period.