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List of illustrations

  • Cover of "Quelques visages de Paris" (Some views of Paris)
  • Pont de Passy, in "Quelques visages de Paris"
  • Tour Eiffel, in "Quelques visages de Paris"
  • Jardin des Plantes, in "Quelques visages de Paris"
  • Portrait of Picasso
  • Still Life with Lemons and Tapioca
  • Coffee Jar
  • Still Life with Tobacco Pot
  • Still Life with Vase of Flowers
  • Portrait of Madame Marguerite Lhote
  • Woman with Striped Apron
  • Portrait of Jean Cocteau
  • Landscape at Arcachon
  • Village by the Sea
  • Exposition des "Maîtres du Cubisme," Galerie de L'Effort Moderne
  • Nude
  • Illustrations for Blaise Cendrars, "Profond aujourd'hui"
  • Still Life with Fruit and Necklace
  • Girl
  • The Blue Grotto of Capri
  • Blue Grotto in Capri
  • The Blind Flutist
  • Postcard from an ocean liner sent from Tarsila do Amaral to Mario de Andrade, September 8, 1924
  • L'Atlantique
  • Manuel Rendón in His Studio on the Rue Notre-Dame des Champs in Paris
  • Pedro Figari in his Paris studio, Rue du Panthéon, no. 13
  • La Rotonde, Montparnasse
  • La Rotonde
  • Horacio Butler, Héctor Basaldúa, and Aquiles Badi on the terrace of Le Dôme, Paris
  • Postcard of Le Dôme, Paris, sent from Agustín Lazo to his mother in Mexico
  • Caricature. From left: Enríquez, Félix Pita Rodríguez, and Eduardo Avilés Ramírez
  • Still Life
  • The Artist and His Models
  • Portrait of Víctor Valdés Alfonso
  • Still Life
  • Self-Portrait
  • Nude Figure and Head
  • A mixed life-drawing class at the Académie de la Grande Chaumière
  • Monument to General Carlos María de Alvear
  • Académie André Lhote
  • Letter from Manuel Rodríguez Lozano and Julio Castellanos to André Lhote, December 17, 1925
  • Two Models
  • Soccer
  • Nude
  • Seated Nude in Landscape
  • Study composition
  • Nude
  • Fishermen on the Seine
  • Tropical
  • Portrait of Mário de Andrade
  • Cover of "Exposition d'Art Américain-Latin"
  • The Seine
  • Governess
  • Woman with Green Plant
  • Ña diáfana
  • Still Life with Guitar
  • Assassination of Quiroga
  • Head of an Indian
  • Head of an Indian
  • Profile of the Andes
  • Rhythm
  • Woman in a Heavy Overcoat
  • Intersection
  • Spaniards Surprised by Indians
  • Armando Maribona's exhibition at the Association Paris-Amérique Latine, Paris
  • Repenting
  • Cover of Association Paris-Amérique Latine, "Hommage au génial artiste Franco-Péruvien Gauguin"
  • Exposition d'art Péruvien Domingo Pantigoso
  • Shepherdess
  • Descendants of the Incas
  • The White Dress
  • Gaucho on the Pampa
  • Gaucho
  • Anguished Solitude: For the Monument to the Poet José Asunción Silva
  • Still Life
  • Water Carrier
  • Church Interior
  • Woman from Para
  • Soccer Players
  • Three Soccer Players
  • Martyrdom of Saint Sebastian
  • Lancelot of the Lake and Queen Guinevere
  • Perfume Bearer
  • Dancer
  • Door knocker
  • Bachué
  • Rómulo Rozo carving Bachué
  • The Hunt
  • Woman before a Mirror
  • Nessus Seducing Deianira
  • A travers des salons–Tendances de les Surindépendants
  • Group of Acrobats
  • The Geography Map
  • Pericón beneath the Orange Trees
  • Candombe
  • Cover of Georges Pillement, "Pedro Figari"
  • The Indian Race
  • Untitled (Indigenous Figures and Parrot)
  • Path to Regla
  • The Mystical Rooster
  • Cuban People
  • Cover of Tarsilo do Amaral, "Tarsila"
  • Favela Hill (Morro da Favela)
  • Tarsila do Amaral in the Galerie Percier at her first individual exhibition in Paris, June 1926
  • The Negress
  • São Paulo
  • Steam Boat
  • Interior (Monaco)
  • Pianist and Checker Players
  • Dolly
  • Installation view of the Galerie de la Renaissance, "Tapisseries Mexicaines de Lola Velásquez Cueto," Paris
  • Indian
  • Patron Saint of Mexico
  • Dancer
  • The Hare
  • Still Life in Ochre
  • Gundinga
  • Costume design for "La dama duende" by Pedro Calderón de la Barca
  • Composition with Glasses
  • Boats in Mallorca
  • Table of contents of the "Revue de l'Amérique latine"
  • Caricature of Pedro Figari in the "Revue de l'Amérique latine"
  • Cover of the "Renaissance de l'art français et des industries de luxe"
  • Les peintres de l'Amérique latine
  • Une renaissance Mexicaine
  • La renaissance de l'art mexicain
  • On demande de la peinture de sauvages
  • Senora, Give It to Me!
  • Cover of "Bulletin de l'effort moderne"
  • Three Nuns and Nativity
  • Nude with Raised Arms
  • Woman with a Book
  • Female Figure
  • Tarsila do Amaral's living room in São Paulo
  • "Adoration" (top) and "Still Life" (bottom)
  • Two Figures and a Dog
  • "Deep Sea Diver" (left) and "Fetish" (right)
  • Rux 32
  • Mourners
  • Inca Warrior
  • Four Figures
  • Dispar
  • Cover of Joaquín Torres García and Joseph Milbauer, "J. Torrés-Garcia expose du 16 au 30 juin quelques peintures"
  • New York Street Scene
  • Paris Landscape
  • Galerie Marck, "Refusés par le jury du Salon d'Automne 5 peintres," November 3–15, 1928
  • Still Life
  • Street with House and White Cloud
  • Untitled
  • Color Structure
  • Construction with Curved Forms
  • Constructive Painting
  • Rows of Signs
  • Symbolic Characters Compared
  • Symbols
  • Musée des Arts Décoratifs, Palais du Louvre, Pavillon de Marsan, "Les arts anciens de l'Amérique," Paris
  • The Great Masturbator
  • Galerie 23, "1ére exposition internationale du Groupe Cercle et Carré du 18 Avril au 1ére Mai," Paris
  • Installation view of the "1ére exposition internationale du Groupe Cercle et Carré" (which includes Torres García's Construction I, 1930, next to a painting by Amedée Ozenfant)
  • Mask
  • Sculpture
  • Homage to Juan Gris
  • Metaphysical Figures
  • Michel Seuphor with Germán Cueto's mask at the closing of Cercle et Carré, April 30, 1930
  • Luigi Russolo at his Russolophone
  • Invitation to Hugo David Barbagelata and Joaquín Torres García, "1ére exposition du Groupe Latino-Américain de Paris du 11 au 24 Avril, 1930"
  • Cover of "Raison et nature: Théorie"
  • Capital 8a Construction
  • Figure
  • Abstraction
  • Collage
  • Untitled
  • Sleepwalking Elevator I
  • Head
  • Abaporu (originally exhibited as Nude)
  • Manacá (Princess Flower)
  • Calmness I (originally exhibited as Marine)
  • Film still from "Emak bakia" (Leave me alone)
  • Person Throwing a Stone at a Bird
  • Self-Portrait
  • Surrealist Composition
  • Page from "La renaissance de l'art mexicain." This article includes the illustrations Femme assise by Carlos Mérida and Aquarelle and Composition by Agustín Lazo. It also includes three tapestries by Lola Velásquez Cueto: Fête du mais (after a painting by Diego Rivera), Le marché de Xochimilco, and Crucifixion.
  • The Eternal Farewell
  • The Ice of Death
  • Eiffel Tower in the Pampa
  • Napoleon III
  • Oedipus Rex
  • The Omen
  • The View
  • The Glassblowers
  • Consolation
  • Slaves in a Mythical Landscape
  • My Nurse and I
  • What the Water Gave Me
  • The Frame
  • Cover of André Breton, "Mexique" with a photograph by Manuel Álvarez Bravo, Girl Looking at Birds, 1931
  • Striking Worker, Assassinated
  • Graphic design for frontispiece of "Souvenir de Mexique"
  • Recent Grave
  • Surrealist Map of the World
  • Scenario No. 1: Sun's Suction Panic
  • Project for an Apartment
  • Morphology of Desire
  • Cover of André Breton, "Fata Morgana," trans. Clark Mills
  • Argentina pavilion at the "Exposition internationale des arts et techniques dans la vie moderne," Paris
  • Mural for the Uruguay pavilion, at the "Exposition internationale des arts et techniques dans la vie moderne," Paris
  • Girls with Guitars
  • Untitled
  • Life
  • Cuban Landscape
  • Tropical Gypsy
  • Hieroglyph
  • Silence (Scoria or Instruments)
  • Dawn
  • The Intellectual (or Young Intellectual)
  • Anita
  • Maternity
  • Women by the Seashore
  • Head of a Woman
  • Self Portrait
  • Woman with Long Hair I
Free
Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
Contents
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00171.001
Free
Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~Researching and writing Transatlantic Encounters would not have been possible without the assistance and generous support of numerous individuals and institutions. A Post-Doctoral Research Fellowship at the Center for the Study of Modern Art, the Phillips Collection, funded the initial research for this book from 2008 to 2009. In addition to giving me access...
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00171.002
Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~~In 1925 Brazilian artist Vicente do Rego Monteiro (1899–1970) published three hundred copies of his book of prints, Quelques...
PublisherYale University Press
Related print edition pages: pp.1-10
https://doi.org/10.37862/aaeportal.00171.003

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Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~Cubism was one of the most influential and innovative avant-garde movements to emerge in the early years of the twentieth century. Many Latin American artists experimented with cubist techniques in the 1920s, but only a select few were directly involved in its development in the years surrounding World War I. While artists often proudly mentioned contact or...
PublisherYale University Press
Related print edition pages: pp.11-31
https://doi.org/10.37862/aaeportal.00171.004

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Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
Writing in 1928, Cuban journalist, art critic, and writer Alejo Carpentier recognized the global character and irresistible draw for artists and intellectuals of Montparnasse, the historic French neighborhood on the Left Bank of the Seine. By the 1920s Montparnasse had replaced Montmartre, where artists such as Picasso...
PublisherYale University Press
Related print edition pages: pp.32-55
https://doi.org/10.37862/aaeportal.00171.005

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~By the mid-1920s numerous artists from almost every country in Latin America lived and worked in Paris, but this presence did not automatically result in a cohesive Latin American artistic community.The first two sections of this chapter were published as Michele Greet, “Occupying...
PublisherYale University Press
Related print edition pages: pp.56-78
https://doi.org/10.37862/aaeportal.00171.006

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~The Paris salons provided infrastructure for many Latin American artists who simply did not have regular exhibition opportunities in their country of origin. By the early 1920s, when Latin American artists began to arrive in Paris in large numbers, there were five annual salons from which...
PublisherYale University Press
Related print edition pages: pp.79-103
https://doi.org/10.37862/aaeportal.00171.007

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~The Paris salons provided a consistent and relatively accessible place for Latin American artists to exhibit their work in Paris. Yet by the 1920s the importance and prestige of the salons, both traditional and modernist, was in decline. Many critics bemoaned the lack of originality of the artists who exhibited there and began to look elsewhere for new talent....
PublisherYale University Press
Related print edition pages: pp.104-121
https://doi.org/10.37862/aaeportal.00171.008

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~The press played a significant role in creating a conceptual framework for understanding Latin American art in Paris. Coverage of the arts in the...
PublisherYale University Press
Related print edition pages: pp.145-170
https://doi.org/10.37862/aaeportal.00171.010

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Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~In histories of Latin American modernism, Uruguayan artist Joaquín Torres García (1874–1949) is widely acknowledged as a leader in the introduction and promotion of constructivism and abstraction.Mari Carmen Ramírez’s seminal book traces the impact of his...
PublisherYale University Press
Related print edition pages: pp.171-195
https://doi.org/10.37862/aaeportal.00171.011

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Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~For many Latin American artists who arrived in Paris in the 1920s and 1930s, surrealism was the most noteworthy European avant-garde...
PublisherYale University Press
Related print edition pages: pp.196-236
https://doi.org/10.37862/aaeportal.00171.012

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
~By the 1930s conditions had changed dramatically in Paris. The stock market crash severely affected the art market, and exhibition opportunities quickly dried up. Moreover, the xenophobia spurred by the inundation of...
PublisherYale University Press
Related print edition pages: pp.237-257
https://doi.org/10.37862/aaeportal.00171.013

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Free
Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
Illustration Credits
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00171.014
Free
Description: Transatlantic Encounters: Latin American Artists in Paris Between the Wars
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00171.015
Transatlantic Encounters: Latin American Artists in Paris Between the Wars
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