In the nineteenth century, aspiring artists from many parts of the world were going to Europe in search of artistic perfection. In Paris, like in the principal European capitals of the time, there existed wide networks of migrating artists, international exhibitions, and travelling artworks. This circulation of people and goods shaped the global art system and formed its underlying structure. Even if Latin American painters contributed to these networks and expanded them from Europe to the New World, their role in the establishment of the modernist canon is not yet fully recognized. Because of the reductive art historical narrative and the paucity of archival records, many names of Latin American artists have disappeared from art historical accounts, and many works of art have been held in isolation in the store rooms of peripheral museums, or disappeared into private collections. The significant absence of these painters, often explained in terms of their backwardness and derivative style, is here determined by the structural inequality between the artistic center for which they longed and the periphery from which they came. This article explores the trajectories of Latin American painters in Paris who participated in the Salons of the Société Nationale des Beaux-arts from 1890 to 1899, and revisits their position in the modern canon.

中文翻译：

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周边游记：19世纪末巴黎的拉丁美洲画家

在 19 世纪，来自世界许多地方的有抱负的艺术家前往欧洲寻求艺术完美。在巴黎，就像在当时的主要欧洲首都一样，存在着广泛的移居艺术家、国际展览和巡回艺术品网络。这种人与物的流通塑造了全球艺术体系，并形成了其底层结构。即使拉丁美洲画家为这些网络做出了贡献，并将它们从欧洲扩展到新世界，但他们在建立现代主义经典中的作用尚未得到充分认可。由于艺术史叙述的简化和档案记录的匮乏，许多拉美艺术家的名字从艺术史记载中消失了，许多艺术作品被孤立地存放在周边博物馆的储藏室里，或消失在私人收藏中。这些画家的显着缺席，通常用他们的落后和衍生风格来解释，在这里是由他们渴望的艺术中心与他们来自的外围之间的结构不平等所决定的。本文探讨了 1890 年至 1899 年在巴黎参加法国国立美术学院沙龙的拉丁美洲画家的轨迹，并重新审视他们在现代经典中的地位。