Uruguay. Figari became an artist and writer later in life, after a career as a lawyer. As part of the creole elite, he had access to the wealth and freedom that enabled him to relocate to Paris. His writings and paintings suggest his drive to maintain local, autochthonous elements in his art while appropriating European cultural elements, conceptualizing a regional identity. Williams argues that Figari wanted to ‘reconceive Blackness while reimagining “America,”’ (134) and was keen on depicting cultural mixing, not biological mixing. Williams rightly points out that although Figari made visible Black Uruguayans who had not been previously represented, his paintings relegated them to specific cultural associations, such as the drums of candombe. Figari portrayed Black Uruguayans as innocent, quaint, and simplistic, though at times with varying degrees of agency and dignity. Figari’s success in Paris was partially due to society’s perception of him as a ‘naif’ painter. His modern painting style which utilized broad patches of unblended color fed into assumptions that marked Spanish and Portugese Americans as unsophisticated, yet also tied him to the Parisian avant-garde. Despite his urge to create a new, regional identity, Figari’s paintings rooting Black Uruguayans within the world of ritual candombe fed into stereotypes of the primitive and subaltern. I would be remiss if I did not mention one editing issueall of the plate numbers within the text were misnumbered, unfortunately hindering the fluidity of the text. Overall, Williams’ Latin Blackness in Parisian Visual Culture is an important contribution to the field, and due to its thought-provoking content and accessible writing style, it will appeal to a wide audience of students and scholars alike.

中文翻译：

---

黑白传记：1899-1925 年在非洲制作电影

乌拉圭。在从事律师职业后，费加里后来成为一名艺术家和作家。作为克里奥尔精英的一部分，他获得了财富和自由，这使他能够搬到巴黎。他的着作和绘画表明他在吸收欧洲文化元素的同时，在他的艺术中保持本地、本土元素的动力，将区域身份概念化。威廉姆斯认为，费加里想“在重新构想“美国”的同时重新构想黑色”（134），并且热衷于描绘文化混合，而不是生物混合。威廉姆斯正确地指出，虽然费加里让以前没有出现过的乌拉圭黑人可见，但他的画作将他们归为特定的文化协会，例如 candombe 的鼓。费加里将乌拉圭黑人描绘成天真、古怪、简单化，尽管有时具有不同程度的代理和尊严。费加里在巴黎的成功部分归功于社会将他视为“天真的”画家。他的现代绘画风格使用了大量未混合的颜色，这让他认为西班牙和葡萄牙裔美国人不成熟，但也将他与巴黎前卫联系在一起。尽管他渴望创造一个新的区域身份，但费加里的绘画将乌拉圭黑人扎根于仪式世界中，却被灌输到原始和下层的刻板印象中。如果我不提到一个编辑问题，我就会疏忽文本中的所有车牌号都编号错误，不幸的是阻碍了文本的流动性。总的来说，威廉姆斯在巴黎视觉文化中的拉丁黑人是对该领域的重要贡献，