Ana Paula Cavalcanti Simioni

The condition of Paris as the main artistic capital from the end of the 19 th to the mid-20 th century caused it to attract an expressive contingent of foreign artists, and among those, dozens of Brazilian artists who were attracted by what was seen as the world capital of arts. They encountered, however, an extremely competitive universe, in which national origins were important components to recognition. As mentioned by Michele Greet, the participation of Latin-Americans in the Salons de Paris was significant, totaling more than 60 names, but few managed to be awarded. During the decade of 1920, at least 25 Brazilian artists trained in Paris receiving different degrees of recognition. The presence of foreigners and their integration in the French art scene was a delicate matter. For example, in 1921 the Musée du Luxembourg decided to separate its collection in two parts. On the one hand, a museum was built to be dedicated to the “Foreign Schools”, and it was henceforth called Musée du Jeu de Paume; and on the other hand, the Musée du Luxembourg’s function would become that of exhibiting only the work of those born in France, with the goal of making the French contribution to the development of modern art more discernible. This division by nationality came into practice in the 1923 edition of the Salons des Indépendants, leading to the dismissal of many of its members.