Entrecroisements transatlantiques : les expositions de Lasar Segall et leur réception en Allemagne, au Brésil et en France dans les années 1920 et 1930

Abstract

Since the 1990s various approaches have challenged the conceptual category of modernism as a European phenomenon and sought to rewrite the history of modern art as a history of global interconnectivity. Hence the growing awareness of the importance of migrant and exiled artists. In this context, the article focuses on the Vilnius-born painter and sculptor Lasar Segall (1891-1957) as a paradigmatic example of migrant artists who contributed to transcontinental encounters. The focus will be on a selection of Segall’s exhibitions and commissions and their reception in Düsseldorf, São Paulo, Berlin, and Paris in the 1920s and early 1930s. The text draws on a variety of archival sources, including correspondence, exhibition catalogues, and press reviews, which on the one hand reveal Eurocentric perspectives and on the other present Segall as a transversal artist with a transnational trajectory.

Keywords

• Brazil
• Europe
• art history
• Lasar Segall
• art criticism
• migration