这是对美国艺术中一个未被充分发掘的篇章的启示性审视，它发生法国而不是美国本土。

在十九世纪末和二十世纪初，美国艺术家们涌向法国，寻求指导、批评和赞助。詹姆斯·麦克尼尔·惠斯勒（James McNeill Whistler）、约翰·辛格·萨金特（John Singer Sargent）和玛丽·卡萨特（Thomas Wilmer Dewing）等人，在法国媒体上获得了高度评价，推动了他们在大西洋两岸的事业发展。其他人，特别是“十人协会”的成员威廉·梅里特·蔡斯、约翰·特瓦赫曼、奇尔德·哈萨姆和托马斯·威尔默·杜温，在法国印象派风格的作品中取得了成功，而亨利·奥萨瓦·坦纳、塞西莉亚·博克斯和伊丽莎白·简·加德纳则专注于风俗和历史主题。

这本图文并茂的书深刻审查了文化和审美交流，因为它突出了许多人物，包括有色人种和女性艺术家，他们被遗漏在以前的历史中。美国和法国机构的**学者从保守的学术模式到调和主义的风格，详细介绍了这些外籍艺术家的复杂历史和不同风格，并对这一肥沃的创作时期提供了原创性观点，扩大了我们对美国艺术构成的理解。

A revelatory look at an underexplored chapter of American art, which took place not on American soil but in France

In the late nineteenth and early twentieth centuries, American artists flocked to France in search of instruction, critical acclaim, and patronage. Some, including James McNeill Whistler, John Singer Sargent, and Mary Cassatt, became highly regarded in the French press, advancing their careers on both sides of the Atlantic. Others, notably William Merritt Chase, John Twachtman, Childe Hassam, and Thomas Wilmer Dewing—part of the association known as The Ten—found success working in the style of the French Impressionists, while Henry Ossawa Tanner, Cecilia Beaux, and Elizabeth Jane Gardner focused on genre and history subjects.

This richly illustrated volume offers a sophisticated examination of cultural and aesthetic exchange as it highlights many figures, including artists of color and women, who were left out of previous histories. Celebrated scholars from both American and French institutions detail the complex history and diverse styles of these expatriate artists—styles ranging from conservative academic modes to Tonalism—

and provide original perspectives on this fertile period of creativity, expanding our understanding of what constitutes American art.