Abstract
The 1933 Chinese Art Exhibition in Paris, the first large-scale Chinese art show in France, played a critical role in establishing the category of “modern Chinese painting” in early twentieth-century Europe. Close visual and textual analysis reveals three factors that shaped the exhibition: the shifting international politics between France, Japan, and China; the complex social network among Chinese artists; and the personal vision and aspiration of the exhibition’s curator. It was through the interaction and competition among different agents and institutions that the category of modern Chinese painting was created.
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