This article presents the results of an empirical study of Swedish artistic mobility during the first decades of the twentieth century, a period associated with the emergence of modernism in Swedish art and with Paris as an unquestionable point of reference. Without questioning Paris as an artistic node, it highlights the discrepancy between art history’s narrativisation of transnational mobility and the diverse artistic itineraries that empirical material evidences. Focusing on Swedish artists’ travels in France, Germany, Denmark, and Italy, it offers a geohistorical trajectory that differentiates established narratives.



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