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Resumo Na virada do seculo XIX para o XX, estados como Para e Amazonas viveram grandes transformacoes tanto na vida politica quanto cultural. Suas capitais e os costumes de suas gentes buscavam refinamento a partir dos padroes burgueses europeus e a apreciacao das chamadas belas artes em muito contribuiram para esse objetivo. Nesse contexto, favorecido pela grande circulacao de dinheiro provocada pelo comercio da borracha, os estados em questao se tornaram atrativos para aqueles artistas em busca de novos mercados. O que o presente artigo aborda, portanto, e, atraves do caso da viagem do pintor fluminense Antonio Parreiras para o Norte, como se dava a articulacao entre esses mercados e como circulavam as obras de arte, pensando que esse deslocamento nao e so geografico, mas tambem de questoes que permeiam nossa leitura da historia da arte no Brasil. Com isso, entendemos esse trânsito e as trocas provenientes dele, como essenciais para a formacao colecoes e, com elas, de novas narrativas. Abstract At the turn from the nineteenth to the twentieth century, states like Para and Amazonas have undergone great transformations in both political and cultural life. Its capitals and the customs of its people sought refinement from European bourgeois standards and the appreciation of the so-called fine arts contributed greatly to this goal. In this context, favored by the large circulation of money brought on by the rubber trade, the states in question became attractive to those artists in search for new markets. What the present article addresses therefore is, through the case of the trip of Antonio Parreiras, a painter from Rio de Janeiro, to the North, how the articulation between these markets and how the art circulation works, thinking that this displacement is not only geographic, but also of questions that permeate our reading of the history of art in Brazil. With this, we understand this transit and the exchanges coming from it, as essential for the formation of collections and, with them, new narratives.

Estéticas Nômades: Belém, Manaus e o circuito nacional do comércio de arte