Editing Tsuguharu Foujita (section)

=== Travels, 1930-1933 ===
[[File:Ismael Nery - Retrato de Foujita, déc. 1930.jpg|thumb|left|''Portrait of Foujita'' by [[Ismael Nery]] (1930).]]
When Foujita returned to Paris in 1930, he was still short on funds,{{sfn|Selz|1981|p=78}} and shared a place with [[Robert Desnos]] who he had met in 1928. During this time, Foujita experimented with painting in a more [[surrealism|surrealist]] style. By 1931, Youki and Desnos had become a couple,{{sfn|Birnbaum|2006|pp=[https://archive.org/details/gloryinlinelifeo00birn/page/155 155–159]}} and Foujita, who continued to have problems with his back taxes{{sfn|Robinson|Jacobowitz|2021a}} and suffered bankruptcy{{sfn|McDonald|2017|p=182}} left for South America with Madeleine Lequeux,{{sfn|Birnbaum|2006|pp=[https://archive.org/details/gloryinlinelifeo00birn/page/167 167–168]}} a former dancer known as Mady Dormans who worked at the [[Casino de Paris]].{{sfn|Robinson|Jacobowitz|2021a}}

Foujita and Madeleine traveled together to [[Brazil]], staying in [[Rio de Janeiro]] for four months. During this time, they met [[Ismael Nery]], who painted Foujita's portrait.{{sfn|Robinson|Jacobowitz|2021a}} After Brazil, they then went to [[Argentina]]. His exhibition in [[Buenos Aires]] was very successful and he stayed for five months.{{sfn|Birnbaum|2006|p=[https://archive.org/details/gloryinlinelifeo00birn/page/173 173]}} Afterwards, they traveled to Bolivia, Peru, and Cuba.{{sfn|Robinson|Jacobowitz|2021a}}

Foujita then went to [[Mexico]], arriving in November 1932, where he would stay for seven months.{{sfn|Robinson|Jacobowitz|2021b}} Foujita found himself inspired by the [[Mexican muralism|Mexican Mural]] Movement, led by Diego Rivera, whom he had befriended in Paris. Impressed by the collaborative effort undertaken by the government and local artists, Foujita, as art historian Asato Ikeda describes, "claimed that art should not be produced just for wealthy individuals but also for the masses and the general public. In other words, his trip to South America made him aware of the social and political roles that large public art could play."<ref name=":4" />{{Rp|page=90}}  

He also visited the artist [[Tamiji Kitagawa]] at his home in [[Taxco]].{{sfn|Birnbaum|2006|p=[https://archive.org/details/gloryinlinelifeo00birn/page/176 176–178]}} Foujita had learned about Kitagawa through an exhibit of his student's plein-air works that had traveled through Europe. Foujita was so impressed by Kitagawa's students' works that he had sixty of the canvases brought back to Japan for an exhibition that was held in 1936.{{sfn|Kumagai|2017|pp=101–111}} After his visit to Mexico, Foujita traveled through the Southwest of the United States, and then went on to San Francisco and Los Angeles, where he continued to exhibit and be treated as a celebrity.{{sfn|Robinson|Jacobowitz|2021b}}