[ca] Marxants com Adolphe Goupil difongueren als EUA l'obra de pintors com Marià Fortuny -que tingué bons col·leccionistes com William H. Stewart- o Romà Ribera. George A. Lucas, nordamericà establert a París, promogué, des 1880, l'obra de Casanova Estorach. Com al segle XX Durand-Ruel hi portà obra de Ricard Canals. Altres hi viatjaren pel seu compte, com el pintor romàntic Eduard Grenzner. L'escultor Domingo Mora, des 1880, a part de col·laborar a "La Llumanera de Nova York", decorà el Metropolitan Opera House, la Boston Public Library i molts edificis més. Rafael Guastavino imposà la volta catalana en multitud d'edificis. També passaren per allà Miquel Utrillo, abans de ser puntal del Modernisme, Lluís Graner després de ser-ho, Eliseu Meifren, Torres-Garcia o Frank Alpresa. Miquel Viladrich té la millor col·lecció d'obra a The Hispanic Society of America de Nova York, i l'escultor Ismael Smith s'instal·là a Nova York el 1919 per sempre. En l'avantguarda, a l'Armory Show (1913) destacà l'obra de Manolo Hugué. Hemingway adquirí La Masia de Joan Miró, mentre Josep Maria Sert esdevingué el decorador del Rockefeller Center o el Waldorf Astoria. Salvador Dalí trobà allà una gran plataforma de promoció, Josep de Creeft hi esdevingué un dels grans escultors moderns des 1936, i Pere Daura un pintor notable a Virgínia. Gran col·leccionista d'art català antic i modern fou Charles Deering, enamorat de Sitges i amic de Ramon Casas. A The Cloisters (Nova York) també s'hi ajuntaren pedres importants de l'art medieval català. El Carnegie Institute de Pittsburgh, i el College Art Association difongueren molta obra de pintors catalans els anys vint i trenta. Urbici soler feu una colossal escultura de Crist a El Paso (1937-39), Joan Junyer portà el seu personal avantguardisme a Nova York des 1941 i Carles Fontserè fou, ja a la postguerra, un gran cronista fotogràfic de Nova York, mentre Josep Lluís Sert esdevenia un arquitecte prestigiosíssim i la galeria Martha Jackson promocionava joves d'avantguarda, com Antoni Tàpies.

[en] In the United States, art dealers like Adolphe Goupil played a role in creating interest in the works of Catalan painters such as Marià Fortuny, who attracted the attention of fine collectors such as William H. Stewart, and Romà Ribera. George A. Lucas, an American residing in Paris, promoted the work of Casanova Estorach from the year 1880 onwards. Similarly, in the twentieth century, Durand-Ruel brought the work of Ricard Canals to the US. Other Catalan artists, such as the Romantic painter Eduard Grenzner, paid their own visits to the US. From 1880, the sculptor Domingo Mora provided works for the Metropolitan Opera House in New York, the Boston Public Library and numerous other buildings in addition to his collaboration with the New York-based monthly magazine La Llumanera de Nova York. Rafael Guastavino raised the Catalan vault in a multitude of buildings. Of the many others who made appearances were Miquel Utrillo before he became the cornerstone of Catalan Modernisme, Lluís Graner after he was its cornerstone, Eliseu Meifren, Torres-Garcia and Frank Alpresa. Miquel Viladrich had the finest collection of art at The Hispanic Society of America in New York, and the sculptor Ismael Smith made his home in New York in 1919 and never left. The historic Armory Show (1913) featured the avant-garde work of Manolo Hugué. Hemingway purchased Joan Miró's La Masia, while Josep Maria Sert became the interior designer of the Rockefeller Center and the Waldorf Astoria. Salvador Dalí found the US a promising stage for promotion, José de Creeft became one of the leading modern sculptors there from 1936 and Pere Daura turned into a noteworthy painter in Virginia. Charles Deering, an aficionado of Sitges and a friend of Ramon Casas, was an avid collector of old and modern Catalan art. The Cloisters in New York also contains significant pieces of Catalan medieval art. In the nineteen-twenties and thirties, the Carnegie Institute of Pittsburgh and the College Art Association urged interest in a large number of works by Catalan painters. Urbici Soler made a colossal sculpture of Christ in El Paso, Texas (1937-39). Joan Junyer brought his own personal brand of the avant-garde to the New York in 1941. In the postwar era, Carles Fontserè was a great photographic chronicler of New York, while Josep Lluís Sert was becoming a highly prestigious architect and the Martha Jackson Gallery stood in the forefront of promoting young avant-garde artists, such as Antoni Tàpies.