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The work of Emilia Bertolé (1896–1949), a distinguished Argentine artist of the early 20th century, provides a compelling lens through which to explore the global dissemination of modernism beyond Paris. Her artistic career embodies the dynamic exchanges between Europe and Latin America, particularly through the influence of Symbolism. Bertolé's formal training and distinctive approach to image-making reveal clear influences from two pivotal figures in 19th-century Parisian art: Eugène Carrière and Domenico Morelli. Both artists played crucial roles in propagating modernist ideals and Symbolist tendencies - a movement that sought to convey the emotional, spiritual, and psychological depths of human experience.

While Morelli was known for his dramatic historical and biblical themes, influenced by Venetian masters, Carrière developed a unique, ethereal style characterised by soft, monochromatic portraits. Despite their differing approaches, both emphasised atmosphere, mysticism, and psychological depth. Carrière, in particular, had a lasting impact through his academy in France, which nurtured a new generation of artists and extended Symbolism's reach beyond Europe. Bertolé’s striking self-portrait as a young woman at twenty-one in 1919 exemplifies this influence, with its soft yet atmospheric monochromatic qualities clearly echoing Carrière’s style.

Carrière's influence had spread to Argentina through major exhibitions, beginning with his regular participation in the Salon des Artistes Français in the 1880s and 1890s. However, his international reputation was solidified by his participation in the 1900 Exposition Universelle and further strengthened by a posthumous retrospective at the École Nationale des Beaux-Arts in 1907, as well as his inclusion in the Venice Biennale that same year. His work was also featured in the renowned Galerie Bernheim-Jeune in Paris.

In Buenos Aires, Carrière's impact became particularly pronounced with a 1936 retrospective at the Museo Nacional de Bellas Artes, reinforcing Symbolism's influence in Argentina. There is also evidence suggesting his works may have been part of the 1910 Exposición Internacional del Centenario, celebrating Argentina's centennial, though records remain uncertain. Nonetheless, Bertolé’s clear knowledge of Carrière’s work as early as 1919 highlights her position at the forefront of Latin American modernism as a young female artist.

Concurrently, Domenico Morelli's legacy reached Argentina through the Italian painter, decorator, and set designer Mateo Casella (1858–1948). Casella, inspired by Morelli, arrived in Buenos Aires in 1896 and contributed to the city's cultural scene, including designing sets for the prestigious Teatro Colón. In 1900, he founded the Academia Doménico Morelli, named in honour of the Italian master, which became a vital institution for Argentine artists, particularly women. One of the academy's most notable alumnae was Emilia Bertolé. Her early works exhibit strong Symbolist influences, particularly Carrière’s soft, emotive use of pastels and psychological depth such as the present early work. In recognition of her talent, Bertolé received a Gold Medal from Casella’s academy in 1904, underscoring how Symbolist ideals were absorbed and adapted by Argentine artists under his mentorship.

This cross-cultural transmission underscores how Symbolism was not merely a European phenomenon but a global one. Through the Academia Doménico Morelli and Carrière’s exhibitions, particularly in Buenos Aires, Symbolism flourished in Argentina, providing artists, including young women who now had access to private academies, with a new expressive framework to capture the complexities of human experience.