The Salon (French: Salon), or rarely Paris Salon (French: Salon de Paris[salɔ̃dəpaʁi]), beginning in 1667[1] was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed.[2] From 1881 onward, it was managed by the Société des Artistes Français.
Formally dressed patrons at the Salon in 1890. 'Un Jour de vernissage au palais des Champs-Élysées by Jean-André Rixens featuring Tigresse apportant un paon à ses petits by Auguste Cain.
In 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture[1] (a division of the Académie des beaux-arts), held its first semi-public art exhibit at the Salon Carré. The Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts, which was created by Cardinal Mazarin, chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor.
Exposition au Salon de 1787, etching by Pietro Antonio Martini published in "Aux armes et aux Arts" by Adam Biro, 1988.
In 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre,[3] became public. They were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis (25 August) and run for some weeks. Once made regular and public, the Salon's status was "never seriously in doubt".[4] In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed.
The Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini's Salon of 1785. Printed catalogues of the Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French salon, a product of the Enlightenment in the early 18th century, was a key institution in which women played a central role. Salons provided a place for women and men to congregate for intellectual discourse.
The French revolution opened the exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited. The vernissage (varnishing) of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons.
After the 1848 revolution liberalized the Salon, far fewer works were refused. Medals were introduced in 1849.
Early splinter groupsEdit
The increasingly conservative and academic juries were not receptive to the Impressionist painters,[5] whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1863 the Salon jury turned away an unusually high number of the submitted paintings.[6] An uproar resulted, particularly from regular exhibitors who had been rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde. The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886.
In 1881 the government withdrew official sponsorship from the annual Salon, and a group of artists organized the Société des Artistes Français to take responsibility for the show.[1]
SecessionsEdit
In December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, proposed that the Salon should be an exhibition of young, not-yet-awarded, artists. Ernest Meissonier, Puvis de Chavannes, Auguste Rodin and others rejected the proposal and broke way to create the Société Nationale des Beaux-Arts, with its own exhibition, immediately referred to in the press as the Salon du Champ de Mars[7] or the Salon de la Société Nationale des Beaux–Arts.[8] Soon, it was also widely known as the Nationale.
In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors, led by Pierre-Auguste Renoir and Auguste Rodin, organized the Salon d'Automne.
As the number of salons increased, American newspapers sometimes referred to the original salon as the Salon of the Champs Elysees.[9]
^"The End of the Salon and the Rise of Impressionism". radford.edu. Retrieved 14 June 2015.
^King, Ross (2009). The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism. New York: Bloomsbury. pp. 59–60
^Auguste Dalligny, 'Société Nationale des Beaux-Arts – l'Exposition du Champ de Mars', Journal des Arts, 16 May 1890
^Paul Bluysen, 'Le Salon du Champ de Mars – IV, La République francaise, 23 June 1890
^"An American Colored Artist Wins the Medal of Honor. Letter in New York Post". The Indianapolis Journal. Indianapolis, Indiana. 13 June 1897. p. 12. At the opening of the Salon of the Champs Elysees--the only salon conferring official honors--a painting by a new American artist was favorably noticed.
SourcesEdit
J. J. Marquet de Vasselot: Répertoire des catalogues du musée du Louvre, 1793–1917
Thomas Crow: Painters and Public Life in 18th Century Paris. Yale University Press 1987
Patricia Mainardi: The End of the Salon: Art and the State in the Early Third Republic, Cambridge University Press, 1993.
Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.
Albert Boime, "The Salon des Refuses and the Evolution of Modern Art", Art Quarterly 32 (Winter 1969): 41 1-26
Margo Bistis, "Bad Art: The Decline of Academic Art in the Caricatural Salon", International Journal of Comic Art 7, no.1 (Spring 2005); 126–148.
External linksEdit
Wikimedia Commons has media related to Salon de peinture et de sculpture.
Timeline of the Paris Salons
Harriet Griffiths and Alister Mill, Database of Salon Artists, 1827-1850 (salonartists.org)
Catalogue illustré du Salon, 1879 – 1913. Gallica, Bibliothèque nationale de France
October 14, 2023
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The Salon French Salon or rarely Paris Salon French Salon de Paris salɔ de paʁi beginning in 1667 1 was the official art exhibition of the Academie des Beaux Arts in Paris Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world At the 1761 Salon thirty three painters nine sculptors and eleven engravers contributed 2 From 1881 onward it was managed by the Societe des Artistes Francais Formally dressed patrons at the Salon in 1890 Un Jour de vernissage au palais des Champs Elyseesby Jean Andre Rixens featuringTigresse apportant un paon a ses petitsby Auguste Cain Contents 1 Origins 2 Prominence 1748 1890 2 1 Early splinter groups 3 Secessions 4 See also 5 Gallery 6 References 7 Sources 8 External linksOrigins EditIn 1667 the royally sanctioned French institution of art patronage the Academie royale de peinture et de sculpture 1 a division of the Academie des beaux arts held its first semi public art exhibit at the Salon Carre The Salon s original focus was the display of the work of recent graduates of the Ecole des Beaux Arts which was created by Cardinal Mazarin chief minister of France in 1648 Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years Exhibition in the Salon marked a sign of royal favor nbsp Exposition au Salon de 1787 etching by Pietro Antonio Martini published in Aux armes et aux Arts by Adam Biro 1988 In 1725 the Salon was held in the Palace of the Louvre when it became known as Salon or Salon de Paris In 1737 the exhibitions held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre 3 became public They were held at first annually and then biennially in odd numbered years They would start on the feast day of St Louis 25 August and run for some weeks Once made regular and public the Salon s status was never seriously in doubt 4 In 1748 a jury of awarded artists was introduced From this time forward the influence of the Salon was undisputed Prominence 1748 1890 Edit nbsp This portrait by John Singer Sargent of Virginie Amelie Avegno Gautreau depicting her cleavage caused considerable controversy when it was displayed at the 1884 Salon The Salon exhibited paintings floor to ceiling and on every available inch of space The jostling of artwork became the subject of many other paintings including Pietro Antonio Martini s Salon of 1785 Printed catalogues of the Salons are primary documents for art historians Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic The French salon a product of the Enlightenment in the early 18th century was a key institution in which women played a central role Salons provided a place for women and men to congregate for intellectual discourse The French revolution opened the exhibition to foreign artists In the 19th century the idea of a public Salon extended to an annual government sponsored juried exhibition of new painting and sculpture held in large commercial halls to which the ticket bearing public was invited The vernissage varnishing of opening night was a grand social occasion and a crush that gave subject matter to newspaper caricaturists like Honore Daumier Charles Baudelaire Denis Diderot and others wrote reviews of the Salons After the 1848 revolution liberalized the Salon far fewer works were refused Medals were introduced in 1849 Early splinter groups Edit The increasingly conservative and academic juries were not receptive to the Impressionist painters 5 whose works were usually rejected or poorly placed if accepted The Salon opposed the Impressionists shift away from traditional painting styles In 1863 the Salon jury turned away an unusually high number of the submitted paintings 6 An uproar resulted particularly from regular exhibitors who had been rejected In order to prove that the Salons were democratic Napoleon III instituted the Salon des Refuses containing a selection of the works that the Salon had rejected that year It opened on 17 May 1863 marking the birth of the avant garde The Impressionists held their own independent exhibitions in 1874 1876 1877 1879 1880 1881 1882 and 1886 In 1881 the government withdrew official sponsorship from the annual Salon and a group of artists organized the Societe des Artistes Francais to take responsibility for the show 1 Secessions EditIn December 1890 the leader of the Societe des Artistes Francais William Adolphe Bouguereau proposed that the Salon should be an exhibition of young not yet awarded artists Ernest Meissonier Puvis de Chavannes Auguste Rodin and others rejected the proposal and broke way to create the Societe Nationale des Beaux Arts with its own exhibition immediately referred to in the press as the Salon du Champ de Mars 7 or the Salon de la Societe Nationale des Beaux Arts 8 Soon it was also widely known as the Nationale In 1903 in response to what many artists at the time felt was a bureaucratic and conservative organization a group of painters and sculptors led by Pierre Auguste Renoir and Auguste Rodin organized the Salon d Automne As the number of salons increased American newspapers sometimes referred to the original salon as the Salon of the Champs Elysees 9 See also EditAcademic art Academie de peinture et de sculpture Academie des beaux arts Salon gathering French salons and exhibitions Other salons Salon des Refuses Salon des Independants Salon d Automne Women s literary salons and societies in the Arab worldGallery Edit nbsp Salon of 1753 nbsp Salon of 1767 nbsp Salon of 1849 held at the Tuileries Palace nbsp Honore Daumier Bourgeoises scandalized by the Salon s Venuses 1864 nbsp Edouard Dantan Un Coin du Salon en 1880 nbsp Salon of 1932 Grand Palais ParisReferences Edit a b c Salon French art exhibition britannica com Retrieved 14 June 2015 Levey Michael 1993 Painting and sculpture in France 1700 1789 New Haven Yale University Press p 3 ISBN 0300064942 Berger Robert W Public Access to Art in Paris A Documentary History from the Middle Ages to 1800 p 171 Crow 1987 The End of the Salon and the Rise of Impressionism radford edu Retrieved 14 June 2015 King Ross 2009 The Judgment of Paris The Revolutionary Decade that Gave the World Impressionism New York Bloomsbury pp 59 60 Auguste Dalligny Societe Nationale des Beaux Arts l Exposition du Champ de Mars Journal des Arts 16 May 1890 Paul Bluysen Le Salon du Champ de Mars IV La Republique francaise 23 June 1890 An American Colored Artist Wins the Medal of Honor Letter in New York Post The Indianapolis Journal Indianapolis Indiana 13 June 1897 p 12 At the opening of the Salon of the Champs Elysees the only salon conferring official honors a painting by a new American artist was favorably noticed Sources EditJ J Marquet de Vasselot Repertoire des catalogues du musee du Louvre 1793 1917 Thomas Crow Painters and Public Life in 18th Century Paris Yale University Press 1987 Patricia Mainardi The End of the Salon Art and the State in the Early Third Republic Cambridge University Press 1993 Fae Brauer Rivals and Conspirators The Paris Salons and the Modern Art Centre Newcastle upon Tyne Cambridge Scholars 2013 Albert Boime The Salon des Refuses and the Evolution of Modern Art Art Quarterly 32 Winter 1969 41 1 26 Margo Bistis Bad Art The Decline of Academic Art in the Caricatural Salon International Journal of Comic Art 7 no 1 Spring 2005 126 148 External links Edit nbsp Wikimedia Commons has media related to Salon de peinture et de sculpture Timeline of the Paris Salons Harriet Griffiths and Alister Mill Database of Salon Artists 1827 1850 salonartists org Catalogue illustre du Salon 1879 1913 Gallica Bibliotheque nationale de France Retrieved from https en wikipedia org w index php title Salon Paris amp oldid 1179538650, wikipedia, wiki, book, books, library,
