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painters, 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. An uproar resulted, particularly from regular
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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
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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. From 1881 onward, it was managed by the
182:(25 August) and run for some weeks. Once made regular and public, the Salon's status was "never seriously in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed.
226:. 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.
138:, 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.
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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
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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.
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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
117:
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218:. Printed catalogues of the Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the
178:, became public. They were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of
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502:
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146:
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288:, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the
240:(varnishing) of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like
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Auguste
Dalligny, 'Société Nationale des Beaux-Arts – l'Exposition du Champ de Mars', Journal des Arts, 16 May 1890
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In 1881 the government withdrew official sponsorship from the annual Salon, and a group of artists organized the
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As the number of salons increased, American newspapers sometimes referred to the original salon as the
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174:. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the
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held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886.
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exhibitors who had been rejected. In order to prove that the Salons were democratic,
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130:. The Salon's original focus was the display of the work of recent graduates of the
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135:
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The
Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism
637:
Public Access to Art in Paris: A Documentary
History from the Middle Ages to 1800
85:
69:
784:
Margo Bistis, "Bad Art: The
Decline of Academic Art in the Caricatural Salon",
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718:"An American Colored Artist Wins the Medal of Honor. Letter in New York Post"
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Art exhibition periodically held in Paris from 1667 to the late 19th century
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In 1667, the royally sanctioned French institution of art patronage, the
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707:, 'Le Salon du Champ de Mars – IV, La République francaise, 23 June 1890
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caused considerable controversy when it was displayed at the 1884 Salon.
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Albert Boime, "The Salon des
Refuses and the Evolution of Modern Art",
335:, with its own exhibition, immediately referred to in the press as the
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223:
42:
27:
This article is about the
Parisian art exhibition. For other uses, see
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Rivals and
Conspirators: The Paris Salons and the Modern Art Centre
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The End of the Salon: Art and the State in the Early Third Republic
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and others rejected the proposal and broke way to create the
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41:
Formally dressed patrons at the Salon in 1890. 'Un Jour de
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Database of Salon Artists, 1827-1850 (salonartists.org)
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Women's literary salons and societies in the Arab world
259:
liberalized the Salon, far fewer works were refused.
659:"The End of the Salon and the Rise of Impressionism"
724:. Indianapolis, Indiana. 13 June 1897. p. 12.
126:), held its first semi-public art exhibit at the
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774:, Newcastle upon Tyne, Cambridge Scholars, 2013.
222:mark the beginning of the modern occupation of
750:Painters and Public Life in 18th Century Paris
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743:Répertoire des catalogues du musée du Louvre
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341:Salon de la Société Nationale des Beaux–Arts
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812:. Gallica, Bibliothèque nationale de France
150:for the salon of 1824. An 1827 painting by
118:Académie royale de peinture et de sculpture
613:Painting and sculpture in France 1700–1789
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810:Catalogue illustré du Salon, 1879 – 1913
530:scandalized by the Salon's Venuses, 1864
343:. Soon, it was also widely known as the
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252:and others wrote reviews of the Salons.
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147:Charles X Distributing Awards to Artists
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89:), beginning in 1667 was the official
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803:Harriet Griffiths and Alister Mill,
393:Académie de peinture et de sculpture
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311:In December 1890, the leader of the
162:In 1725, the Salon was held in the
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786:International Journal of Comic Art
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560:Salon of 1932, Grand Palais, Paris
271:The increasingly conservative and
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275:juries were not receptive to the
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848:1725 establishments in France
585:"Salon French art exhibition"
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409:French salons and exhibitions
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301:Société des Artistes Français
104:Société des Artistes Français
799:Timeline of the Paris Salons
45:au palais des Champs-Élysées
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741:J. J. Marquet de Vasselot:
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371:Salon of the Champs Elysees
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317:William-Adolphe Bouguereau
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263:were introduced in 1849.
257:French Revolution of 1848
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722:The Indianapolis Journal
547:Un Coin du Salon en 1880
399:Académie des beaux-arts
134:, which was created by
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97:Académie des Beaux-Arts
843:Annual events in Paris
495:Pietro Antonio Martini
428:Salon des Indépendants
337:Salon du Champ de Mars
212:Pietro Antonio Martini
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186:Prominence (1748–1890)
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754:Yale University Press
617:Yale University Press
352:Pierre-Auguste Renoir
267:Early splinter groups
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86:[salɔ̃dəpaʁi]
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164:Palace of the Louvre
152:François Joseph Heim
132:École des Beaux-Arts
759:Patricia Mainardi:
682:King, Ross (2009).
196:John Singer Sargent
122:(a division of the
635:Berger, Robert W.
325:Puvis de Chavannes
246:Charles Baudelaire
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423:Salon des Refusés
404:Salon (gathering)
321:Ernest Meissonier
286:Salon des Refusés
231:French Revolution
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663:radford.edu
528:Bourgeoises
493:etching by
290:avant-garde
128:Salon Carré
78:Paris Salon
18:Paris salon
822:Categories
648:Crow, 1987
625:0300064942
566:References
307:Secessions
255:After the
237:vernissage
224:art critic
51:featuring
43:vernissage
639:, p. 171.
611:. (1993)
345:Nationale
180:St. Louis
80:(French:
619:, p. 3.
377:See also
273:academic
220:gazettes
204:cleavage
767:, 1993.
736:Sources
668:14 June
594:14 June
456:Gallery
339:or the
110:Origins
93:of the
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447:
292:. The
261:Medals
176:Louvre
156:Louvre
70:French
168:Salon
74:Salon
66:Salon
29:Salon
756:1987
670:2015
621:ISBN
596:2015
354:and
229:The
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198:of
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