![]() ![]() This meant perfecting design and perspective, working in the optimal conditions of the studio, accurately translating anatomy, correcting and finishing every detail on the canvas. Pompous, academic, unrealistic, studio-bound artįor the jury of the Salon and the Academy the idea was to try to mirror nature by perfectly representing it. Technique was more important than originality or any kind of dialogue or engagement with the viewer. It tended only to accept paintings of a certain genre conforming to strict technical conventions, for example, mythological allegories or historical recreations painted in as technically pure a way as possible. The Salon and its jury, by the mid 19th century, had become a very conservative institution. Most aspiring artists strove to be accepted by the Salon and so churned out art acceptable to the jury. Receiving a prize could mean official commissions from the French Government, public recognition and possibly patronage. The Salon, held in Paris, was the most important yearly and prestigious arts event in France.Īcceptance of a painting by the jury of the Salon meant an official seal of approval in terms of artistic merit, quality and taste. Its roots go back to 17th century royal patronage. The Salon in France was an official exhibition for the students of the Académie des Beaux-Arts (Academy of Fine Arts) in Paris. The Salon: artistic conformity and official good taste The stylistic and technical innovations of artists showcased in these Salon d’Automne retrospectives help set the agenda in the development of modern art. – Other retrospective exhibitions important for the development of modern art: – Features the Fauves (Wild Beasts) Exhibition of 1905 – Stage for modern innovative artists has jury – Set up in 1903 by Belgian architect Frantz Jourdain – As for most of artist’s life no market for Cézanne at that time The Salon d’Automne (Autumn Arts Show) 1903: – Takes paintings as credit for colours saves many Cézannes – Helps, encourages especially Cézanne and van Gogh in lean times – Père Tanguy a colourist and arts supplier 1870s – 1890s ![]() ![]() – Berthe Weil shows Modigliani, Matisse, Picasso – The Steins and Barnes among his clients – Shows Cézanne, Gauguin, Van Gogh, Matisse, Picasso – Galleries also in London, Brussels later New York – Shows Monet, Pissarro, Degas, Sisley, Morisot, Renoir – 1906 Le Bonheur de Vivre (Joy of Life) Amplifiers and influencers new art galleries from 1870: – 1905 Luxe Calme et Volupte (Luxury, Calm and Pleasure) – Two influential works for modern art premiered here by Matisse: – Set up 1884 by Seurat, Signac, Cézanne, Gauguin and Toulouse-Lautrec – Meets 8 times last show 1886 The Salon des Independants (Independents’ Show) 1884: – Comes to be known as the Impressionist’s Exhibition – Some critics call work unfinished sketch or impression – Monet’s painting Impression, Rising Sun – First 1874 show takes place 35 Boulevard des Capucines in Paris – Monet, Degas, Renoir, Pissarro, Berthe Morisot set up first rival regular show to Salon 1874 – Mixed critical reception and some public laughter The Impressionist Exhibition 1874: – Manet shows Le Déjeuner sur l’Herbe (The Lunch on the Grass) ![]() – Takes place in same building as official Salon – For those artists whose works were rejected at 1863 Salon authorised by Emperor Napoleon III – Refuses exhibition space to many now famous painters Salon des Refusés 1863 (Exhibition of rejected (artists)): – Accepts only highly technical and finished academic art refuses evolution or progression in artistic expression – Becomes a conservative inflexible institution – Long established going back to 17th century – For the students of the Académie des Beaux-Arts (Fine Arts Academy) – The official state authorised arts exhibition If you are using a mobile device on the walk and for some reason the image has not loaded or become inaccessible, here is the text from the Salon infographic timeline: The Salon since 17th century: Salons (art shows) timeline in late 19th century and early 20th century French art Alternative circuits for artists who did not conform to the rigid Salon system slowly developed in the later 19th and early 20th century. ![]()
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