1 sept 1863 año - Salon des Refusés

Descripción:

The Salon des Refusés, French for "exhibition of rejects" , is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a showcase of the best academic art. A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government, and were sought after for portraits and private commissions. Since the 18th century, the paintings were classified by genre, following a specific hierarchy; history paintings were ranked first, followed by the portrait, the landscape, the "genre scene", and the still life. The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet, Édouard Manet, Camille Pissarro and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition. His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such now-famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. But the critical attention also legitimized the emerging avant-garde in painting. The Impressionists successfully exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.

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