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Some 19th-century salons were more inclusive, verging on the raffish, and centered around painters and "literary lions" such as Madame Récamier. After the shock of the 1870 Franco-Prussian War, French aristocrats withdrew from the public eye. However, Princess Mathilde still held a salon in her mansion, rue de Courcelles, later rue de Berri.
The Salon of 1824 was noted for its displays of British paintings by John Constable, Thomas Lawrence and Richard Parkes Bonington. by 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 ...
When dealing with the salons, historians have traditionally focused upon the role of women within them. [24] Works in the nineteenth and much of the twentieth century often focused on the scandals and ‘petty intrigues’ of the salons. [25] Other works from this period focused on the more positive aspects of women in the salon. [26]
From the seventeenth century to the early part of the twentieth century, artistic production in France was controlled by artistic academies which organized official exhibitions called salons. In France, academies are institutions and learned societies which monitor, foster, critique and protect French cultural production.
The Palais de l'Industrie, where the event took place.Photo by Édouard Baldus.. The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), 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.
Salon music was a popular music genre in Europe during the 19th century. It was usually written for solo piano in the romantic style, and is often performed by the composer at events known as "Salons". Salon compositions are usually fairly short and often focus on virtuoso pianistic displays or emotional expression of a sentimental character.
The Gamin de Paris in Nineteenth-Century Visual Culture: Delacroix, Hugo, and the French Social Imaginary. Taylor & Francis, 2017. Falkayn, David A Guide to the Life, Times, and Works of Victor Hugo. The Minerva Group, 2001. Harkett, Daniel & Hornstein, Katie (ed.) Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture. Dartmouth ...
When dealing with the salons, historians have traditionally focused upon the role of women within them. [24] Works in the nineteenth and much of the twentieth century often focused on the scandals and ‘petty intrigues’ of the salons. [25] Other works from this period focused on the more positive aspects of women in the salon. [26]