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Benet Davetian "The History and Meaning of Salons" James Ross, 'Music in the French Salon'; in Caroline Potter and Richard Langham Smith (eds.), French Music Since Berlioz (Ashgate Press, 2006), pp. 91–115. ISBN 0-7546-0282-6. Mainardi, Patricia. The End of the Salon: Art and the State of the Early Republic.
The Database of Salon Artists is a resource listing every submission to the Paris Salon between 1827 and 1850, using information derived from the original Salon registers now held in the Archives des Musées Nationaux, part of the Service des Bibliothèques, des Archives et de la Documentation Générale des Musées de France.
The content and form of the salon to some extent defines the character and historical importance of the salon. Contemporary literature about the salons is dominated by idealistic notions of politesse (politeness), civilité (civility) and honnêteté (honesty or proper behavior), but whether the salons lived up to these standards is matter of ...
The young artist Théodore Chassériau received third-place medal in the category of history painting. [11] A young British artist Thomas Jones Barker also appeared for the first time. When one of Théodore Rousseau's paintings was rejected by the jury, he refused to enter the salon again until the Salon of 1849. [12]
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The Salon (French: Salon), or rarely Paris Salon (French: Salon de Paris [salɔ̃ də paʁi]), 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.
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[2] A saloon of the same name later opened in a different location on Main Street, along with many of the original site's decorations (including the chair in which Hickok was supposedly sitting when he was shot, although this has never been verified), and renamed the Saloon #10. The two are not related in any way but name.