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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 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.
In the Salon of Madame Geoffrin in 1755 is an 1812 oil painting by the French artist Anicet Charles Gabriel Lemonnier. [1] It depicts the salon of Marie Thérèse Geoffrin in Paris at the middle of the eighteenth century. A conversation piece it depicts many figures from the Age of Enlightenment. [2]
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The Salon of 1849 portrayed in a lithograph by Theodor Josef Hubert Hoffbauer. The Salon of 1849 was an art exhibition held in Paris. It was the first to be located at the Tuileries Palace, rather than the traditional venue of the Salon at the Louvre. [1] It was staged during the French Republic which had been established following the ...
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]