History Of Impressionism
The First Exhibition
The Salon des RefusÃ©s, French for â€œexhibition of rejectsâ€ , is generally 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 RefusÃ©s of 1863.
During this time, Paris was a breeding ground for artists of all forms, poets, painters, sculptors, etc.
Paris was the place to be and the capital of the art world. Any artist
who wanted to be recognized, at that time, was required to have
exhibited in a Salon, or to have gone to school in France. Being
accepted into these Salons was a matter of survival for some artists;
reputations and careers could be started or broken, based solely upon
acceptance into these exhibits.
As early as the 1830s, Paris
art galleries had mounted small-scale, private exhibitions of works
rejected by the Salon jurors. The clamorous event of 1863 was actually
sponsored by the French government. In that year, artists protested the
Salon juryâ€™s rejection of more than 3,000 works, far more than usual.
"Wishing to let the public judge the legitimacy of these complaints,"
said an official notice, Emperor NapolÃ©on III
decreed that the rejected artists could exhibit their works in an annex
to the regular Salon. Many critics and the public ridiculed the refusÃ©s, which included such now-famous paintings as Ã‰douard Manet's Luncheon on the Grass (Le dÃ©jeuner sur lâ€™herbe) and James McNeill Whistler's Girl in White. But the critical attention also legitimized the emerging avant-garde in painting. The Impressionists
successfully exhibited their works outside the Salon beginning in 1874.
Subsequent Salons des RefusÃ©s 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, this was not the case
for the artist Manet who still wanted to be acclaimed by the original
Salon, looking for permanence and nobility like many other