The Salon des Refusés, French for “exhibition of rejects” (French pronunciation: [salɔ̃ de ʁəfyze]), 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 Refusés of 1863.
As early as the 1830s, Paris art galleries had mounted small-scale, private exhibitions of works rejected by the Salon jurors. The glamorous event of 1863 was actually sponsored by the ...
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The Salon des Refusés, French for “exhibition of rejects” (French pronunciation: [salɔ̃ de ʁəfyze]), 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 Refusés of 1863.
As early as the 1830s, Paris art galleries had mounted small-scale, private exhibitions of works rejected by the Salon jurors. The glamorous event of 1863 was actually sponsored by the French government. In that year, artists protested the Salon jury’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 Napoléon III decreed that the rejected artists could exhibit their works in an annex to the regular Salon. Many critics and the public ridiculed the refusés, which included such now-famous paintings as Édouard Manet's Luncheon on the Grass (Le déjeuner sur l’herbe) and James McNeill Whistler's Symphony in White, No. 1:...
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