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The Salon d'Automne ( French: [salɔ̃ dotɔn] ; English: Autumn Salon ), or Société du Salon d'automne , is an art exhibition held annually in Paris . Since 2011, it is held on the Champs-Élysées , between the Grand Palais and the Petit Palais , in mid-October. The first Salon d'Automne was created in 1903 by Frantz Jourdain , with Hector Guimard , George Desvallières , Eugène Carrière , Félix Vallotton , Édouard Vuillard , Eugène Chigot and Maison Jansen .

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69-446: Perceived as a reaction against the conservative policies of the official Paris Salon , this massive exhibition almost immediately became the showpiece of developments and innovations in 20th-century painting , drawing , sculpture , engraving , architecture and decorative arts . During the Salon's early years, established artists such as Pierre-Auguste Renoir threw their support behind

138-548: A pastellist and miniaturist who had posed for his painting "The Lady in Gloves" in 1869. They had three children. Their eldest daughter, Marie-Anne, married the playwright Georges Feydeau . After 1870, he devoted himself almost entirely to portraits. While many of his paintings depicted wealthy patrons in elegant clothing, he also notably painted a portrait of his gardener which stands in contrast to his other works in its loose strokes and earth tones. His success allowed him to open

207-478: A basis for the general public's understanding of the new art. This was the idea behind Jourdain's dream of opening a new "Salon des Refusés" in the late 1890s, and realized in the opening the Salon d'Automne in 1903. Providing a venue where unknown artists could be recognized, while 'wrestling' the public out of its complacency were, to Jourdain, the greatest contributions to society the critic could make. The platform of

276-575: A hotel owner, his first drawing lessons were with a local sculptor named Augustin-Phidias Cadet de Beaupré (1800–?) at the Académie de Lille ; then took up painting with François Souchon , a student of Jacques-Louis David . He went to Paris in 1853, where he adopted the name "Carolus-Duran". In 1859, he had his first exhibition at the Salon . That same year, he began attending the Académie Suisse , where he studied until 1861. One of his early influences

345-617: A liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911) The Salon d'Automne of 1912 was held in Paris at the Grand Palais from 1 October to 8 November. The Cubists (a group of artists now recognized as such) were regrouped into the same room, XI. The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI of

414-531: A long review in the April 20, 1911, issue of L'Intransigeant . Thus Cubism spread into the literary world of writers, poets, critics, and art historians. Apollinaire took Picasso to the opening of the Salon d'Automne in 1911 to see the cubist works in Room 7 and 8. Albert Gleizes writes of the Salon d'Automne of 1911: "With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at

483-416: A new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining

552-488: A plaster bust, Œsope (no. 498 and 499). His brother Jacques Villon exhibited six works. Kees van Dongen showed three works, Montmartre (492), Mademoiselle Léda (493) and Parisienne (494). André Derain exhibited Westminster-Londres (438), Arbres dans un chemin creux (444) and several other works painted at l'Estaque . Retrospective exhibitions at the 1906 Salon d'Automne included Gustave Courbet , Eugène Carrière (49 works) and Paul Gauguin (227 works). At

621-528: A portrait-painter, and as the head of one of the principal ateliers in Paris, where some of the most brilliant artists of a later generation were his pupils. In 1867, he became one of the nine members of the "Société Japonaise du Jinglar" (a type of wine); a group that included Henri Fantin-Latour , Félix Bracquemond and Marc-Louis Solon . They would meet once a month in Sèvres for a dinner "à la Japonaise". He married Pauline Croizette  [ fr ] ,

690-586: A radical departure further still. I have in front of me a small cutting from an evening newspaper, The Press , on the subject of the 1910 Salon d'Automne. It gives a good idea of the situation in which the new pictorial tendency, still barely perceptible, found itself: The geometrical fallacies of Messrs. Metzinger, Le Fauconnier, and Gleizes . No sign of any compromise there. Braque and Picasso only showed in Kahnweiler's gallery and we were unaware of them. Robert Delaunay, Metzinger and Le Fauconnier had been noticed at

759-569: A studio on the Boulevard du Montparnasse , where he also gave painting lessons. He was named a Knight in the Légion d'honneur in 1872; being promoted to Officer in 1878, Commander in 1889 and Grand Officer in 1900. In 1889 and 1900 he served on the juries at the Expositions Universelles. In 1890, he was one of the co-founders of the second Société Nationale des Beaux-Arts and he was elected

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828-567: A thick impasto and larger brushstrokes. At the same exhibition Paul Cézanne was represented by ten works. He wouldn't live long enough to see the end of the show. Cézanne died 22 October 1906 (aged 67). His works included Maison dans les arbres (no. 323), Portrait de Femme (no. 235) and Le Chemin tournant (no. 326). Constantin Brâncuși entered three plaster busts: Portrait de M. S. Lupesco , L'Enfant and Orgueil (no. 218 - 220). Raymond Duchamp-Villon exhibited Dans le Silence (bronze) and

897-740: The Salon d'Automne . As the number of salons increased, American newspapers sometimes referred to the original salon as the Salon of the Champs Elysees . Other salons Carolus-Duran Charles Auguste Émile Durand , known as Carolus-Duran (4 July 1837 in Lille – 17 February 1917 in Paris ), was a French painter and art instructor. He is noted for his stylish depictions of members of high society in Third Republic France . The son of

966-723: The Chambre des députés (and was debated at the Assemblée Nationale in Paris). In his 1921 essay on the Salon d'Automne, published in Les Echos (p. 23), founder Frantz Jourdain denouncing aesthetic snobbery, writes that the saber-rattling revolutionaries dubbed the Cubists , Futurists and Dadaists were actually crusty reactionaries who scorned modern progress and revealed contempt for democracy, science, industry and commerce. For Jourdain,

1035-500: The Salon Carré . The Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts , which was created by Cardinal Mazarin , chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor. In 1725, the Salon

1104-572: The Salon d'Automne was based on an open admission, welcoming artists in all areas of the arts. Jurors were members of society itself, not members of the Academy, the state, or official art establishments. Refused exhibition space in the Grand Palais , the first Salon d'Automne was held in the poorly lit, humid basement of the Petit Palais . It was backed financially by Jansen. While Rodin applauded

1173-574: The proto-Cubists ( Georges Braque , Jean Metzinger , Albert Gleizes , Henri Le Fauconnier , Fernand Léger and Robert Delaunay ); the Cubists , the Orphists , and Futurists . In his defense of artistic liberty, Jourdain attacked not individuals, but institutions, such as the Société Nationale des Beaux-Arts, the Société des Artistes Français , and the École des Beaux-Arts (Paris), recognized as

1242-516: The 'modern spirit' signified more than a preference for Cézanne over Gérome . Needed was a clear understanding of one's epoch, its needs, its beauty, its ambience, its essence. 1 October through 8 November 1912, in excess of 1,770 works were displayed at the 10th Salon d'Automne. Paul Gallimard organized the exhibition of 52 books. The poster for the 1912 show was made by Pierre Bonnard . Sessions of chamber music took place every Friday. Morning literary sessions were held every Wednesday. The cost of

1311-617: The 1904 Salon d'Automne was dedicated to Paul Cézanne , with thirty-one works, including various portraits, self-portraits, still lifes, flowers, landscapes and bathers (many from the collection of Ambroise Vollard , including photographs taken by the artist, exhibited in the photography section). Another room presented works of Puvis de Chavannes , with 44 works. And another was dedicated to Odilon Redon with 64 works, including paintings, drawings and lithographs. Auguste Renoir and Henri de Toulouse-Lautrec too were represented in separate rooms with 35 and 28 works respectively. After viewing

1380-786: The 1904 Salon d'Automne, held at the Grand Palais 15 October to 15 November, Jean Metzinger , exhibited three paintings entitled Marine (Le Croisic), Marine (Arromanches), Marine (Houlgate) (no. 907-909); Robert Delaunay , 19 years of age, exhibited his Panneau décoratif (l'été) (no. 352 of the catalogue). Albert Gleizes exhibited two paintings, Vieux moulin à Montons-Villiers (Picardie 1902) and Le matin à Courbevoie (1904) , (no. 536, 537). Henri Matisse presented fourteen works (607-620). Kees van Dongen presented two works, Jacques Villon , three paintings, Francis Picabia three, Othon Friesz four, Albert Marquet seven, Jean Puy five, Georges Rouault eight paintings, Maufra ten, Manguin five, Vallotton three, and Valtat three. A room at

1449-503: The Bld de Montparnasse, where he is working on his ambitious allegorical painting entitled L'Abondance . "In this painting" writes Brooke, "the simplification of the representational form gives way to a new complexity in which foreground and background are united and the subject of the painting obscured by a network of interlocking geometrical elements". This exhibition preceded the 1911 Salon des Indépendants which officially introduced "Cubism" to

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1518-500: The Cubist exhibition, and as in the 1905 Salon d'Automne, the critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. It was also Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay. On 3 December 1912 the polemic reached

1587-557: The Indépendants." He writes: "The painters were the first to be surprised by the storms they had let loose without intending to, merely because they had hung on the wooden bars that run along the walls of the Cours-la-Reine, certain paintings that had been made with great care, with passionate conviction, but also in a state of great anxiety." It was from that moment on that the word Cubism began to be widely used. [...] Never had

1656-697: The Salon d'Automne of 1912, with La Maison Cubiste , the collaborative effort of the designer André Mare , Raymond Duchamp-Villon and other artists associated with the Section d'Or . Henri Matisse exhibited La Danse at the Salon d'Automne of 1910. In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Metzinger ( Le goûter (Tea Time) ), Henri Le Fauconnier , Fernand Léger , Albert Gleizes , Roger de La Fresnaye , André Lhote , Jacques Villon , Marcel Duchamp , František Kupka , Alexander Archipenko , Joseph Csaky and Francis Picabia . The result

1725-500: The Salon d'Automne where the Cubists, among whom were several non-French citizens, exhibited their works. The resistance to both foreigners and avant-garde art was part of a more profound crisis: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during

1794-457: The Salon des Indépendants in the spring of 1905. Two large retrospectives occupied adjacent rooms at the 1905 Salon d'Automne: one of Jean-Auguste-Dominique Ingres and the other Édouard Manet . Despite the reputation for the contrary, the Salon d'Automne in 1905 was rather well received by the press, including critical praise for the Ingres and Manet retrospectives. The artists exhibiting were for

1863-589: The Salon des Indépendants of that same year, 1910, without a label being fixed on them. Consequently, although much effort has been put into proving the opposite, the word Cubism was not at that time current. (Albert Gleizes, 1925) In a review of the Salon, the poet Roger Allard (1885-1961) announces the appearance of a new school of French painters concentrating their attention on form rather than on color. A group forms that includes Gleizes, Metzinger, Delaunay (a friend and associate of Metzinger), and Fernand Léger. They meet regularly at Henri le Fauconnier's studio near

1932-576: The Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés , containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde . The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886. In 1881

2001-399: The Salon's status was "never seriously in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini 's Salon of 1785 . Printed catalogues of

2070-491: The Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic . The French salon, a product of the Enlightenment in the early 18th century, was a key institution in which women played a central role. Salons provided a place for women and men to congregate for intellectual discourse. The French Revolution opened

2139-573: The Salons. After the French Revolution of 1848 liberalized the Salon, far fewer works were refused. Medals were introduced in 1849. The increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1863

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2208-409: The accent on Gauguin and Cézanne (both perceived as retrogressive), from academics who resisted attention given to the decorative arts, and soon, from the Cubists, who suspected the jurors favoring of Fauvism at their expense. Even Paul Signac , president of the Salon des Indépendants , never forgave Jourdain for having founded a rival salon. What he had not predicted was a retaliation that threatened

2277-549: The autumn season for the exhibition was strategic in several ways: it not only allowed artists to exhibit canvases painted outside ( en plein air ) during the summer, it stood out from the other two large salons (the Société Nationale des Beaux-Arts and Salon des artistes français ) which took place in the spring. The Salon d'Automne is distinguished by its multidisciplinary approach, open to paintings, sculptures, photographs (from 1904), drawings, engravings, applied arts, and

2346-473: The birth of Fauvism ; 1910 witnessed the launch of Cubism ; and 1912 resulted in a xenophobic and anti-modernist quarrel in the National Assembly (France) . The aim of the salon was to encourage the development of the fine arts , to serve as an outlet for young artists (of all nationalities), and a platform to broaden the dissemination of Impressionism and its extensions to a popular audience. Choosing

2415-442: The boldly colored canvases of Henri Matisse , André Derain , Albert Marquet , Maurice de Vlaminck , Kees van Dongen , Charles Camoin , and Jean Puy at the Salon d'Automne of 1905, the critic Louis Vauxcelles disparaged the painters as " fauves " (wild beasts), thus giving their movement the name by which it became known, Fauvism . Vauxcelles described their work with the phrase " Donatello chez les fauves" ("Donatello among

2484-452: The catalogue was 1 French Franc. The decoration of the Salon d'Automne had been entrusted to the department store Printemps . Paris Salon The Salon ( French : Salon ), or rarely Paris Salon (French: Salon de Paris [salɔ̃ də paʁi] ), beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably

2553-538: The catalogue). Matisse exhibited his Liseuse , two still lifes ( Tapis rouge and à la statuette ), flowers and a landscape (no. 1171-1175) Robert Antoine Pinchon showed his Prairies inondées ( Saint-Étienne-du-Rouvray , près de Rouen ) (no. 1367), now at the Musée de Louviers . Pinchon's paintings of this period are closely related to the Post-Impressionist and Fauvist styles, with golden yellows, incandescent blues,

2622-423: The clarity of its layout, more or less per school. Foreign artists are particularly well represented. The Salon d'Automne also boasts the presence of a politician and patron of the arts, Olivier Sainsère as a member of the honorary committee. For Frantz Jourdain , public exhibitions served an important social function by providing a forum for unknown, innovative, emerging ( éminents ) artists, and for providing

2691-505: The course of time. Once launched at the 1910 Salon d'Automne, the new movement would rapidly spread throughout Paris. Convinced that exposure to the work of German designers would prompt healthy competition in the decorative arts, Frantz Jourdain invited artists, architects, designers, and industrialists from the Munich-based Deutscher Werkbund to exhibit at the 1910 salon. "Our art menaced by Bavarian decorators" read

2760-409: The critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever. In nearly all the papers, all composure

2829-410: The endeavor, and submitted drawings, he refused to join doubting it would succeed. Notwithstanding, the first Salon d'Automne , which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and was met with wide critical acclaim. Jourdain, familiar with the multifaceted world of art, predicted accurately the triumph would arouse animosity: from artist who resented

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2898-421: The exhibition of 1907, held from 1 to 22 October, hung a painting by Georges Braque entitled Rochers rouges (no. 195 of the catalogue). Though this painting remains difficult to identify, it may be La Ciotat ( The Cove ). Jean Metzinger exhibited two landscapes (no. 1270 and 1271), also difficult to identify. At this 1907 salon the drawings of Auguste Rodin were featured. There were also retrospectives of

2967-449: The exhibition of 1908 at the Grand Palais des Champs-Élysées Matisse exhibited 30 works. At the 1909 exhibition (1 October through 8 November), Henri le Fauconnier exhibited a proto-Cubist portrait of the French writer, novelist and poet Pierre Jean Jouve , drawing the attention of Albert Gleizes who had been working in a similar geometric style. Constantin Brâncuși exhibited alongside Metzinger, Le Fauconnier and Fernand Léger . At

3036-479: The exhibition of 1910, held from 1 October to 8 November at the Grand Palais des Champs-Élysées, Paris, Jean Metzinger introduced an extreme form of what would soon be labeled 'Cubism', not just to the general public for the first time, but to other artists that had no contact with Picasso or Braque. Though others were already working in a proto-Cubist vein with complex Cézannian geometries and unconventional perspectives, Metzinger's Nu à la cheminée (Nude) represented

3105-484: The exhibition to foreign artists. 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 invited. The vernissage (varnishing) of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier . Charles Baudelaire , Denis Diderot and others wrote reviews of

3174-631: The exhibition. Following this salon Metzinger wrote the article Notes sur la peinture , in which he compares the similarities in the works Picasso, Braque, Delaunay, Gleizes and Le Fauconnier. In doing so he enunciated for the first time what would become known as the characteristics of Cubism : notably the notions of simultaneity, mobile perspective. In this seminal text Metzinger stressed the distance between their works and traditional perspective. These artists, he wrote, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over

3243-435: The face of the public", wrote the critic Camille Mauclair (1872–1945)—but also some favorable attention. One of the paintings singled out for attack was Matisse's Woman with a Hat . This work's purchase by Gertrude and Leo Stein had a very positive effect on Matisse, who had been demoralized from the bad reception of his work. Matisse's Neo-Impressionist landscape, Luxe, Calme et Volupté , had already been exhibited at

3312-676: The foremost school of art. In addition to his role as an influential art critic prior to the creation of the Salon d'Automne , Jourdain was a member of the Decorative Arts jury at the Chicago World's Fair (1893) , the Brussels International (1897) and the Paris Exposition Universelle (1900) . Jourdain clearly outlined the dangers of following the academic path in his review of the 1889 Exposition, while pointing out

3381-464: The future of the new salon. Carolus-Duran (president of the Société Nationale des Beaux-Arts) threatened to ban from his Société established artists who might consider exhibiting at the Salon d'Automne . Retaliating in defense of Jourdain, Eugène Carrière (a respected artistic figure) issued a statement that if forced to choose, he would join the Salon d'Automne and resign from the Société Nationale des Beaux-Arts. The valuable publicity generated by

3450-438: The government withdrew official sponsorship from the annual Salon, and a group of artists organized the Société des Artistes Français to take responsibility for the show. In December 1890, the leader of the Société des Artistes Français , William-Adolphe Bouguereau , proposed that the Salon should be an exhibition of young, not-yet-awarded, artists. Ernest Meissonier , Puvis de Chavannes , Auguste Rodin and others rejected

3519-493: The greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it was managed by the Société des Artistes Français . In 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture (a division of the Académie des beaux-arts ), held its first semi-public art exhibit at

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3588-455: The greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two rooms remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of

3657-408: The headline of the journal Le Radical (12 May 1910). This scandal, in addition to the non-French status of the authors in a time of growing nationalism, aroused the old polemic of exhibiting low-cost production objects, mass-produced items, simply designed furniture and interior decoration, in the context of a salon dedicated to art. Industrial art had never before been so controversial. The exhibition

3726-672: The most part known, even the most innovative who a few months before exhibited at the Berthe Weill Gallery. However, a few critics reacted violently, both in the daily press aimed at a wide audience; and in the specialized press, some of whom were active advocates of symbolism, and vehemently detested the rise of the new generation. The exhibition of 1906 was held from 6 October to 15 November. Jean Metzinger exhibited his Fauvist/ Divisionist Portrait of M. Robert Delaunay (no. 1191) and Robert Delaunay exhibited his painting L'homme à la tulipe (Portrait of M. Jean Metzinger) (no. 420 of

3795-434: The new exhibition and even Auguste Rodin displayed several works. Since its inception, works by artists such as Paul Cézanne , Henri Matisse , Paul Gauguin , Georges Rouault , André Derain , Albert Marquet , Jean Metzinger , Albert Gleizes and Marcel Duchamp have been shown. In addition to the 1903 inaugural exhibition, three other dates remain historically significant for the Salon d'Automne : 1905 bore witness to

3864-486: The potentials in the art of engineers, aesthetics, the fusion with decorative arts and the need for social reform. He soon became well known as a staunch critic of traditionalism and a fervent proponent of Modernism , yet even for him, the Cubists had gone too far. The first Salon d'Autumne exhibition opened 31 October 1903 at the Palais des Beaux-Arts de la Ville de Paris ( Petit Palais des Champs-Élysées ) in Paris. Included in

3933-459: The press articles on the controversy worked in favor of the Salon d'Automne . Thus, Eugène Carrière saved the burgeoning salon. Henri Marcel, sympathetic to the Salon d'Automne , became director of the Beaux-Arts, and assured it would take place at the prestigious Grand Palais the following year. The success of the Salon d'Automne was not, however, due to such controversy. Success was due to

4002-538: The proposal and broke way to create the Société Nationale des Beaux-Arts , with its own exhibition, immediately referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts . Soon, it was also widely known as the Nationale . In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors, led by Pierre-Auguste Renoir and Auguste Rodin , organized

4071-618: The public as an organized group movement. Metzinger had been close to Picasso and Braque, working at this time along similar lines. Metzinger, Henri Le Fauconnier and Fernand Léger exhibited coincidentally in Room VIII. This was the moment in which the Montparnasse group quickly grew to include Roger de La Fresnaye , Alexander Archipenko and Joseph Csaky . The three Duchamp brothers, Marcel Duchamp , Jacques Villon and Raymond Duchamp-Villon , and another artist known as Picabia took part in

4140-585: The show were the works of Pierre Bonnard , Coup de vent , Le magasin de nouveautés , Étude de jeune femme (no. 62, 63 and 64); Albert Gleizes , A l'ombre (l'Ile fleurie) , Le soir aux environs de Paris (no. 252, 253); Henri Matisse , Dévideuse picarde (intérieur) , Tulipes (386, 387), along with paintings by Francis Picabia , Jacques Villon , Édouard Vuillard , Félix Vallotton , Maxime Maufra , Henri Manguin , Armand Guillaumin , Henri Lebasque , Gustave Loiseau , Albert Marquet , Eugene Chigot with an homage to Paul Gauguin who died May 8, 1903. At

4209-522: The tremendous impact of its exhibitions on both the art world and the general public, extending from 1903 to the outset of the First World War . Each successive exhibition denoted a significant phase in the development of modern art: Beginning with retrospectives of Gauguin, Cézanne and others; the influence such would have on the art that would follow; the Fauves ( André Derain , Henri Matisse ); followed by

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4278-526: The viewers saw first hand, and many for the first time, what had been done abroad, opened up a potential of what could be done in the field of decorative arts at home. Jourdain had successfully staged the German show to provoke French designers into improving the quality of their own work. The effects would be felt in Paris, first with the 1912 exhibition of French decorative arts at the Pavillon de Marsan , then again at

4347-621: The wild beasts"), contrasting the "orgy of pure tones" with a Renaissance -style sculpture that shared the room with them. Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas , a daily newspaper, and passed into popular usage. The pictures gained considerable condemnation—"A pot of paint has been flung in

4416-761: The works of Berthe Morisot (174 works) and Jean-Baptiste Carpeaux (149 works), and a Paul Cézanne retrospective exhibition which included 56 works as a tribute to the painter who died in 1906. Apollinaire referred to Matisse as the "fauve of fauves". Works by both Derain and Matisse are criticized for the ugliness of their models. Braque and Le Fauconnier are considered as Fauves by the critic Michel Puy (brother of Jean Puy ). Robert Delaunay showed one work, Bela Czobel showed one work André Lhote showed three, Patrick Henry Bruce three, Jean Crotti one, Fernand Léger five, Duchamp-Villon two, Raoul Dufy three, André Derain exhibited three paintings and Matisse seven works. For

4485-484: Was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants . In room 41 hung the work of Gleizes, Metzinger, Léger, Delaunay, Le Fauconnier and Archipenko. Articles in the press could be found in Gil Blas , Comoedia , Excelsior , Action , L'Œuvre , Cri de Paris . Apollinaire wrote

4554-609: Was held in the Palace of the Louvre , when it became known as Salon or Salon de Paris . In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre , became public. They were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis (25 August) and run for some weeks. Once made regular and public,

4623-461: Was lost. The critics would begin by saying: there is no need to devote much space to the Cubists, who are utterly without importance and then they furiously gave them seven columns out of the ten that were taken up, at that time, by the Salon. (Gleizes, 1925) Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to

4692-407: Was reviewed in all the major journals. Louis Vauxcelles added to the crisis in a Gil Blas article. The exhibition was an enormous success in that it served to catalyze anew designers, decorators, artists and architects in France, who prior to the 1910 Salon d'Automne had been lagging behind in the design sector. It also catalyzed public opinion, formerly interested solely in paintings. The fact that

4761-558: Was the Realism of Gustave Courbet . From 1862 to 1866, he travelled to Rome and Spain, thanks to a scholarship granted by his hometown. During that time, he moved away from Courbet's style and became more interested in Diego Velázquez . Upon returning to France, he was awarded his first gold medal at the Salon. His picture "Murdered", or "The Assassination" (1866), was one of his first successes, but he became best known afterwards as

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