French for “exhibition of rejects;” generally, an exhibition of works rejected by the jury of the official
Paris Salon, but most famously the Salon des Refusés of 1863.As early as the 1830’s, 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 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 famous paintings as
Édouard Manet's
Luncheon on the Grass (Le déjeuner sur l’herbe) and
James McNeill Whistler's . But the critical attention also legitimized the emerging
avant-garde in painting. Encouraged by Manet, the
Impressionists successfully exhibited their works outside the Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the prestige and influence of the Paris Salon had waned.
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