Misplaced Pages

Salon of 1822: Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editNext edit →Content deleted Content addedVisualWikitext
Revision as of 23:32, 22 December 2024 editLord Cornwallis (talk | contribs)Autopatrolled, Extended confirmed users, Pending changes reviewers459,971 edits →Gallery← Previous edit Revision as of 23:37, 22 December 2024 edit undoLord Cornwallis (talk | contribs)Autopatrolled, Extended confirmed users, Pending changes reviewers459,971 editsNo edit summaryNext edit →
Line 1: Line 1:
{{Short description|1822 art exhibition in Paris}} {{Short description|1822 art exhibition in Paris}}
The '''Salon of 1822''' was an ] held at the ] in ], opening on 24 April 1822. One of the most notable works to be displayed was '']'' by the ] painter ], which owed much to ]'s '']'' which had appeared at the previous ].<ref>Boime p.199</ref> Taking place during the ], it was the last to be held during the reign of ]. The ] took place after his brother ] had succeeded to the throne. The '''Salon of 1822''' was an ] held at the ] in ], opening on 24 April 1822. The ] took place every two or three years at the time and featured ]s and ]. One of the most notable works to be displayed was '']'' by the ] painter ], which owed much to ]'s '']'' which had appeared at the previous ].<ref>Boime p.199</ref> Taking place during the ], it was the last to be held during the reign of ]. The ] took place after his brother ] had succeeded to the throne.


The Salon was notable for a boycott by ]. After two of his paintings '']'' and '']'' were rejected by the authorities as their theme depicting battles of the ] and ]s due to being potentially subversive he withdrew all his other paintings from the exhibition barring one, the royal commission '']''. Vernet instead held his own solo exhibition in his studio.<ref>Harkett & Hornstein p.40-42</ref> <ref>Murray p.1182</ref> ] was awarded a ] for his battle scenes.<ref>Samuels p.50</ref> Notable first time exhibitors were ]<ref>Murray p.274</ref> and ].<ref>Bury p.143</ref> The Salon was notable for a boycott by ]. After two of his paintings '']'' and '']'' were rejected by the authorities as their theme depicting battles of the ] and ]s due to being potentially subversive he withdrew all his other paintings from the exhibition barring one, the royal commission '']''. Vernet instead held his own solo exhibition in his studio.<ref>Harkett & Hornstein p.40-42</ref> <ref>Murray p.1182</ref> ] was awarded a ] for his battle scenes.<ref>Samuels p.50</ref> Notable first time exhibitors were ]<ref>Murray p.274</ref> and ].<ref>Bury p.143</ref>

Revision as of 23:37, 22 December 2024

1822 art exhibition in Paris

The Salon of 1822 was an art exhibition held at the Louvre in Paris, opening on 24 April 1822. The Salon took place every two or three years at the time and featured paintings and sculpture. One of the most notable works to be displayed was The Barque of Dante by the romantic painter Eugène Delacroix, which owed much to Théodore Géricault's The Raft of the Medusa which had appeared at the previous Salon of 1819. Taking place during the Restoration era, it was the last to be held during the reign of Louis XVIII. The Salon of 1824 took place after his brother Charles X had succeeded to the throne.

The Salon was notable for a boycott by Horace Vernet. After two of his paintings The Gate at Clichy and The Battle of Jemappes were rejected by the authorities as their theme depicting battles of the Revolutionary and Napoleonic eras due to being potentially subversive he withdrew all his other paintings from the exhibition barring one, the royal commission Joseph Vernet Tied to a Mast During a Storm. Vernet instead held his own solo exhibition in his studio. Jean-Charles Langlois was awarded a gold medal for his battle scenes. Notable first time exhibitors were Paul Delaroche and Richard Parkes Bonington.

Gallery

References

  1. Boime p.199
  2. Harkett & Hornstein p.40-42
  3. Murray p.1182
  4. Samuels p.50
  5. Murray p.274
  6. Bury p.143

Bibliography

  • Boime, Albert. Art in an Age of Counterrevolution, 1815-1848. University of Chicago Press, 2004.
  • Bury, Stephen (ed.) Benezit Dictionary of British Graphic Artists and Illustrators, Volume 1. OUP, 2012.
  • Harkett, Daniel & Hornstein, Katie (ed.) Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture. Dartmouth College Press, 2017.
  • Murray, Christopher John. Encyclopedia of the Romantic Era, 1760-1850, Volume 2. Taylor & Francis, 2004.
  • Noon, Patrick & Bann, Stephen. Constable to Delacroix: British Art and the French Romantics. Tate, 2003.
  • Samuels, Maurice. The Spectacular Past: Popular History and the Novel in Nineteenth-Century France. Cornell University Press, 2018.
Categories: