Gustave Courbet (1819-77): 1849-50, CR91, Tableau de figures humaines, historique d’un enterrement à Ornans, 315×668, Orsay (iRx;iR6;iR23;R63,p110;R110,no91;M1) =S1850/51-661; =EU-1855-R -> Pavillon du Réalisme (PdR-1855-2); =EU-1867-PC-3.
Introduction: The Salons in the early 1850s were held at different locations↓. The Salon of 1855 coincided with or was replaced by the Exposition Universelle (see seperate pages). It was held in the ‘Palais de l’Industrie’ at the Champs Elysées, also mentioned as the ‘Palais des Champs-Élysées’. This would also be the location of the Salons to come. The Salons in the early 1850s were held a bit irregular, but overall biennial.
After the Februar revolution in 1848 Louis Napoleon (iR3) was elected 1848/12/10+11 as 1st president of the 2nd French Republique (iR3). 3 years later (1852/12/02), after a coup d’état (iR3), he became emporer Napoleon III (iR3). (see political developments)
From 1850 till 1857 part of the jury stayed elected by the artists. In 1857 under Van Nieuwerkerke L’Institut became dominant again in the nomination of the jury (R88II,p387).
In 1850/51 Courbet showed a huge painting depicting ordinary people at a funeral↑. A new art-movement, Realism, was born.
On this page you will find some exhibited art-works (in a chronological and alphabetical way) and an overview from year till year (with references to the exhibitions of 1855 +1857 +1859). First you will find the art-works of the partakers of the later ‘impressionist’ expositions (1874-1886), than those of some related artists. (At last you will find some rejected pictures.)
Note: If you double click on the first (of a cluster of) pictures and then click on full screen, you can create a small slideshow. On a smartphone or laptop you can also zoom in. Enjoy!
Note: additional info and pictures will be added.
Exhibited art-works of the ‘impressionists’: Some partakers of the ‘impressionist’ expositions already showed art-works at the Salon in the early 1850s, namely: Félix Bracquemond (1852 +1853); Cals (1850/51 +1853); de Molins (1850/51 +1853); Auguste Ottin (1850/51 +1852 +1853). See also the accounts of these artists.
The art-works will be rendered by form, then alphabettically and then in chronological order of when exhibited.
Adolphe-Félix Cals, S1853-204, Tête de jeune femme, étude à la lampe. Compare: 18xx, Femme assise à un bureau, lisant à la lueur d’une chandelle, dr, 17×22, A1999/10/27 (iR13;iR1)
Auguste de Molin: S1850-2229-1, Vue du pont du Gard =!? 1850, Le pont du Gard, 42×70, MAH Neuchâtel (M89;iR1)
Auguste-Louis-Marie Ottin: 1852-66, Overview sculptures, Fontaine de Médicis, Jardin du Luxembourg Paris (iR6;iR1;R90II,p26). Compare: S1852-1504 + EU=S1855-4521, Polyphème surprenant Acis et Galathée, projet d’achèvement de la fontaine monumentale du Luxembourg.
Auguste-Louis-Marie Ottin: 1867, La lutte moderne, le coup de hauche (the hip throw), bronze, xx, MM Barentin (iR10;iR119;iR122;iR1;R231-9+8) Expos: =? EU-1855-R (aR2,p293); =!? EU-1867-III-802, La lutte moderne, le coup de hauche; groupe bronze (2nd class medal). Compare: S1853-1466, Lutteurs, le coup de hanche; groupe en plâtre.
Félix Bracquemond: 1851, SDtl, Portrait de ma grand-mère (La lecture de la Bible), pastel, 76×63, Orsay (M1;iR10;iR1;iR19;R231) Provenance: Ernest May (till 1923). Expos: =S1852-175, Portrait de Mme M. B…; dessin; =EU-C-1889-II-64, La lecture de la Bible, pastel (app. à M. E. May); =!? EU-C-1900-744, Une femme âgée et trois enfants; dessin rehausée (1851) (appartient à M. Ernest May); =!? SNBA-1907-171-15, Portrait de ma “Grand’Mère”; appartient à M. May.
Félix Bracquemond: 1853, SDtl, Self-Portrait as an etcher, drawing enhanced with pastel and gold-toned paint, 93×68, Harvard Cambridge (iR10;iR135;iR1;R73,p7;R52,p8;R85III,no1;R52,p8;M32) =S1853-169, Portrait de l’auteur, dessin; = EU-1855-2619, Portrait de l’auteur, dessin; =?? 1IE-1874-23, Portrait (dessin)
Adolphe-Félix Cals, S1850-441, portrait of Mme B. Uncertain: 1850, Bildnis der Claudine Bonnet, 27×33, A2015/05/29 (iR13;iR12;iR1)
Adolphe-Félix Cals: 18??, Mère avec son enfant et un chat, 19×19, A2016/05/25 (iR13;iR11;iR1) =?? S1850-440, Portrait de Mme D. R… et de son enfant; =??? 3IE-1877-9, Jeune Mère
Adolphe-Félix Cals, S1850-443, Nature morte. Uncertain: 18xx, Nature morte (un intérieur), 19×13, A2014/03/26 (iR11;iR13;iR1)
Adolphe-Félix Cals, S1853-203, Un amateur. Compare: Cals, 1859, Le raccommodeur de porte-monnaie (Père et fillette dans un atelier), 28×23, A2008/04/23 (iR13;iR1)
Auguste-Louis-Marie Ottin: 1850ca, Decorative fireplace, bas-relief representing the utopian socialist society imagined by Fourier (Petites hordes + corps vestalique), marble, xx, Palazzo Sabatier-Ungher, KhI Floranze (aR13,p260;iR10;iR120;iR1) =!? S1850-3548, Cheminée monumentale destinée à un Palais de Florence: Le bas-relief de l’attique représente diverses phases de la vie humaine: les soins donnés à l’enfance, la famille, l’éducation, la jeunesse, le travail, le repos dans le travail, etc.
Auguste-Louis-Marie Ottin: 1851, Bust of philosophe Charles Fourier, Allégories of Justice and Truth, and bas-relief representing the utopian socialist society imagined by Fourier, sc, xx, Palazzo Sabatier-Ungher (aR16;iR1) =!? S1850-3548, Cheminée monumentale destinée à un Palais de Florence:
Buste de Charles Fourrier; la Justice et la Vérité; Le bas-relief de l’attique représente diverses phases de la vie humaine
Auguste-Louis-Marie Ottin: 1850ca, Decorative fireplace, bas-relief representing the utopian socialist society imagined by Fourier (eclosion des vocations + instruction solicitée), marble, xx, Palazzo Sabatier-Ungher, KhI Floranze (aR13,p261;iR10;iR120;iR1) =!? S1850-3548, Cheminée monumentale destinée à un Palais de Florence: Le bas-relief de l’attique représente diverses phases de la vie humaine: les soins donnés à l’enfance, la famille, l’éducation, la jeunesse, le travail, le repos dans le travail, etc.
Exhibited paintings of other artists: Here below you will find some art-works (mainly paintings) of some other artists that were exhibited at the Salon in 1850/51 +1852 +1853 (see seperate pages for 1855 +1857 +1859). The art-works will be rendered by form, then alphabettically and then in chronological order of when exhibited. This will not give you an overall impression (that is outside the scope of this website). Namely works of pre-impressionist, para-impressionist and other related artitsts will be shown. Namely the following artists showed paintings: Rosa Bonheur; Courbet; Daubigny; Delacroix; Diaz; Gérôme; Jongkind; Pils. Note: additional info and pictures will follow.
Rosa Bonheur (1822-99): 1852-55, The horse fair, 245×507, Metropolitan (iR6;M23) =S1853-134, Marché aux cheveaux de Paris
Gustave Courbet (1819-77): 1849-50, CR91, Tableau de figures humaines, historique d’un enterrement à Ornans, 315×668, Orsay (iRx;iR6;iR23;R63,p110;R110,no91;M1) =S1850/51-661; =EU-1855-R -> Pavillon du Réalisme (PdR-1855-2); =EU-1867-PC-3.
Gustave Courbet (1819-77): 1850, CR107, Peasants from Flagey (returning from the fair), 209×276, MBAA Besançon (Orsay) (iR6;iR23;iR40;M246;M1). Provenance: 1871-89 Durand-Ruel; Dreyfus gallery. Expos: S1850/51-662; EU-1855-3; EU-1867-4; ENSBA-1882-5; Copenhagen-XIX-1914-43.
Alexandre Decamps (1803-60): 1848, Rebecca at the well, 30×41, M. Condé Chantilly (iR6;iR23;iR10;R231-9;M196) Expos: =S1850/51; =EU-1855-2858, Eliézer et Rebecca (à M. le baron Roger)
Johan Barthold Jongkind (1819-91): 1850, SDbr, View of the harbor of Harfleur, 106×161, MdP Amiens (iR10;iR155;iR23;iR1;R177,p23;M243) =Jean-Baptiste Jongkind: S1850/51-1662, Vue du port d’Harfleur; bought 1851 by the State for 600fr; =Amiens-1853-117.
Johan Barthold Jongkind (1819-91): 1852, Saint-Valéry-en-Caux, sunset, 107×169, KMM Otterlo (iR5;iR1;R177,p23+24;M72) =S1852-706, Saint-Valery-en-Caux; soleil couchant; 3rd class medal (Marine)
Johan Barthold Jongkind (1819-91): 1852, Saint-Valéry-en-Caux, sunset (detail), 107×169, KMM Otterlo (HW;iR5;iR1;R177,p23+24;M72) =S1852-706, Saint-Valery-en-Caux; soleil couchant -> 3rd class medal (Marine)
Johan Barthold Jongkind (1819-91): 1851, The harbour at Le Tréport (morning), 106×170, private (HW;iR1;R177,p23+24) =S1852-707, Le Tréport, le matin; 3rd class medal (Marine)
Johan Barthold Jongkind (1819-91): 1853, SDbl, CR2, Le pont de l’Estacade à Paris, 105×170, MBA Angers (iR4;iR1;iR32;R177,p25;R113,no2;M18) =S1853-655, Vue de Paris: la Seine; bought by the State in 1853.
Johan Barthold Jongkind (1819-91): 1853, SDbl, Vue de Paris, la Seine l’Estacade (detail), 105×170, MBA Angers (HW;iR4;iR1;iR32;R177,p25;R113,no2;M18) =S1853-655, Vue de Paris: la Seine; bought by the State in 1853.
Ernest Meissonier (1815-91): 1850, SDbr, Sunday at Poisy, 23×30, Orsay (iR10;iR326;aR1;R231-9;M1) Expos: =S1850/51 (sold for 14.000fr); =EU-1855-5057, Le dimanche; les joueurs de tonneau; =GP1884-8; =GP1893-937;
Pils (Isidore; 1813-1875): 1850, The Death of a Sister of Charity, 241×305, MdA Toulouse (iR6;iR23;iR1) = S1850-2475, La mort d’une sœur de charité.
Théodore Rousseau (1812-1867): 1848-49, Sortie de forêt à Fontainebleau, soleil couchant, 142×198, Louvre (iR357;iR10;iR23;M5;R231-9;R337/1857) Assigned by the State 1848. Expos: S1850/51; EU-1855-3931, Sortie de forêt, Fontainebleau; coucher de soleil (medaille de 1er classe); EU-Vienna-1873-?
Théodore Rousseau (1812-1867): 1850-52, Groupe de chênes, Apremont, 64×100, Louvre (iR23;iR6;M5;R231-9;R337/1857) Expos: =? S1852-1122; =EU-1855-3935, Groupe de chênes dans les gorges d’Apremont (medaille de 1er classe).
Théodore Rousseau (1812-1867): 1852, Sbl, Un marais dans les Landes, 63×97, Louvre (M5;iR6;iR1;iR23;R231-9;R337/1857) Expos: =S1853-1026; EU-1855-3933, Un marais dans les Landes; S1853 (medaille de 1er classe); compare: EU-1889-C-609, Mare dans les Landes (1866); à M. Vever.
Delacroix (1798-1863): 1849, CR548, The Good Samaritan, 37×30, private (R155;iR6;R231-1) Expos: =? S1851; EU-1900-C-228, Le Bon Samaritain (à Mme Esnault-Pelterie; S.1851)
Diaz (1807-76): 1850, The bohemians, 54×37, Louvre (iR23;iR2;iR1) =S1850/51-848, Les bohémiens -> Chevalier LdH
Jean-Léon Gérôme (1824-1904): 1852, An Idyll (Daphnis and Chloe), 212×156, MM Tarbes (iR6;iR10;iR1;iR356;R231-1+2) Expos: S1853-528, Idylle; EU-1900-C-322, L’Innocence (1852; Musée de Tarbes)
Ernest Meissonier (1815-91): 1848, La Barricade Rue de la Mortellerie (June 1848) (Remembrance of civil war), 29×22, Louvre (iR155;iR6;aR1;aR2;M5) Expos: =S1850/51, Souvenir de guère civil; GP1884-7.
Pils (Isidore; 1813-1875): 1852, Soldiers distributing bread to the needy, 14th line, Invalides camp, 1849, 163×131, MNCh Fontainebleau (M5;iR23;R231-1;M284) Expos: S1852-1044; EU-1900-C-515, Soldats distribuant du pain aux indigents, camp des Invalides, 1849 (Palais de Fontainebleau; S.1852)
Rejected art-works: Here you will find some art-works that were rejected in 1850/51, 1852 and 1853, namely of the partakers of the ‘impressionist’ expositions. Note: additional info and pictures will be added.
The Salon from year to year:
1850/51:
The catalogue mentions 1766 partakers and 3968 numbers (iR1).
This Salon was held in the Palais Royal or national. It was held from 1850/12/30 – 1851/03/06.
Including the following partakers of the ‘impressionist’ expositions: Cals (4x); de Molins (3x); Auguste Ottin (1sc).
1853:
The catalogue mentions 1191 partakers and 1772 numbers (iR1); note: relatively small numbers. This Salon was held in the Hôtel des Menus-Plaisirs. It started the 15th of May. Including the following partakers of the ‘impressionist’ expositions: Félix Bracquemond (1p); Cals (2x); de Molins (1x); Auguste Ottin (2sc). The awards:
3 painters received a 1st class medal: Daubigny (Paysage), (François-Léon) Bénonville (Histoire) and (Charles-François) Jalabert (Histoire et portrait). painters received a 2nd class medal, including (Jean-François) Millet (genre et paysage). 12 painters received a 3rd class medal, including Alfred Stevens (genre). By special decision, Miss Rosa Bonheur and Mrs. Herbelin, having obtained all the medals that can be awarded to artists, will in future enjoy the privileges to which their outstanding talent entitles them; their works will be exhibited without being submitted to the jury for examination.
2 artists were appointed in the Légion d’Honneur as Officier, including Henri Lehmann and 10 artists as Chevalier, including Français and Hébert.
1855:
The catalogue mentions 2715 partakers and 5120 numbers (iR1); note: relatively large numbers. Including the following partakers of the ‘impressionist’ expositions: Félix Bracquemond (1p +4engravings); Cals (1x); Auguste Ottin (2=5sc).
This Salon coincided with the art exhibition of the Exposition Universelle. (Or this Salon was cancelled.) This exposition was held in the the ‘Palais de l’Industrie’ at the Champs Elysées, also mentioned as the ‘Palais des Champs-Élysées’ and this would be become the new accommodation for the Salon in the years to come. The Exposition Universelle of 1855 lasted from the 15th of May till the 15th of November, much longer than the normal 6 weeks of a Salon.
See seperate page.
Sources: My main source is the Salon database (iR1), added with articles from WikiPedia (iR3).
See for other sources at the bottom of the main page on the Salon.
See link for info on the subscriptions of the images.
Recommanded citation: “Meta-Impressionism / other exhibitions: the Salon in the 1850s; info and pictures. Last modified 2026/05/15. https://www.impressionism.nl/salon-1850s/”
