Meta-Impressionism:

The Salon

des Beaux-Arts in Paris

1673 – 1879

Introduction:
‘Salon’ is a very general term. It just means a large room where people gather. In the art-world it just means a large room where art-works are exhibited. So you will find many exhibitions that are called ‘Salon …’. But in France in the 19th century ’the Salon’ was a large, (two) yearly exhibition in Paris. More extended it was called ‘The Salon des Beaux-Arts in Paris’ and originally ’the Salon Carré’. The Salon mostly started the 1st of May and lasted 6 weeks (iR1;R88II,p396;R5,p20).

The Salon was the most important exhibition in France in the 19th century. It was the place to acquire recognition, where art-critics might review your work. It was the place to find private buyers. It was the place that the French state made its purchases. After success at the Salon an artist would more easily receive private and public commissions. (R3,p56;R5,p20/21;R1,p79) It was essential for an artistic career (R410,p71). But saying the Salon had a ‘monopoly’ (R5,p20) is a bit exaggerated, because there were also other exhibitions.

Many books and websites suggest that the ‘impressionists’ were mostly rejected for the Salon. Wikipedia writes ’the Impressionist painters, whose works were usually rejected, or poorly placed if accepted’ (iR3). These sources also claim that they were opposed to it. But in reality many partakers of the ‘impressionist’ expositions often did exhibit at the Salon. Sources also mention that the Impressionists were laughed at. But is this true? My impression is, that these views are overexagerated and part of the myths on Impressionism. I think it is better to speak of an ambivalent relationship of the Impressionists with the Salon. Still, a main characteristic of the 8 ‘impressionist’ expositions held from 1874-86, was that they were independant of the Salon.

See links for short info and pictures on the Salons of 1673-1789; 1791-1812; 1814-1827; 1830s; 1840s; 1850s; 1861; 1863; 1864; 1865; 1866; 1867; 1868; 1869; 1870; 1872; 1875; 1876; 1877; 1878; 1879.

The Salon, general information:
The Salon was first held in the ‘Salon Carré’ of the Royal palace the Louvre in 1673* (iR1). The Louvre had been a royal palace since 1190 and through the ages has been extended (R97,pvi). 1848 was the last year that the Salon was held in the Louvre (iR1;R97,p2). In 1699 and 1704 it was held in the ‘Grande Galerie’ and 1737 onwards in the ‘Grand Salon’. The Louvre often changed names. In 1798 (after the revolution) it became the ‘Muséum central des arts de la République’, in 1806 ‘Musée Napoléon’ and in 1814 ‘Musée royal des arts’. In 1849 the Salon was held in the Palais des Tuilleries, in 1850/1 and 1852 in the Palais Royal and in 1853 in the Hôtel des Menus-Plaisirs. 1855 onwards the Salon was held in the ‘Palais de l’Industrie‘ at the Champs Elysées, also mentioned as the ‘Palais des Champs-Élysées’. This was demolished in 1897 to make way for the Grand Palais (;iR3). (iR1;R5,p25).
Note*: some sources mention 1667 (R88II,p387;R3,p56).

Untill 1791 only students and professors of the ‘Académie royale de peinture et sculpture‘ exhibited at the Salon (R88II,p387;R5,p20). The 1673 exhibition started with 53 partakers and 112 art-works mentioned in the catalogue. In 1789 this were 117 partakers and 352 art-works. 1791 onwards we see an increasing number of partakers and exhibited art-works, starting with 229 partakers and 801 art-works in 1791 upto 1003 partakers and 2379 art-works in 1824.

The first 3 Salons were held in 1673, 1699 and 1704. 1737 onwards the Salon was held on a more regular basis, mostly yearly or biennial. From 1833 till 1850 it was held yearly, from 1852 till 1861 biennial and 1863 onwards yearly.
The Salon in the 1870s was organised by the ‘Ministère de l’Instruction publique, (des Cultes) et des Beaux-Arts. Direction des Beaux-Arts.’ (Eng.: Ministry of Public Instruction, Cults and Fine Arts. Direction of the Fine Arts.; iR1). Exhibiting ‘artworks of painting, sculpture, architecture, engraving and lithography of living artists’ (iR1).

 

The Salon de la Société des Artistes Français (=SdAF):
Since 1880 the Salon was organised by the ‘Société des Artistes Français‘, so more independant from the French State. Was this development influenced by the independant ‘impressionist’ group expositions? Several sources suggest there didn’t change much, it still was called ’the Salon’ and the influence of L’Institut stayed large. Still, I think it is good to discern it. See link for more info.

 

The Salon de la Société National des Beaux-Arts (=SNBA):
The first Salon de la Société National des Beaux-Arts was held in 1890 at the Champ-de-Mars in the Palais des Beaux-Arts. The year before a group had split of from the ‘Société des Artistes Français‘. The Salons de la Société National des Beaux-Arts can be seen as independant group exhibitions and in this sense as one of the successors of the ‘impressionist’ expositions that stopped in 1886. Many partakers of the ‘impressionist’ expositions (frequently) exhibited at the Salon de la Société des Beaux-Arts, including Sisley. Still, many critics just labelled it as ’the Salon’. See seperate page for more info.

 

The Salon was a large exhibition:
The Salon was a very large exhibition. At the Salons of 1874-1886 there was an average of 3931 partakers and 5034* exhibited works. Varying from 2508 partakers with 3703 works in 1874 and 5256 partakers with 7340 works in 1880 (with the start of the Salon de la Société des Artistes Français)**. The average of exhibited art-works (=catalogue numbers) per artist was just 1,3. (iR1) In 1874 there were 24 rooms in which the art-works were exhibited.
The art-works were devided within 5 catagories: 1. Painting (including drawings, watercolours, pastels, miniatures, enamels and porcelains); 2. Sculpture and medal engravings; 3. Engravings; 4. Lithographs; 5. Architecture.
Note*: in total from 1874-1886 there were about 2000 art-works exhibited at the 8 ‘impressionist’ expositions.
Note**: the average in the years 1863-1873 was 2529 partakers and 3460 art-works; the average in the years 1887-1900 was 4145 partakers and 4675 art-works.

Also the amount of visitors was very high, namely 4o0.000* (R87,p224;R1,p327). In 1875 on the sunday when there was free entrance there had been 30.000 visitors and the other days about 8 à 10.000 (R88II,p396). In 1876 there was a total of 518.892 visitors, including 333.892 with a free admision on sundays and Thursdays (R231/1878;R5,p21).
Note*: Duret predicted just 40.000 (R1,p310).
In many Salons the paintings were hung in several rows above each others from the floor up to the ceiling. Often artists complained they were hung badly. In 1859 Diaz complained about backlighting which does not do justice to the colour range (R290,p208).

Were there mainly classical paintings exhibited at the Salon?
The art-critic Théophile Gautier surnamed the Salon of 1863 as a ‘Salon des Vénus’. This is affirmed by the caricature of Daumier on the Salon of 1864: ‘More Venuses! Always Venuses!’ This suggests that the Salon hang full of mythological themes, added by other Neo-Classical historical and religious themes. But when we look at the titles of the paintings exhibited at the Salon, we discern many landscapes, maybe even more than Neo-Classical titles (iR1). Between 1830 and 1848 1/3 of the exhibited works were landscapes (R290,p54+65). These titles of landscapes often render an indication of the location and more than once also of atmospheric conditions, like ‘un soir d’automne’, ‘effet de matin’ and ’temps gris’. This suggests a painting style with (Pre-)Impressionist tendencies. (iR1)

 

Awards at the Salon:
An important aspect of the Salon (since 1791), the Salon de la Société Français and the Expositions Universelle was the granting of awards. (See link for more info). The art-works that were awarded can be seen as the benchmark of art that year.
See also pages on the most highly awarded artists, the highly awarded artists, the awarded impressionists, a chronological overview and awarded paintings. You will see that also partakers of the ‘impressionist’ expositions, pre-impressionists and para-impressionists were (highly) awarded.

 

The Jury of the Salon:
Not everybody was accepted to exhibit at the Salon. Since 1798 there was a jury nominated by the government, that would judge the admissions of the artists. Since 1831 the jury was dominated by members of ‘L’Institut‘. Mostly member of L’Institute, those appointed in the Légion d’Honneur, those who had received a medal or the Prix de Rome, were elected in the jury (R410,p71).
Some artists didn’t have to be judged by the jury, they were exempted (‘exempté‘) or they exhibited ‘hors concours‘, which meant they  didn’t join the competition (iR1;R88II,p397;R3,p56).
Since 1863/01/25 the number of admissions was reduced to 3 art-works (R116I,p114;R88;iR5). Later on it was limited to 2 art-works and in 1874 increased again to 3 (R88;R1,p311).
Several sources state that the Salon Jury was a bastion of conservatism, namely by the influence of Émilien de Nieuwerkerke (R223,p165;R177,p31). As Manet put it to Félix Bracquemond (probably in the Spring of 1865) ’the hostility of that rotten old de N.’ (R213,p32). This is quite exaggerated when we see who were part of these juries.
There was a jury for painting, architecture, sculpture and engravings.
See for more information and a list of the members a seperate page.

 

The Salon des Refusés:
In some years the artists who had been refused by the jury had the oppertunity to exhibit their rejected works in a Salon des Refusés. This was held in 1863, 1864, 1873, 1875 and 1886. If there was one, that was a dicision of the State, so they were no independent group exhibitions and in that sense there is not much link with the ‘impressionist’ expositions.
Many sources on Impressionism start the history of Impressionism with the Salon des Refusés of 1863 or at least give it ample attention. Thus framing the ‘impressionists’ as victim of the men that were in charge of the art-world in those days. This image is at least exaggerated.

 

Were the Impressionists mostly rejected by the Salon Jury?
Many sources on Impressionism mention that the ‘impressionists’ were (often) rejected by the Salon Jury. Already in his preface on the 1875/03/24 auction sale Philippe Burty wrote about the impressionists as ‘by a group of artists systematically excluded from the Salon’ (iR40). But this view is at least exaggerated (see myths). In fact many partakers of the ‘impressionist’ expositions (regularly) exhibited at the Salon, before and after they joined these expositions. When we look at the main ‘impressionists’ we see that Degas and Morisot every year they submitted they also were accepted. Other main ‘impressionists’ some years were accepted and some years rejected before 1874: Pissarro 7x accepted versa 3x rejected, Renoir 5x vs 4x, Monet and Sisley 3x vs 3x. Cézanne and Guillaumin always were rejected. So, in average the ‘impressionists’ were a bit more often accepted, than rejected for the Salon.

 

Were the Impressionists only ignored or laughed at?
It is true that the key Impressionists never received medals at the Salon. Sometimes there works were hung in a high place, like Monet (in 1880). But sometimes they received positive reviews, like Monet in 1865 and 1866 and Renoir in 1868 (R5)

The Impressionists had an ambivalent relation to the Salon:
As already mentioned, many partakers of the ‘impressionist’ expositions exhibited again (regularly) at the Salon after they had joined the ‘impressionist’ expositions. But also many of the key Impressionists after 1877 submitted again to the Salon. Sisley did so, but never was accepted again. He motivated his choice in a letter to Duret (1879/03/14) ‘we still have a long way to go before we can afford to disregard the prestige gained from official exhibitions’ (R166,p267; R7,p149). Cézanne only was excepted in 1882. Monet only submitted in 1880 when one work was accepted and one rejected. Renoir had more success, he exhibited at the Salon of 1879 + 80 + 81 + 82 + 83 + 90. Renoir motivated his submissions to the Salon in a letter to Durand-Ruel (March 1881): “There are in Paris scarcely fifteen art-lovers capable of liking a painting without Salon approval. There are 80.000 who will not buy an inch of canvas if it is not in the Salon… My submitting to the Salon is entirely a business matter.” (R2,p308;R5,p20/1). It was Degas who was most opposed to the Salon. In 1878 he introduced the new condition that an artist intending to exhibit with the ‘impressionist’ group should not submit anything to the Salon (R2,p244). Still, Degas continued to invite artists at the ‘impressionist’ expositions, who had been succesfull at the Salon, like Jean François Raffaëlli.

 

Sources:
My main sources are Monneret (1978-81=R88II,p386-403), Cuzin (1982=R97), Brettell (1987=R210). Other sources are Rewald (1973=R1), Walther (2013=R3), Denvir (1993=R5). See the link for other general References (=Rx) and to the internet references (=iRx). See links for practical hints and abbreviations and for the subscription of the paintings.

additional references (=aR):

1. kiamaartgallery.wordpress.com/the-salon-de-paris  (article on the Salon; =iR427)
2. dailyartmagazine.com/paris-salon (extended article; =iR428)
3. x

Online catalogues:
On the Salon database you will find (most of the ) catalogues of the Salon till 1880 (iR1/Salon, Paris,avant 1880). On gallica.bnf.fr (=iR40) you will find many catalogues illustré and also on archive.org (iR19). See also R330-336. Note: the Janson catalogues (=R338) are the same as the ‘Explication des ouvrages’ (=R337; see overview at gallica.bnf=iR40).

Salon 1848 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia803001)=R338)

Salon 1855 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia803008)=R338)

Salon 1857, Explication des ouvrages (iR40,bpt6k98117512 = R337)

Salon 1859, Explication des ouvrages (iR40,bpt6k5817476w = R337)

Salon 1861 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia600909)=R338)

Salon 1863 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia903007)=R338)

Salon 1864 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia803007)=R338)

Salon 1865 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800404)=R338)

Salon 1866 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia903006)=R338)

Salon 1867 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800908)=R338)

Salon 1868, Explication des ouvrages (iR40,bpt6k497586 = R337)

Salon 1868 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia803000)=R338)

Salon de 1868, Pothey, Alexandre: Les Salons, dessins autographes : Exposition des beaux-arts, Paris, 1868. Paris, 1868. (iR40//12148/cb32864503n;R265)

Salon 1869 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia600409)=R338)

Salon 1870 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800903)=R338)

Salon 1872 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800406)=R338)

Salon 1873 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia803002)=R338)

Salon 1874 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800907)=R338)

Salon 1875 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800407)=R338)

Salon 1876 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia803005)=R338)

Salon 1877 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia600403)=R338)

Salon de 1877, I, Goupil & Cie (iR19//ia802804)=R335

Salon de 1877, II, Goupil & Cie (iR19//ia802802)=R335

Salon 1878 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800405)=R338)

Salon de 1879, Catalogue Illustré, F.G. Dumas (iR40,bpt6k213576p)=R331)

Salon 1879 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia800901)=R338)

Salon 1880 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia600901)=R338)

Salon de 1880, Catalogue Illustré, F.G. Dumas (iR40,bpt6k213779f)=R331)

Salon 1881, Explication des ouvrages (iR40,bpt6k9812023 = R337)

Salon de 1881, Catalogue Illustré, F.G. Dumas (iR40,bpt6k305423m)=R331)

Salon 1881 in: Janson, H.W.: Catalogues of the Paris Salon 1673 to 1881; 60 volumes. New York, 1977. (iR19//ia803001)=R338)

Paris-Salon 1881, Louis Enault, procédés phototypique de E. Bernard (iR19//ia800903)=R339).

Salon de 1882, Catalogue Illustré, F.G. Dumas (iR40,bpt6k2135725)=R331)

Salon de 1882, planches a photogravure, Goupil & Cie (iR19//ia902205;=R335)

Salon 1883, Explication des ouvrages (iR40,bpt6k49772r = R337)

Salon de 1883, Catalogue Illustré, F.G. Dumas (iR40,bpt6k202494s)=R331)

Salon de 1883, planches a photogravure, Ph. Burty (iR19//ia902706)=R335)

Paris-Salon 1883, Louis Enault, procédés phototypique de E. Bernard; Vol.1 (iR19//ia600904)=R339).; Vol.2? (iR19//ia804709);=R339). Vol.3 (iR19//902806)=R339).

Paris-Salon 1884, Louis Enault, procédés phototypique de E. Bernard; Vol.1 (iR19//ia801609)=R339).; Vol.2 (iR19//ia600907)=R339).

Salon de 1884, Catalogue Illustré, F.G. Dumas (iR40,bpt6k213573j)=R331)

Salon de 1884, Armand Dayot, cent planches a photogravure par Goupil et Cie, trente dessins d’après les originaux des artistes (iR19//ia902904)=R335)

Salon de 1885, Catalogue Illustré, F.G. Dumas (iR40,bpt6k213574x)=R331)

Salon de 1885, cent planches a photogravure, Henry Havard (iR19//ia802704)=R335)

Paris-Salon 1885, Louis Enault, procédés phototypique de E. Bernard; Vol.1 (iR19//ia600909)=R339).; Vol.2 (iR19//ia802800)=R339).

Paris-Salon 1886, Louis Enault, procédés phototypique de E. Bernard; vol.1 (iR19//ia800908)=R339).; vol.2 (iR19//ia600900)=R339).

Salon de 1886, Catalogue Illustré, F.G. Dumas (iR40,bpt6k2135759)=R331)

Salon de 1886, cent planches a photogravure, Georges Olmer (iR19//ia802604)=R335)

Salon 1887, Explication des ouvrages (iR40,bpt6k49777g = R337)

Salon de 1887, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k2024955)=R332)

Salon de 1887, cent planches a photogravure, G. Ollendorff (iR19//ia802806)=R335)

Paris-Salon 1887, François Bournand, procédés phototypique de E. Bernard; vol.1 (iR19//ia800901)=R339).

Salon 1888, Explication des ouvrages (iR40,bpt6k6557465 = R337)

Paris-Salon 1888, François Bournand, procédés phototypique de E. Bernard; vol.1 (iR19/ia601401)=R339).; vol.2 (iR19//ia802704)=R339).

1888, SdAF, Henry Fouquier: Salon Illustré (iR40,bpt6k9756380)=R333)

Salon de 1888, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k110428c)=R332)

Salon de 1888, cent planches a photogravure, Henry Houssaye (iR19//ia903100)=R335)

1889, SdAF, Henry Fouquier: Salon Illustré (iR40,bpt6k9756306.r)=R333)

Salon de 1889, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k202497x)=R332)

Salon de 1889, Paul Mantz, cent planches a photogravure (iR19//ia800706)=R335)

Paris-Salon 1889, Louis Enault, procédés phototypique de E. Bernard; vol.1 (iR19//ia801409)=R339).

Paris-Salon 1890, Louis Enault, procédés phototypique de E. Bernard; Vol.2 (iR19//ia903106)=R339).; Vol.3 (iR19//ia600909)=R339).

1890, SdAF + SNBA, Henry Fouquier: Salon illustré (iR40,bpt6k9756389j)=R333)

Salon de 1890, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k2024989)=R332)

Salon de 1890, cent planches a photogravure, (iR19//ia802805)=R335)

1891, SdAF + SNBA, Henry Fouquier: Salon illustré (iR40,bpt6k9756384g)=R333)

Salon de 1891, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k110429r)=R332)

Salon de 1891 (SdAF + SNBA), A. Hustin, cent planches a photogravure (iR19//ia902701)=R335)

Paris-Salon 1891, Louis Enault, procédés phototypique de E. Bernard; Vol.1? (iR19//ia804707)=R339).

Salon 1892, Explication des ouvrages (iR40,bpt6k1182695s = R337)

Paris-Salon 1892, Louis Enault, procédés phototypique de E. Bernard; Vol.1 (iR19//ia902705)=R339).; vol.2 (iR19//ia600504)=R339).

1892, SdAF + SNBA, Henry Fouquier: Salon illustré (iR40,bpt6k9756337t)=R333)

Salon de 1892, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k110430p)=R332)

Salon de 1892, cent planches a photogravure, A. Hustin (iR19//ia800301)=R335)

Paris-Salon 1893, Louis Enault, procédés phototypique de E. Bernard; Vol.1? (iR19//800908)=R339).; Vol.2 (iR19//ia803004)=R339).

1893, SdAF + SNBA, Henry Fouquier: Salon illustré (iR40,bpt6k9756283q)=R333)

Salon de 1893, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k202500g)=R332)

Salon de 1893, cent planches a photogravure, Gaston Jollivet (iR19//ia800702)=R335)

Salon 1894, Explication des ouvrages (iR40,bpt6k497822 = R337)

1894, SdAF + SNBA, Henry Fouquier: Salon illustré (iR40,bpt6k97563335)=R333)

Salon de 1894, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k1104312)=R332)

Salon de 1894, SdAF +SNBA, cent planches a photogravure, Fernand Bourget (iR19//ia600301)

Salon de 1895, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k202501v)=R332)

Salon de 1895, SdAF +SNBA, Thiébault-Sisson (iR19//ia600705)=R33?)

Salon de 1895, cent planches a photogravure, Goupil & Cie (iR19//ia802300;=R335)

Salon 1896, Explication des ouvrages (iR40,bpt6k1182697m = R337)

Salon de 1896, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k2025027)=R332)

Salon de 1896, cent planches a photogravure, Thiébault-Sisson (iR19//ia903406)=R335)

Salon de 1897, cent planches a photogravure, Gaston Schefer (iR19//ia802706)=R335)

Salon de 1897, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k206775h)=R332)

Salon de 1898, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k202503m)=R332)

Salon 1898, Explication des ouvrages (iR40,bpt6k497853 = R337)

Salon de 1898, cent planches a photogravure, Antonin Proust (iR19//ia902302)=R335)

Salon 1899, Explication des ouvrages (iR40,bpt6k49786f = R337)

Salon de 1899, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k202506r)=R332)

Salon de 1899, cent planches a photogravure, Antonin Proust (iR19//ia804707)=R335)

Salon 1900, Explication des ouvrages (iR40,bpt6k49787s = R337)

Salon de 1900, Catalogue Illustré, Ludovic Baschet (iR40,bpt6k2025040)=R332)

Salon de 1900, cent planches a photogravure, Henri Frantz (iR19//ia802708)=R335)

Salon 1901, Explication des ouvrages (iR40,bpt6k497884# = R337)

Note: gallica also renders Catalogues illustré of the Salons of 1901 – 1913 (iR40/catalogues illustré du Salon=R332)

Note: archive.org also renders catalogues with ‘cent planches a photogravure’ of the Salons of 1901+ (iR19=R335)

 

 

Recommanded citation: “Meta-Impressionism: The Salon des Beaux-Arts in Paris. Last modified 2025/10/25. https://www.impressionism.nl/the-salon/”

Note: additional info will be added.

Please be reluctant, when you quote from this webpage, which is under construction.
The information is incomplete and maybe partly incorrect.