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The Paris Fine Art Salon/Le Salon, 1791–1881

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Edited By James Kearns and Alister Mill

Following on from « Ce Salon à quoi tout se ramène » : Le Salon de peinture et de sculpture, 1791–1890, published in 2010 as an earlier volume in this series, this volume contains a selection of the papers given at the first major international conference to be held on the post-1789 Paris Fine Art Salon. Hosted by the University of Exeter in September 2013, the conference had its origins in the research project entitled Painting for the Salon? The French State, Artists and Academy, 1830–1852, funded in 2010–2012 by the UK’s Arts and Humanities Research Council, and its purpose was to situate findings of this research within the wider framework of the Salon’s nineteenth-century history. In this collection of twenty-three papers, fourteen in English, nine in French, established and new scholars of French art history examine the national and international artistic, political and cultural dimensions of the most important regular exhibition of contemporary art in the nineteenth-century world.
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Les Salons de 1843 et de 1844, miroirs d’une époque

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Durant la monarchie de Juillet, les Salons de 1843 et de 1844 marquent un tournant dans la perception du jury et de l’action de celui-ci au sein de cet événement majeur de la capitale. Dans ce court texte, mon propos est de donner une approche de ces deux Salons à travers le regard, le ressenti de la critique car, sous la plume de cette dernière, se révèlent de nombreux changements au sein des arts tout en manifestant également les mutations de la société française.

Les Salons de 1843 et de 1844 : une opposition diverse et contradictoire

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