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


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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Between Capitals and Provinces: The French Painter Sophie Rude (1797–1867)


Sophie Fremiet-Rude pursued an unusual artistic career for her time: born and trained in Dijon, she became a successful history painter in Brussels, supported by her teacher Jacques-Louis David. Just before 1830 she returned to France with her husband, the sculptor François Rude, where she exhibited regularly at the Salon.

Only recently, however, has the work of Sophie Rude been presented to the public on a larger scale. The credit for this is due to an exhibition in Dijon in 2012–13 that focused on the artist couple Sophie and François Rude and which showed several of Sophie Rude’s Salon paintings. It was followed by an exhibition in Ligornetto,1 which featured fewer paintings by Sophie Rude and where the thematic emphasis lay instead on the public sculptures of her husband.

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