The twenty-three articles in this volume are a selection of the papers presented at the conference The Paris Fine Art Salon, 1791–1881, held in the University of Exeter on 4–6 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 by the UK’s Arts and Humanities Research Council. My role on the project was to examine the state’s management of the Salon during this period, while Alister Mill researched the Salon’s role in the career strategies of the painters who submitted work to it, and Harriet Griffiths the Salon jury’s responses to this submitted work. The purpose of the conference was to situate findings of this research within the wider framework of the Salon’s modern, post-1789 phase.1 This phase began on 21 August 1791, when the French National Assembly, as part of its abolition of the corporations, transferred responsibility for the organisation of the Salon from the Académie royale de peinture et de sculpture to a directorate of the département de Paris under the aegis of the Ministry of the Interior, and decreed that henceforth all artists, French and foreign, ← 1 | 2 → would be allowed to submit work for admission to an exhibition hitherto reserved for members of the Academy. It ended on 17 January 1881, when the French state, in the person of Edmond Turquet, sous-secrétaire d’État aux beaux-arts, acting on the advice of the Conseil...
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