The Salon des Refusés of 1863 : a new view
2007; Burlington Magazine Publications; Volume: 149; Issue: 1250 Linguagem: Inglês
ISSN
2044-9925
Autores Tópico(s)French Historical and Cultural Studies
Resumoedouard Manet was related by marriage to Ambroise Adam and also his good friend, painting a plein-air portrait sketch of him in 1861 (Fig.18).1 Among the pictures, papers, prints, drawings and photographs that belonged to Adam and his son-in-law, the artist L?on Gauthier, is an exceptionally rare, perhaps unique, 'souvenir' of the celebrated Salon des Refus?s of 1863. The carte-photographe shows a large gallery filled with paintings that hang cheek by jowl on three walls (Fig. 19). The fashionable crowd in the room includes a vari ety of social and even ethnic types, and the scene is made more dynamic by the fact that pictures on the absent 'fourth wall', where the viewer of the photograph is located, are also the subject of the spectators' gaze a very close and possibly prurient one in the case of a 'Monsieur Prudhomme' figure enthusiastically adjusting his pince-nez. An oval blindstamp in the lower margin of the card reads photographie de LA MADELEINE / CAMILLE RENSCH / 19, RUE ROYALE, 19, and the albumen print reproduces a detailed caricature drawing signed fabritzius.2 Its subject is unmistakable. High up on the far wall are the three paintings that Manet submitted to the Salon jury in 1863: two full-length 'Spanish' figures and his large painting of a bathing party, clearly signed on the caricature with his name in capital letters. When Manet's three paintings and three etchings were rejected by the jury, he opted to hang them in the 'Salon annexe', or 'contre exposition, as it was dubbed by its organising committee. This notorious Salon des Refus?s, authorised by Emperor Napoleon III, was held alongside the official Salon in the vast building known as the Palais des Champs-Elys?es, or Palais de l'Industrie.3 The tide of the Catalogue des ouvrages de peinture, sculpture, gravure, lithographie et architecture refus?s par le jury de 1863 defined the exhibitors and explains the additional Salon's consecrated name.4 In the hastily published livret, Manet's three paintings are listed as Le Bain (no.363; subsequently re tided by the artist Le D?jeuner sur l'herbe Mus?e d'Orsay, 18. Ambroise Adam in the garden at Pressagny, by Edouard Manet. 1861. Canvas, 40.7 by 33.4 cm. (Private collection).
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