|
The Salon d'Automne (Autumn Salon) or Société du Salon d'automne, is an annual art exhibition held in Paris, France since 1903. The first Salon d'Automne was created under the initiative of the Belgian architect, literary man and art collector Frantz Jourdain, along with the architect Hector Guimard, the painters Georges Desvallières, Eugène Carrière, Félix Vallotton, Édouard Vuillard and the Maison Jansen, a Paris-based interior decoration office (the first truly global design firm) founded in 1880 by Dutch-born Jean-Henri Jansen.〔(Salon d'automne; Société du Salon d'automne ), Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Petit Palais des Champs-Élysées, 1903〕 Perceived as a reaction against the conservative policies of the official Paris Salon, this massive exhibition almost immediately became the showpiece of developments and innovations in 20th-century painting, drawing, sculpture, engraving, architecture and decorative arts. During the Salon's early years, established artists such as Pierre-Auguste Renoir threw their support behind the new exhibition and even Auguste Rodin displayed several works. Since its inception, works by artists such as Paul Cézanne, Henri Matisse, Paul Gauguin, Georges Rouault, André Derain, Albert Marquet, Jean Metzinger, Albert Gleizes and Marcel Duchamp have been shown. In addition to the 1903 inaugural exhibition, three other important dates remain historically significant for the Salon d'Automne: 1905, bore witness to the birth of Fauvism; 1910 witnessed the launch Cubism; and 1912 resulted in a xenophobe and anti-modernist quarrel in the National Assembly (France). ==History== The aim of the salon was to encourage the development of the fine arts, to serve as an outlet for young artists (of all nationalities), and a platform to broaden the dissemination of Impressionism and its extensions to a popular audience.〔 Choosing the autumn season for the exhibition was strategic in several ways: it not only allowed artists to exhibit canvases painted outside (en plein air) during the summer, it stood out from the other two large salons (the Société Nationale des Beaux-Arts and Salon des artistes français) which took place in the spring. The Salon d'Automne is distinguished by its multidisciplinary approach, open to paintings, sculptures, photographs (from 1904), drawings, engravings, applied arts, and the clarity of its layout, more or less per school. Foreign artists are particularly well represented. The Salon d'Automne also boasts the presence of a famous politician and patron of the arts, Olivier Sainsère as a member of the honorary committee.〔 For Frantz Jourdain, public exhibitions served an important social function by providing a forum for unknown, innovative, emerging (''éminents'') artists, and for providing a basis for the general public's understanding of the new art. This was the idea behind Jourdain's dream of opening a new "Salon des Refusés" in the late 1890s, and realized in the opening the Salon d'Automne in 1903. Providing a venue where unknown artists could be recognized, while 'wrestling' the public out of its complacency were, to Jourdain, the greatest contributions to society the critic could make.〔(Meredith L. Clausen, ''Frantz Jourdain and the Samaritaine, Décoration & le Rationalisme Architecturaux à l'Exposition Universelle'', Leiden, E.J. Brill, 1987, ISBN 90-04-07879-7 )〕 The platform of the Salon d'Automne was based on an open admission, welcoming artists in all areas of the arts. Jurors were members of society itself, not members of the Academy, the state, or official art establishments.〔 Refused exhibition space in the Grand Palais, the first Salon d'Automne was held in the poorly lit, humid basement of the Petit Palais. It was backed financially by Jansen. While Rodin applauded the endeavor, and submitted drawings, he refused to join doubting it would succeed.〔 Notwithstanding, the first Salon d'Automne, which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and was met with wide critical acclaim. Jourdain, familiar with the multifaceted world of art, predicted accurately the triumph would arouse animosity: from artist who resented the accent on Gauguin and Cézanne (both perceived as retrogressive), from academics who resisted attention given to the decorative arts, and soon, from the Cubists, who suspected the jurors favoring of Fauvism at their expense.〔 Even Paul Signac, president of the Salon des Indépendants, never forgave Jourdain for having founded a rival salon. What he had not predicted was a retaliation that threatened the future of the new salon. Carolus-Duran (president of the Société Nationale des Beaux-Arts) threatened to ban from his Société established artists who might consider exhibiting at the Salon d'Automne. Retaliating in defense of Jourdain, Eugène Carrière (a respected artistic figure) issued a statement that if forced to choose, he would join the Salon d'Automne and resign from the Société Nationale des Beaux-Arts. The valuable publicity generated by the press articles on the controversy worked in favor of the Salon d'Automne. Thus, Eugène Carrière saved the burgeoning salon.〔 Henri Marcel, sympathetic to the Salon d'Automne, became director of the Beaux-Arts, and assured it would take place at the prestigious Grand Palais the following year.〔 The success of the Salon d'Automne was not, however, due to such controversy. Success was due to the tremendous impact of its exhibitions on both the art world and the general public, extending from 1903 to the outset of the First World War. Each successive exhibition denoted a significant phase in the development of modern art: Beginning with retrospectives of Gauguin, Cézanne and others; the influence such would have on the art that would follow; the Fauves (André Derain, Henri Matisse); followed by the proto-Cubists (Georges Braque, Jean Metzinger, Albert Gleizes, Henri Le Fauconnier, Fernand Léger and Robert Delaunay); the Cubists, the Orphists, and Futurists.〔 In his defense of artistic liberty, Jourdain attacked not individuals, but institutions, such as the Société Nationale des Beaux-Arts, the Société des Artistes Français, and the École des Beaux-Arts (Paris), recognized as the foremost school of art.〔 In addition to his role as an influential art critic prior to the creation of the Salon d'Automne, Jourdain was a member of the Decorative Arts jury at the Chicago World's Fair (1893), the Brussels International (1897) and the Paris Exposition Universelle (1900). Jourdain clearly outlined the dangers of following the academic path in his review of the 1889 Exposition, while pointing out the potentials in the art of engineers, aesthetics, the fusion with decorative arts and the need for social reform. He soon became well known as a staunch critic of traditionalism and a fervent proponent of Modernism, yet even for him, the Cubists had gone too far.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Salon d'Automne」の詳細全文を読む スポンサード リンク
|