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Académie des Beaux-Arts rules artistic world in Paris from 1640s - 1800s

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Académie des Beaux-Arts rules artistic world in Paris from 1640s - 1800s

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The Academy was created in 1816 in Paris as a merger of the Académie de peinture et de sculpture (Academy of Painting and Sculpture, founded 1648), the Académie de musique (Academy of Music, founded in 1669) and the Académie d'architecture (Academy of Architecture, founded in 1671).

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The Institut de France; seat of the Académie des Beaux-Arts

The Académie des Beaux-Arts (French pronunciation: ​[akademi de boz‿aʁ], Academy of Fine Arts) is a French learned society. It is one of the five academies of the Institut de France. The current President of the Academy (2021) is Alain-Charles Perrot, a French architect.

Background[edit]

The Academy was created in 1816 in Paris as a merger of the Académie de peinture et de sculpture (Academy of Painting and Sculpture, founded 1648), the Académie de musique (Academy of Music, founded in 1669) and the Académie d'architecture (Academy of Architecture, founded in 1671).

Awards[edit]

Currently, the Académie des Beaux-Arts provides several awards including five dedicated prizes:[1]

Liliane Bettencourt Prize for Choral Singing

Simone and Cino Del Duca Foundation Prize for Music

Pierre Cardin Prize for Design

François-Victor Noury Prize

Fondation Pierre Gianadda Prize

Previously the Académie granted the Prix Rossini for excellence in libretto or music composition.

Presidents[edit]

This section needs expansion. You can help by adding to it. (June 2020)

1995: Serge Nigg

1996: Arnaud d'Hauterives [fr]

1997: Jean Cardot

1998: Christian Langlois

1999: Jean-Marie Granier [fr]

2000: Marius Constant

2001: Pierre Schoendoerffer

2002: Pierre Carron

2003: Gérard Lanvin [fr]

2004: Roger Taillibert

2005: Jean Prodromidès

2006: François-Bernard Michel [fr]

2007: Pierre Schoendoerffer (2nd term)

2008: Yves Millecamps [fr]

2009: Antoine Poncet [fr]

2010: Roger Taillibert (2nd term)

2011: Laurent Petitgirard

2012: François-Bernard Michel (2nd term)

2013: Lucien Clergue

2014: Claude Abeille [fr]

2015: Aymeric Zublena [fr]

2016: Érik Desmazières [fr]

2017: Édith Canat de Chizy

2018: Patrick de Carolis

2019: Pierre Carron (2nd term)

2020: Jean Anguera [fr]

2021 Alain-Charles Perrot

Members[edit]

Constituted around the notion of multidisciplinarity, the Académie des Beaux-Arts brings together sixty-three members within nine artistic sections, sixteen foreign associate members and sixty-three corresponding members.

The members are grouped into nine sections:

Section I: Painting

Section II: Sculpture

Section III: Architecture

Section IV: Engraving

Section V: Musical composition

Section VI: Unattached (Free) members

Section VII: Artistic creation in the cinema and audio-visual fields (since 1985)

Section VIII: Photography (since 2005)

Section IX: Choreography (since 2018)

Current members:

Section | Seat | Member | Date

I : Painting

The number of seats in this section was reduced from 14 to 12 on 23 August 1967.

As a consequence, the #3 and #14 seats were eliminated.

Their number was further decreased from 12 to 11 on 16 June 1987.

The #12 seat was transferred to section VII.

The #1 seat was transferred to section VII in 1998, and their number was decreased from 11 to 10.

For a list of previous members, see:
"List of Académie des Beaux-Arts members: Painting".

2 | Pierre Carron | 1990
4 | Vacant | 2018
5 | Philippe Garel | 2015
6 | Gérard Garouste | 2017
7 | Vacant | 2019
8 | Vacant | 2021
9 | Fabrice Hyber | 2018
10 | Jean-Marc Bustamante | 2016
11 | Catherine Meurisse | 2020
13 | Yves Millecamps | 2001

II : Sculpture

Seat #4 was transferred to section VII in 1988.

For a list of previous members, see:
"List of Académie des Beaux-Arts members: Sculpture"

1

Vacant

2020

2 | Claude Abeille | 1992
3 | Jean Anguera | 2013
5 | Jean-Michel Othoniel | 2018
6 | Anne Poirier | 2021
7 | Pierre-Édouard | 2008
8 | Antoine Poncet | 1993
9 | Brigitte Terziev | 2007

III : Architecture

Seat #8 was transferred to section VII in 1985.

For a list of previous members, see:
"List of Académie des Beaux-Arts members: Architecture"

1

Jacques Rougerie

2008

2 | Jean-Michel Wilmotte | 2015
3 | Aymeric Zublena | 2008
4 | Anne Démians | 2021
5 | Marc Barani | 2018
6 | Dominique Perrault | 2015
7 | Alain Charles Perrot | 2013
9 | Pierre-Antoine Gatier | 2019
10 | Bernard Desmoulin | 2018

IV : Engraving
For a list of previous members, see:
"List of Académie des Beaux-Arts members: Engraving"

1

Érik Desmazières

2008

2 | Vacant | 2020
3 | Astrid de La Forest | 2016
4 | Pierre Collin | 2018

V : Musical composition
For a list of previous members, see:
"List of Académie des Beaux-Arts members: Music"

1

Laurent Petitgirard

2000

2 | Bruno Mantovani | 2017
3 | Michaël Levinas | 2009
4 | Gilbert Amy | 2013
5 | François-Bernard Mâche | 2002
6 | Édith Canat de Chizy | 2005
7 | Régis Campo | 2017
8 | Thierry Escaich | 2013

VI : Unattached members

Seat #9 was transferred to section VII in 1985.

Seats #2 and #12 were eliminated.

For a list of previous members, see:
"List of Académie des Beaux-Arts members: Unattached"

1

William Christie

2008

3 | Hugues Gall | 2002
4 | Muriel Mayette-Holtz | 2017
5 | Michel David-Weill | 1982
6 | Marc Ladreit de Lacharrière | 2005
7 | Adrien Goetz | 2017
8 | Vacant | 2021
10 | Henri Loyrette | 1997
11 | Patrick de Carolis | 2010
13 | François-Bernard Michel | 2000

VII : Artistic creation in the cinema and audio-visual fields

Seat #1 was transferred to section V in 1998.

For a list of previous members, see:
"List of Académie des Beaux-Arts members: Cinema"

2

Roman Polanski

1998

3 | Jean-Jacques Annaud | 2007
4 | Coline Serreau | 2018
5 | Jacques Perrin | 2016
6 | Régis Wargnier | 2007
7 | Frédéric Mitterrand | 2019

VIII : Photography

Seat #1 was previously occupied by Lucien Clergue (1934-2014)

Seats #3 and #4 were established in 2016

1

Sebastião Salgado

2016

2 | Yann Arthus-Bertrand | 2006
3 | Dominique Issermann | 2021
4 | Jean Gaumy | 2016
IX : Choreography | 1 | Thierry Malandain | 2019
2 | Blanca Li | 2019
3 | Angelin Preljocaj | 2019
4 | Carolyn Carlson | 2020
Foreign associate members | 1 | Antonio López García | 2012
2 | Vacant | 2016
3 | Moza bint Nasser | 2007
4 | Karim Aga Khan IV | 2007
5 | Vacant | 2019
6 | Vacant | 2016
7 | Léonard Gianadda | 2001
8 | Georg Baselitz | 2019
9 | Vacant | 2019
10 | Woody Allen | 2004
11 | Norman Foster | 2007
12 | Jiří Kylián | 2018
13 | William Kentridge | 2021
14 | Seiji Ozawa | 2001
15 | Farah Pahlavi | 1974
16 | Philippe de Montebello | 2012

See also[edit]

Beaux-Arts architecture

École des Beaux-Arts

Academic art

French art salons and academies

References[edit]

1. ^ Académie des Beaux-Arts Archived 8 June 2011 at the Wayback Machine Prix et Concours.

External links[edit]

Official website

Institut de France website

Coordinates: 48°51′26″N 2°20′13″E﻿ / ﻿48.85722°N 2.33694°E

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The Académie des Beaux-Arts ( French pronunciation: ​ [akademi de boz‿aʁ], Academy of Fine Arts) is a French learned society. It is one of the five academies of the Institut de France. The current President of the Academy (2021) is Alain-Charles Perrot, a French architect.

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Salon de Paris is greatest annual art show -- artists submit their work, which is then judged by a jury. Whoever's artwork is accepted by the jury, the artists can gain commissions, reputation, and funding.

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Salon de Paris is greatest annual art show -- artists submit their work, which is then judged by a jury. Whoever's artwork is accepted by the jury, the artists can gain commissions, reputation, and funding.

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he Salon (French: Salon), or rarely Paris Salon (French: Salon de Paris), beginning in 1667[1] was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world.

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The Salon ( French: Salon), or rarely Paris Salon (French: Salon de Paris [salɔ̃ də paʁi]), beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français.

In 1667 the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture (a division of the Académie des beaux-arts), held its first semi-public art exhibit at the Salon Carré. The Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts, which was created by Cardinal Mazarin, chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor.

In 1725 the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737 the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre, became public. They were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis (25 August) and run for some weeks. Once made regular and public, the Salon's status was "never seriously in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed.

Prominence (1748-1890)

The Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini's Salon of 1785. Printed catalogues of the Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French salon, a product of the Enlightenment in the early 18th century, was a key institution in which women played a central role. Salons provided a place for women and men to congregate for intellectual discourse.

The French revolution opened the exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited. The vernissage (varnishing) of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons.

The 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced. In 1849 medals were introduced.

Early splinter groups

The increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde. The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886.

In 1881 the government withdrew official sponsorship from the annual Salon, and a group of artists organized the Société des Artistes Français to take responsibility for the show.

In December 1890 the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that the Salon should be an exhibition of young, not-yet-awarded, artists. Ernest Meissonier, Puvis de Chavannes, Auguste Rodin and others rejected this proposal and made a secession. They created the Société Nationale des Beaux-Arts with its own exhibition, immediately referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux-Arts. It was soon also widely known as the Nationale.

In 1903 in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors led by Pierre-Auguste Renoir and Auguste Rodin organized the Salon d'Automne.

J. J. Marquet de Vasselot: Répertoire des catalogues du musée du Louvre, 1793-1917

Thomas Crow: Painters and Public Life in 18th Century Paris. Yale University Press 1987

Patricia Mainardi: The End of the Salon: Art and the State in the Early Third Republic, Cambridge University Press, 1993.

Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.

Albert Boime, "The Salon des Refuses and the Evolution of Modern Art", Art Quarterly 32 (Winter 1969): 41 1-26

Margo Bistis, "Bad Art: The Decline of Academic Art in the Caricatural Salon", International Journal of Comic Art 7, no.1 (Spring 2005); 126-148.

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The Salon ( French: Salon), or rarely Paris Salon (French: Salon de Paris [salɔ̃ də paʁi]), beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world.

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Impressionism Originates in Paris during the 1860s - 1880s

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Impressionism Originates in Paris during the 1860s - 1880s

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In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille—met while studying under the academic artist Charles Gleyre. They discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes

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1860s - Salon de Paris routinely rejected about half of the work of Monet & friends in favor of "approved" art styles. 

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1860s - Salon de Paris routinely rejected about half of the work of Monet & friends in favor of "approved" art styles. 

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Approved art styles include: baroque, including images of religious figures and realistic images. Brush strokes are practically blended and seamless in order to create a realistic image.

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1863 - Salon rejects Manet's "The Luncheon," angering his admirers.

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1863 - Salon rejects Manet's "The Luncheon," angering his admirers.

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In 1863, the Salon jury rejected Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe) primarily because it depicted a nude woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, they condemned Manet for placing a realistic nude in a contemporary setting. The jury's severely worded rejection of Manet's painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists.

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After 1863, Salon des Refuses is formed -- Previously rejected artists host an art show where the public is the judge of the artwork, rather than a designated jury.

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After 1863, Salon des Refuses is formed -- Previously rejected artists host an art show where the public is the judge of the artwork, rather than a designated jury.

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After Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, and the Salon des Refusés (Salon of the Refused) was organized. While many viewers came only to laugh, the Salon des Refusés drew attention to the existence of a new tendency in art and attracted more visitors than the regular Salon.

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Artists' petitions requesting a new Salon des Refusés in 1867, and again in 1872, were denied

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Artists' petitions requesting a new Salon des Refusés in 1867, and again in 1872, were denied

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Another painter who greatly influenced Monet and his friends, Johan Jongkind, declined to participate, as did Édouard Manet. In total, thirty artists participated in their first exhibition, held in April 1874 at the studio of the photographer Nadar.

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Another painter who greatly influenced Monet and his friends, Johan Jongkind, declined to participate, as did Édouard Manet. In total, thirty artists participated in their first exhibition, held in April 1874 at the studio of the photographer Nadar.

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Critical Review of Monet's "Impression: Sunrise" coins the term for "Impressionists." 

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Critical Review of Monet's "Impression: Sunrise" coins the term for "Impressionists." 

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The critical response was mixed. Monet and Cézanne received the harshest attacks. Critic and humorist Louis Leroy wrote a scathing review in the newspaper Le Charivari in which, making wordplay with the title of Claude Monet's Impression, Sunrise (Impression, soleil levant), he gave the artists the name by which they became known. Derisively titling his article The Exhibition of the Impressionists, Leroy declared that Monet's painting was at most, a sketch, and could hardly be termed a finished work

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Louis Leroy (1812 - 1885) was a French 19th-century printmaker, painter, and playwright.

He is remembered as the journalist and art critic for the French satirical newspaper Le Charivari, who coined the term " impressionists" to satirise the artists now known by the word.

Leroy's review was printed in Le Charivari on 25 April 1874 with the title The Exhibition of the Impressionists. The term was taken from Claude Monet's painting Impression: soleil levant. Leroy's article took the form of a dialogue between two skeptical viewers of the work:

"Impression I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it - and what freedom, what ease of workmanship! A preliminary drawing for a wallpaper pattern is more finished than this seascape."

The show ( Exposition des Impressionnistes) was held in the salon of the photographer Nadar and organized by the Société anonyme des peintres, sculpteurs et graveurs (Anonymous society of painters, sculptors and engravers), composed of Camille Pissarro, Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir, Paul Cézanne, Armand Guillaumin, and Berthe Morisot.

The term was subsequently adopted by the artists themselves and has now become the name of one of the most influential art movements in history.

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Louis Leroy (1812 - 1885) was a French 19th-century printmaker, painter, and playwright. He is remembered as the journalist and art critic for the French satirical newspaper Le Charivari , who coined the term " impressionists" to satirise the artists now known by the word.

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Monet became secure financially during the early 1880s and so did Pissarro by the early 1890s. By this time the methods of Impressionist painting, in a diluted form, had become commonplace in Salon art

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Monet became secure financially during the early 1880s and so did Pissarro by the early 1890s. By this time the methods of Impressionist painting, in a diluted form, had become commonplace in Salon art