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22:
150:). A jury had selected the participants, while another jury had awarded the prizes (painting, landscape, sculpture, architecture and drawing) on 17 November, in the presence of some forty artists. From the outset, it was planned that the Ghent and Brussels salons would alternate annually. As Antwerp also established a Salon in 1813, a triennial system was adopted, with each city organising its own Salon alternately.
325:
94:
588:
213:
In the 19th century, the institutional art system limited the possibilities for exhibitions. Apart from the initiatives of a few circles organising artistic events and charity exhibitions, official exhibitions were a crucial step for artists seeking visibility. While such exhibitions existed in many
181:
broke out in
September 1830, and the organising association decided to withdraw in view of the context of unrest in the kingdom. The government of the newly independent Belgium saw an opportunity to take the organisation into its own hands and gave a more national interpretation to the concept. From
214:
Belgian cities, those of
Brussels, Antwerp and Ghent were the only ones to claim a national character and were part of a triennial system that ensured their periodicity. The official nature of the Brussels Salon was due to the direct intervention of the State in its organisation.
67:
and architects were also present. Participants were given a unique opportunity to present their work to the general public and to offer it for sale if desired. They could also enter anonymously in a competition whose first prize was a
309:("Society of Fine Arts (of Brussels)") was entrusted with the organisation, albeit still under government control. Alongside the grand Salon, it also organised annual exhibitions (the first in 1894; from 1908 called the
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186:("National Exhibition of Fine Arts"). Historical pieces were strongly encouraged to legitimise the new state. Visitors were granted free admission during the September festivities (until 1880).
293:, etc.). For the 1887 edition, the selection committee halved the number of participants, but this did little to improve quality. The rejected artists retaliated by organising a
146:("Brussels Society for the Encouragement of Fine Arts") was founded. On 4 November, visitors could attend the first edition (in the autumn, so as not to compete with the
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of the 1863 Salon in Paris, alongside the official Salon. Artistic circles argued in favour of privatising the Salon, and this option was partly accepted in 1893. A new
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225:("Caricatural Salon"). The student-like group published its own "catalogue", in which it mocked the lack of innovation. Its members included the future writer
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A new step was reached with the 1851 edition. An effort was made to attract foreign artists, and to emphasize this, the Salon was henceforth called the
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313:("Spring Salon")). The tradition of the triennial Salons continued until 1914. After that, despite declarations of intent, the Salon was not revived.
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177:, and two camps were formed. However, the work was a great success with the crowds, as its exhibition was held just before the
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In spite of its success, the
Brussels Salon began to be challenged through the actions of intellectual circles. In 1845, the
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385:"Exposer et être vu. La Société libre des Beaux-Arts et les Salons triennaux . une réflexion expographique"
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338:
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L'émergence des beaux-arts en
Belgique : Institutions, artistes, public et patrimoine (1773–1835)
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158:
127:. In the summer of that year, it hosted a first exhibition of contemporary artists, organised by the
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123:. In 1803, these initiatives were followed in Brussels, where a painting museum was opened in the
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473:(in French), Brussels, Caquet-Bonbec et Cie éditeurs, rue des hautes épices, no. 1851 (sic)
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40:
29:
330:
249:
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21:
471:
Le Diable au Salon. Revue comique critique, excentrique et très-chique de l'exposition
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Le peintre officiel en
Belgique au XIXe siècle : une fonction à charges multiples
271:
The decline of the official Salon began with the increase of private initiatives (the
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277:("Free Society of Fine Arts") was one of the first, later followed by groups such as
147:
116:
526:
De
Koninklijke Musea voor Schone Kunsten van België : Twee eeuwen geschiedenis
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began to manifest itself, but met fierce resistance. In the decades that followed,
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concluded a general arrangement on the organisation of official exhibitions in the
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165:. The new Grand Gallery had just opened and had received, among other works,
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between 1811 and 1914. It was primarily aimed at painters, but sculptors,
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The real starting point for the Salon came in 1811. Under the impetus of
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55:) was a periodic exhibition of works by living artists that was held in
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Salon triennal : exposé administratif et tirage de la tombola
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120:
112:
92:
20:
553:, Brussels, Éditions de l'Université de Bruxelles, 2004, 352 p. (
131:("Brussels Society of Painting, Sculpture and Architecture").
129:
Société de peinture, sculpture et architecture de
Bruxelles
72:. The catalogues were eagerly received and newspapers and
486:(in French), Brussels, Veuve Parent et fils, 1869, 35 p.
144:
Société de
Bruxelles pour l'encouragement des beaux-arts
619:
Collection of the Royal
Museums of Fine Arts of Belgium
237:(1851) at the age of eighteen. The group continued its
163:
General
Exhibition of the Products of National Industry
432:(in French), vol. 13, no. 11, 12 March 1893, p. 82–84
182:
the next edition in 1833, the Salon was known as the
80:
was enriched mainly by works purchased at the Salon.
484:Salon de Bruxelles de 1869 : Revue illustrée
411:Société royale d'encouragement des beaux-arts,
426:L'ancienne Société des Beaux-Arts de Bruxelles
161:. In 1830, the Salon coincided with the third
461:(in French), vol. 79, no. 2, 2001, p. 581–589
173:. It drew sharp criticism from his colleague
8:
199:
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167:The Sacrifice of Mayor Pieter van der Werff
119:to set up a Salon following the example of
507:
495:
441:
198:Temporary pavilion of the Salon of 1863,
76:followed the event closely. The national
26:Award Ceremony at the first Salon of 1811
568:, Antwerp, Mercatorfonds, 2000, 330 p. (
528:(in Dutch). Vol. 2. Tielt: Lannoo.
115:, in 1792, were the first cities in the
459:Revue belge de Philologie et d'Histoire
370:
354:Belgium in the long nineteenth century
307:Société des Beaux-Arts (de Bruxelles)
248:("General Exhibition of Fine Arts").
7:
614:Art museums and galleries in Belgium
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405:
378:
376:
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184:Exposition nationale des Beaux-Arts
16:Art exhibition in Brussels, Belgium
246:Exposition générale des Beaux-Arts
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190:Prominence, criticism and decline
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415:(in French), Antwerp, 1888, p. 2
323:
297:("Salon of the Refused") at the
136:Charles-Joseph, 4th Duke d'Ursel
566:Brussel. Kruispunt van culturen
1:
268:proved to be keen observers.
256:movements gained a foothold.
125:Palace of Charles of Lorraine
99:Palace of Charles of Lorraine
274:Société Libre des Beaux-Arts
155:William I of the Netherlands
138:, and the Ghent bibliophile
524:Van Kalck, Michèle (2003).
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206:
200:
97:The Salon of 1830 in the
629:20th century in Brussels
624:19th century in Brussels
221:society held its first
549:(fr) Christophe Loir,
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52:
44:
32:
339:Sculpture in Brussels
229:and the young artist
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175:François-Joseph Navez
96:
89:Origins and inception
24:
595:at Wikimedia Commons
564:(nl) Robert Hoozee,
159:Southern Netherlands
453:Judith Ogonovszky,
383:Malevez, Apolline.
344:History of Brussels
286:La Libre Esthétique
140:Charles van Hulthem
103:Jean-Baptiste Madou
78:Museum of Fine Arts
609:Events in Brussels
510:, p. 315–316.
482:Castor et Pollux,
349:Culture of Belgium
311:Salon du Printemps
235:Le Diable au Salon
211:
179:Belgian Revolution
106:
45:Salon de Bruxelles
33:
591:Media related to
574:978-9-06153-456-3
559:978-2-80041-335-8
535:978-9-02095-184-4
295:Salon des Refusés
266:Camille Lemonnier
227:Charles de Coster
223:Salon caricatural
53:Salon van Brussel
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30:Marie de Latour
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581:External links
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508:Van Kalck 2003
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496:Van Kalck 2003
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442:Van Kalck 2003
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331:Belgium portal
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201:Place du Trône
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153:In 1817, King
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37:Brussels Salon
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518:Bibliography
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392:. Retrieved
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301:, following
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241:until 1869.
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389:koregos.org
303:the example
258:Art critics
148:Paris Salon
74:art critics
61:draughtsmen
603:Categories
360:References
291:Pour l'Art
219:Les Joyeux
207:Troonplein
70:gold medal
365:Citations
65:engravers
317:See also
260:such as
57:Brussels
394:10 July
250:Realism
109:Antwerp
84:History
572:
557:
532:
280:Les XX
254:modern
239:satire
142:, the
41:French
457:, in
428:, in
121:Paris
113:Ghent
49:Dutch
570:ISBN
555:ISBN
530:ISBN
396:2024
264:and
35:The
169:by
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576:).
561:).
404:^
387:.
373:^
289:,
283:,
63:,
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47:;
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538:.
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204:/
39:(
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