Salon de 1866





^ Locations
 


Below are photographs from the Archives nationales (Paris) of works acquired by the government. See here for more information.




<  >
The livret listed 3,297 works that were selected by a jury accused of murder in the press/media after a rejected painter, Jules Holtzapfell, committed suicide.  Calls for a third Salon de Refusés were not successful.  


An etching of central Paris taken from the west occupies the background in the collage (above). Lalanne was one of the leaders of a printmaking revival in the second half of the nineteenth century.   

The caricature of Gustave Courbet is accompanied by an excerpt from one of his letters.  

The works in the collage were selected and arranged in accordance with Edmond About’s critical review. However, most other critics also discussed most of the works included here.

About began with the vestibule/entrance to the Salon d’Honneur (Salon Carré), noting Lepic’s large enamel plaque in a Renaissance revival style.  
                                            
Paintings in the Salon d’Honneur are distributed across the top of the collage. Dubufe’s large triptych on the prodigal son theme was especially popular (sketch for the lost original included here), as were Courbet’s two paintings specifically intended to please the critics. Tony Robert-Fleury’s painting of the massacre of Polish demonstrators against Russian rule in 1861 was also displayed in the large gallery (above; Château de Montrésor). 

 
Paintings from the smaller alphabetically sequenced galleries have been arranged in the three lower rows of the collage.  The fallen jockey by Degas was repainted in the 1880's and again in the late 1890s with stronger outlines and brighter colors. While Moreau’s Orpheus was well received, his Diomedes was severely criticized (above; Musée des Beaux-Arts, Rouen). Manet’s paintings, including the Fifer (below; Musée d'Orsay, Paris), were rejected.  
                          
There was no sculpture garden this year. Works were lined up in long corridors to the distress of artists and critics.