The Paris Salon’s Outsize Impact on Art History

I f you were an artist in Europe, especially France, in the 19th century, there’s a good chance you dreamed of having one of your works hung in the Paris Salon. Established in 1667, the Paris Salon, (or the Salon for short), was the preeminent government-sanctioned exhibition for artists seeking visibility not just in Paris but across Europe. Initially organized under the monarchy, then under varying governing bodies and finally under the auspices of the Académie Royale de Peinture et de Sculpture, the Salon was the only official platform for artists to gain recognition, secure patronage and achieve professional success. Its influence as a cultural and artistic institution was unparalleled at its height.

The phrase “salon style” comes from the overwhelming manner in which works of art were installed: floor-to-ceiling arrangements that filled every available wall. The spectacle attracted the public en masse, from critics to fellow artists, collectors and families, making the Salon a cultural phenomenon that extended far beyond the art world.

Inclusion at the salon was determined by a highly selective jury of academics who prioritized history painting – the most prestigious genre according to the hierarchical system established by the Académie. Artists were required to demonstrate exceptional mastery of academic training, often honed at the École des Beaux-Arts, the premier art school in France, from which women were excluded until 1897. Large-scale works adhering to classical ideals and narrative themes, known as grande machines, such as Jacques-Louis David’s Oath of the Horatii, were favored for their moralizing themes and neoclassical elements, underscoring the Salon’s role as a bastion of traditional artistic values.

By the 19th century, the Salon had become a highly anticipated, major artistic event – it was a place where reputations were solidified or broken, and where the intersection of art, society and commerce was on full display.

The Salon’s power extended beyond artistic merit; it determined an artist’s market value and career trajectory. Jules Breton was catapulted to international fame having won a medal at the Salon of 1857, after which his works commanded higher prices and he secured significant state commissions. The Salon’s influence was so profound that it became both a dream and a battleground for aspiring artists.

The Salon’s monopoly on public taste began to wane in the late 19th century, however, as independent exhibitions proliferated. In 1863, the Salon des Refusés (Exhibition of the Refused) was established to showcase works declined by the official jury, including Édouard Manet’s provocative Luncheon on the Grass. This landmark disruption to the established exhibiting agenda underscored the Salon’s limitations and highlighted the growing demand for alternative arenas. In 1874, the tried-and-true model of the Salon was rocked by a group of artists who called themselves the Société Anonyme des Artistes, Peintres, Sculpteurs, Graveurs, etc., and mounted their first independent exhibition. Led by Edgar Degas, Claude Monet and Camille Pissarro, this group would become known as the Impressionists.

By fostering connections between artists, critics and the public, the Salon played a seminal role in the evolution of the art world. Its impact is evident in contemporary art fairs and curated exhibitions, which continue to balance tradition with innovation. Although the Paris Salon is no longer the definitive arbiter of artistic achievement, its history offers invaluable insights into the complex relationship between art, society and institutional power.

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19th-Century European Art

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