A still life is a work of art depicting inanimate subject matter commonplace objects which are either natural or man-made. With origins in the Middle Ages and Ancient Greco-Roman art, still-life painting emerged as a distinct genre and professional specialization in Western painting by the late 16th century, has remained significant since then. One advantage of the still-life artform is that it allows an artist a lot of freedom to experiment with the arrangement of elements within a composition of a painting. Still life, as a particular genre, began with Netherlandish painting of the 16th and 17th centuries, the English term still life derives from the Dutch word stilleven. Early still-life paintings before 1700 contained religious and allegorical symbolism relating to the objects depicted. Still-life works are produced with a variety of media and technology, such as found objects, computer graphics, as well as video and sound; the term includes the painting of dead animals game. Live ones are considered animal art, although in practice they were painted from dead models.
Because of the use of plants and animals as a subject, the still-life category shares commonalities with zoological and botanical illustration. However, with visual or fine art, the work is not intended to illustrate the subject correctly. Still life occupied the lowest rung of the hierarchy of genres, but has been popular with buyers; as well as the independent still-life subject, still-life painting encompasses other types of painting with prominent still-life elements symbolic, "images that rely on a multitude of still-life elements ostensibly to reproduce a'slice of life'". The trompe-l'œil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life showing inanimate and flat objects. Still-life paintings adorn the interior of ancient Egyptian tombs, it was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings demonstrate great skill in depicting everyday objects and animals.
Peiraikos is mentioned by Pliny the Elder as a panel painter of "low" subjects, such as survive in mosaic versions and provincial wall-paintings at Pompeii: "barbers' shops, cobblers' stalls, asses and similar subjects". Similar still life, more decorative in intent, but with realistic perspective, have been found in the Roman wall paintings and floor mosaics unearthed at Pompeii and the Villa Boscoreale, including the familiar motif of a glass bowl of fruit. Decorative mosaics termed "emblema", found in the homes of rich Romans, demonstrated the range of food enjoyed by the upper classes, functioned as signs of hospitality and as celebrations of the seasons and of life. By the 16th century and flowers would again appear as symbols of the seasons and of the five senses. Starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains with the accompanying phrase Omnia mors aequat; these vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600.
The popular appreciation of the realism of still-life painting is related in the ancient Greek legend of Zeuxis and Parrhasius, who are said to have once competed to create the most lifelike objects, history's earliest descriptions of trompe-l'œil painting. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were advanced in the arts of portrait painting, genre painting and still life, he singled out Peiraikos, "whose artistry is surpassed by only a few... He painted barbershops and shoemakers' stalls, donkeys and such, for that reason came to be called the'painter of vulgar subjects'. By 1300, starting with Giotto and his pupils, still-life painting was revived in the form of fictional niches on religious wall paintings which depicted everyday objects. Through the Middle Ages and the Renaissance, still life in Western art remained an adjunct to Christian religious subjects, convened religious and allegorical meaning; this was true in the work of Northern European artists, whose fascination with detailed optical realism and symbolism led them to lavish great attention on their paintings' overall message.
Painters like Jan van Eyck used still-life elements as part of an iconographic program. In the late Middle Ages, still-life elements flowers but animals and sometimes inanimate objects, were painted with increasing realism in the borders of illuminated manuscripts, developing models and technical advances that were used by painters of larger images. There was considerable overlap between the artists making miniatures for manuscripts and those painting panels in Early Netherlandish painting; the Hours of Catherine of Cleves made in Utrecht around 1440, is one of the outstanding examples of this trend, with borders featuring an extraordinary range of objects, including coins and fishing-nets, chosen to complement the text or main image at that particular point. Flemish workshops in the century took the naturalism of border elements further. Gothic millefleur tapestries are another example of the general increasing interest in accurate depictions of plants and
The Baroque is a ornate and extravagant style of architecture, painting and other arts that flourished in Europe from the early 17th until the mid-18th century. It preceded the Rococo and Neoclassical styles, it was encouraged by the Catholic Church as a means to counter the simplicity and austerity of Protestant architecture and music, though Lutheran Baroque art developed in parts of Europe as well. The Baroque style used contrast, exuberant detail, deep colour and surprise to achieve a sense of awe; the style began at the start of the 17th century in Rome spread to France, northern Italy and Portugal to Austria and southern Germany. By the 1730s, it had evolved into an more flamboyant style, called rocaille or Rococo, which appeared in France and central Europe until the mid to late 18th century; the English word baroque comes directly from the French, may have been adapted from the Portuguese term barroco, a flawed pearl. Both words are related to the Spanish term berruca; the term did not describe a style of music or art.
Prior to the 18th century, the French baroque and Portuguese barroco were terms related to jewelry, An example from 1531 uses the term to describe pearls in an inventory of Charles V's treasures. The word appears in a 1694 edition of Le Dictionnaire de l'Académie Française, which describes baroque as "only used for pearls that are imperfectly round." A 1728 Portuguese dictionary describes barroco as relating to a "coarse and uneven pearl."The French term for the artistic style may have had roots in the medieval Latin word baroco, a philosophical term, invented in the 13th century by scholastics to describe a complicated type of syllogism, or logical argument. In the 16th century the philosopher Michel de Montaigne associated the term'baroco' with "Bizarre and uselessly complicated." In the 18th century, the term was used to describe music, was not flattering. In an anonymous satirical review of the première of Jean-Philippe Rameau's Hippolyte et Aricie in October 1733, printed in the Mercure de France in May 1734, the critic wrote that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was unsparing with dissonances changed key and meter, speedily ran through every compositional device.
In 1762, Le Dictionnaire de l'Académie Française wrote that the term could be used figuratively to describe something "irregular, bizarre or unequal."Jean-Jacques Rousseau, a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, the movement limited, it appears that term comes from the word'baroco' used by logicians."In 1788, the term was defined by Quatremère de Quincy in the Encyclopédie Méthodique as "an architectural style, adorned and tormented". The terms "style baroque" and "musique baroque" appeared in Le Dictionnaire de l'Académie Française in 1835. By the mid-19th century, art critics and historians had adopted the term as a way to ridicule post-Renaissance art; this was the sense of the word as used in 1855 by the leading art historian Jacob Burkhardt, who wrote that baroque artists "despised and abused detail" because they lacked "respect for tradition."Alternatively, a derivation from the name of the Italian painter Federico Barocci has been suggested.
In 1888, the art historian Heinrich Wölfflin published the first serious academic work on the style, Renaissance und Barock, which described the differences between the painting and architecture of the Renaissance and the Baroque. The Baroque style of architecture was a result of doctrines adopted by the Catholic Church at the Council of Trent in 1545–63, in response to the Protestant Reformation; the first phase of the Counter-Reformation had imposed a severe, academic style on religious architecture, which had appealed to intellectuals but not the mass of churchgoers. The Council of Trent decided instead to appeal to a more popular audience, declared that the arts should communicate religious themes with direct and emotional involvement. Lutheran Baroque art developed as a confessional marker of identity, in response to the Great Iconoclasm of Calvinists. Baroque churches were designed with a large central space, where the worshippers could be close to the altar, with a dome or cupola high overhead, allowing light to illuminate the church below.
The dome was one of the central symbolic features of baroque architecture illustrating the union between the heavens and the earth, The inside of the cupola was lavishly decorated with paintings of angels and saints, with stucco statuettes of angels, giving the impression to those below of looking up at heaven. Another feature of baroque churches are the quadratura. Quadratura paintings of Atlantes below the cornices appear to be supporting the ceiling of the church. Unlike the painted ceilings of Michelangelo in the Sistine Chapel, which combined different scenes, each with its own perspective, to be looked at one at a time, the Baroque ceiling paintings were created so the viewer on the floor of the church would see the entire ceiling in correct perspective, as if the figures were real; the interiors of baroque churches became more and more ornate in the High Baroque, an
Édouard Manet was a French modernist painter. He was one of the first 19th-century artists to paint modern life, a pivotal figure in the transition from Realism to Impressionism. Born into an upper-class household with strong political connections, Manet rejected the future envisioned for him, became engrossed in the world of painting, his early masterworks, The Luncheon on the Grass and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings; the last 20 years of Manet's life saw him form bonds with other great artists of the time, develop his own style that would be heralded as innovative and serve as a major influence for future painters. Édouard Manet was born in Paris on 23 January 1832, in the ancestral hôtel particulier on the rue des Petits Augustins to an affluent and well-connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte, from whom the Swedish monarchs are descended.
His father, Auguste Manet, was a French judge. His uncle, Edmond Fournier, took young Manet to the Louvre. In 1841 he enrolled at the Collège Rollin. In 1845, at the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent lifelong friend. At his father's suggestion, in 1848 he sailed on a training vessel to Rio de Janeiro. After he twice failed the examination to join the Navy, his father relented to his wishes to pursue an art education. From 1850 to 1856, Manet studied under the academic painter Thomas Couture. In his spare time, Manet copied the Old Masters in the Louvre. From 1853 to 1856, Manet visited Germany and the Netherlands, during which time he was influenced by the Dutch painter Frans Hals, the Spanish artists Diego Velázquez and Francisco José de Goya. In 1856, Manet opened a studio, his style in this period was characterized by loose brush strokes, simplification of details and the suppression of transitional tones.
Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker and other contemporary subjects such as beggars, Gypsies, people in cafés, bullfights. After his early career, he painted religious, mythological, or historical subjects. Manet had two canvases accepted at the Salon in 1861. A portrait of his mother and father, who at the time was paralysed and robbed of speech by a stroke, was ill-received by critics; the other, The Spanish Singer, was admired by Theophile Gautier, placed in a more conspicuous location as a result of its popularity with Salon-goers. Manet's work, which appeared "slightly slapdash" when compared with the meticulous style of so many other Salon paintings, intrigued some young artists; the Spanish Singer, painted in a "strange new fashion caused many painters' eyes to open and their jaws to drop." Music in the Tuileries is an early example of Manet's painterly style. Inspired by Hals and Velázquez, it is a harbinger of his lifelong interest in the subject of leisure.
While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time. Here, Manet has depicted his friends, artists and musicians who take part, he has included a self-portrait among the subjects. A major early work is The Luncheon on the Grass Le Bain; the Paris Salon rejected it for exhibition in 1863, but Manet agreed to exhibit it at the Salon des Refusés, a parallel exhibition to the official Salon, as an alternative exhibition in the Palais des Champs-Elysée. The Salon des Refusés was initiated by Emperor Napoleon III as a solution to a problematic situation which came about as the Selection Committee of the Salon that year rejected 2,783 paintings of the ca. 5000. Each painter could decide whether to take the opportunity to exhibit at the Salon des Refusés, less than 500 of the rejected painters chose to do so. Manet employed model Victorine Meurent, his wife Suzanne, future brother-in-law Ferdinand Leenhoff, one of his brothers to pose.
Meurent posed for several more of Manet's important paintings including Olympia. The painting's juxtaposition of dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving of the Judgement of Paris based on a drawing by Raphael. Two additional works cited by scholars as important precedents for Le déjeuner sur l'herbe are Pastoral Concert and The Tempest, both of which are attributed variously to Italian Renaissance masters Giorgione or Titian; the Tempest is an enigmatic painting featuring a dressed man and a nude woman in a rural setting. The man is standing to the left and gazing to the side at the woman, seated and breastfeeding a baby. In Pastoral Concert, two clothed men
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils and ink, various kinds of paints, inked brushes, colored pencils, charcoal, pastels, various kinds of erasers, markers and various metals. Digital drawing is the act of using a computer to draw. Common methods of digital drawing include a stylus or finger on a touchscreen device, stylus- or finger-to-touchpad, or in some cases, a mouse. There are many digital art devices. A drawing instrument releases a small amount of material onto a surface; the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed anything; the medium has been a fundamental means of public expression throughout human history. It is one of most efficient means of communicating visual ideas; the wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is used in commercial illustration, architecture and technical drawing. A quick, freehand drawing not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman. Drawing is one of the oldest forms of human expression within the visual arts, it is concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface. Traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting though similar media are employed in both tasks. Dry media associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with pens. Similar supports can serve both: painting involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is regularly used in preparation for a painting, further obfuscating their distinction. Drawings created. There are several categories of drawing, including figure drawing, cartooning and freehand. There are many drawing methods, such as line drawing, shading, the surrealist method of entopic graphomania, tracing. A quick, unrefined drawing may be called a sketch. In fields outside art, technical drawings or plans of buildings, machinery and other things are called "drawings" when they have been transferred to another medium by printing. Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication, it is believed that drawing was used as a specialised form of communication before the invention of the written language, demonstrated by the production of cave and rock paintings around 30,000 years ago. These drawings, known as pictograms, depicted abstract concepts.
The sketches and paintings produced by Neolithic times were stylised and simplified in to symbol systems and into early writing systems. Before the widespread availability of paper, 12th-century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has been used extensively in the field of science, as a method of discovery and explanation. In 1609, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings. In 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents. Drawing is used to express one's creativity, therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practice. Artists used and reused wooden tablets for the production of their drawings. Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased.
At this point, drawing was used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work. The Renaissance brought about a great sophistication in drawing techniques, enabling artists to represent things more realistically than before, revealing an interest in geometry and philosophy; the invention of the first available form of photography led to a shift in the hierarchy of the arts. Photography offered an alternative to drawing as a method for representing visual phenomena, traditional drawing practice was given less emphasis as an essential skill for artists so in Western society. Drawing became significant as an art form around the late 15th century, with artists and master engravers such as Albrecht Dürer and Martin Schongauer, the first Northern engraver known by name. Schongauer came from Alsac
Oslo is the capital and most populous city of Norway. It constitutes both a municipality. Founded in the year 1040 as Ánslo, established as a kaupstad or trading place in 1048 by Harald Hardrada, the city was elevated to a bishopric in 1070 and a capital under Haakon V of Norway around 1300. Personal unions with Denmark from 1397 to 1523 and again from 1536 to 1814 reduced its influence, with Sweden from 1814 to 1905 it functioned as a co-official capital. After being destroyed by a fire in 1624, during the reign of King Christian IV, a new city was built closer to Akershus Fortress and named Christiania in the king's honour, it was established as a municipality on 1 January 1838. The city's name was spelled Kristiania between 1897 by state and municipal authorities. In 1925 the city was renamed Oslo. Oslo is the governmental centre of Norway; the city is a hub of Norwegian trade, banking and shipping. It is maritime trade in Europe; the city is home to many companies within the maritime sector, some of which are among the world's largest shipping companies and maritime insurance brokers.
Oslo is a pilot city of the Council of Europe and the European Commission intercultural cities programme. Oslo is considered a global city and was ranked "Beta World City" in studies carried out by the Globalization and World Cities Study Group and Network in 2008, it was ranked number one in terms of quality of life among European large cities in the European Cities of the Future 2012 report by fDi magazine. A survey conducted by ECA International in 2011 placed Oslo as the second most expensive city in the world for living expenses after Tokyo. In 2013 Oslo tied with the Australian city of Melbourne as the fourth most expensive city in the world, according to the Economist Intelligence Unit's Worldwide Cost of Living study; as of 1 July 2017, the municipality of Oslo had a population of 672,061, while the population of the city's urban area of 3 December 2018 was 1,000,467. The metropolitan area had an estimated population of 1.71 million. The population was increasing at record rates during the early 2000s, making it the fastest growing major city in Europe at the time.
This growth stems for the most part from international immigration and related high birth rates, but from intra-national migration. The immigrant population in the city is growing somewhat faster than the Norwegian population, in the city proper this is now more than 25% of the total population if immigrant parents are included; as of 1 January 2016, the municipality of Oslo had a population of 658,390. The urban area extends beyond the boundaries of the municipality into the surrounding county of Akershus; the city centre is situated at the end of the Oslofjord, from which point the city sprawls out in three distinct "corridors"—inland north-eastwards, southwards along both sides of the fjord—which gives the urbanized area a shape reminiscent of an upside-down reclining "Y". To the north and east, wide forested hills rise above the city giving the location the shape of a giant amphitheatre; the urban municipality of Oslo and county of Oslo are two parts of the same entity, making Oslo the only city in Norway where two administrative levels are integrated.
Of Oslo's total area, 130 km2 is built-up and 7 km2. The open areas within the built-up zone amount to 22 km2; the city of Oslo was established as a municipality on 3 January 1838. It was separated from the county of Akershus to become a county of its own in 1842; the rural municipality of Aker was merged with Oslo on 1 January 1948. Furthermore, Oslo shares several important functions with Akershus county; as defined in January 2004 by the city council ^ The definition has since been revised in the 2015 census. After being destroyed by a fire in 1624, during the reign of King Christian IV, a new city was built closer to Akershus Fortress and named Christiania in the king's honour; the old site east of the Aker river was not abandoned however and the village of Oslo remained as a suburb outside the city gates. The suburb called Oslo was included in the city proper. In 1925 the name of the suburb was transferred to the whole city, while the suburb was renamed "Gamlebyen" to avoid confusion; the Old Town is an area within the administrative district Gamle Oslo.
The previous names are reflected in street names like Oslo Oslo hospital. The origin of the name Oslo has been the subject of much debate, it is derived from Old Norse and was — in all probability — the name of a large farm at Bjørvika, but the meaning of that name is disputed. Modern linguists interpret the original Óslo, Áslo or Ánslo as either "Meadow at the Foot of a Hill" or "Meadow Consecrated to the Gods", with both considered likely. Erroneously, it was once assumed that "Oslo" meant "the mouth of the Lo river", a supposed previous name for the river Alna. However, not only has no evidence been found of a river "Lo" predating the work where Peder Claussøn Friis first proposed this etymology, but the name is ungrammatical in Norwegian: the correct form would have been Loaros; the name Lo is now believed to be a back-formation arrived at by Friis in support of his etymology
Conté known as Conté sticks or Conté crayons, are a drawing medium composed of compressed powdered graphite or charcoal mixed with a wax or clay base, square in cross-section. They were invented in 1795 by Nicolas-Jacques Conté, who created the combination of clay and graphite in response to the shortage of graphite caused by the Napoleonic Wars. Conté crayons had the advantage of being cost-effective to produce, easy to manufacture in controlled grades of hardness, they are now manufactured using natural pigments, a binder. Conté crayons are most found in black and sanguine tones, as well as bistre, shades of grey, other colors. In the USA, sets of 12 assorted portrait and landscape colors are available as well as a sketching set, plus sets of 18, 24 or 48 colors. In Europe, 22 more colors are available and the colors other than sanguine, grey and white are available open stock. Colors sets are useful for field studies and color studies; some artists create entire paintings with them, using them more like pastels than like a drawing medium.
They are used to sketch under pastel paintings or lay down initial layers before using dry pastels. The colors sets lean toward bright spectrum hues that mix well. Color Conté mixes better on paper than many hard pastel products, they are used on rough paper that holds pigment grains well. They can be used on prepared primed canvases for underdrawing for a painting; the sticks' square profile make Conté crayons more suitable for detailed hatched work as opposed to the bolder painterly drawing style demanded by soft pastels. In the 1880s, Georges Seurat used Conté crayons to produce many of his studies. List of art media Tortillon Trois crayons Media related to Drawings by Georges Seurat at Wikimedia Commons
The Salon, or Paris Salon, 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, 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, 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, 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 and biennially, in odd-numbered years, they would run for some weeks. Once made regular and public, the Salon's status was "never in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed; 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 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 of opening night was a grand social occasion, 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 reduced. In 1849 medals were introduced; the conservative and academic juries were not receptive to the Impressionist painters, whose works were rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1857 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted from regular exhibitors, 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. 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, 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 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 and its own exhibition referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts. 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 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: 41 1-26 Margo Bistis, "Bad Art: The Decline of Academic Art in the Caricatural Salon," International Journal of Comic Art 7, no.1. Timeline of the Paris Salons Harriet Griffiths and Alister Mill, Database of Salon Artists, 1827-1850