Salon d'Automne, or Societe du Salon d'automne, is an art exhibition held annually in Paris, France.
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The first Salon d'Automne was created in 1903 by Frantz Jourdain, with Hector Guimard, George Desvallieres, Eugene Carriere, Felix Vallotton, Edouard Vuillard, Eugene Chigot and Maison Jansen.
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The Salon d'Automne is distinguished by its multidisciplinary approach, open to paintings, sculptures, photographs, drawings, engravings, applied arts, and the clarity of its layout, more or less per school.
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Platform of the Salon d'Automne was based on an open admission, welcoming artists in all areas of the arts.
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Notwithstanding, the first Salon d'Automne, which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and was met with wide critical acclaim.
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Retaliating in defense of Jourdain, Eugene Carriere issued a statement that if forced to choose, he would join the Salon d'Automne and resign from the Societe Nationale des Beaux-Arts.
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Salon d'Automne soon became well known as a staunch critic of traditionalism and a fervent proponent of Modernism, yet even for him, the Cubists had gone too far.
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Room at the 1904 Salon d'Automne was dedicated to Paul Cezanne, with thirty-one works, including various portraits, self-portraits, still lifes, flowers, landscapes and bathers .
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Retrospective exhibitions at the 1906 Salon d'Automne included Gustave Courbet, Eugene Carriere and Paul Gauguin .
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In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Metzinger, Henri Le Fauconnier, Fernand Leger, Albert Gleizes, Roger de La Fresnaye, Andre Lhote, Jacques Villon, Marcel Duchamp, Frantisek Kupka, Alexander Archipenko, Joseph Csaky and Francis Picabia.
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The decoration of the Salon d'Automne had been entrusted to the department store Printemps.
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Lampue argued, unsuccessfully, that the Salon d'Automne be refused use of the Grand Palais on the grounds that the organizers were unpatriotic and were undermining—with their foreign "Cubo-Futurist" exhibitions—the artistic heritage of France.
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Salon d'Automne did however manage to raise public opinion against the Salon d'Automne, the Cubists and Jourdain specifically.
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Ultimately, Marcel Sembat won the debate on several fronts: the Salon d'Automne remained at the Grand Palais des Champs Elysees for years to come; the press coverage following the Assemblee nationale's discussions was as intense as it was widespread, publicizing Cubism still further; the reverberations caused by the Cubist scandal echoed across Europe, and elsewhere, extending far beyond what would have been predicted without such publicity.
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Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon.
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The exhibition served to highlight the importance of the Salon d'Automne Cubism—usually pitted against Gallery Cubism as two opposing camps—in developments and innovations of 20th-century painting and sculpture.
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Salon d'Automne thought the salons were places of humor and ribaldry, of jokes, laughter and ridicule.
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