Salon Art

Salon Art

 

art marked by vapidity, banality, and superficial beauty. The term “salon art” is most frequently applied to pictorial art, although it is used occasionally in reference to other plastic arts and to literature and music. Becoming current in the second half of the 19th century, the term originally designated the type of art that was supported by the jury of the Paris Salon, approved by the authorities, and accepted by the bourgeois public. Later, having absorbed other negative nuances of the word “salon,” it became a designation for everything in art that appeals to philistine tastes and is a commercialization of authentic artistic values.

Owing to its origin during the period of capitalist expansion throughout the world and the widening of the circle of art “consumers,” salon art seeks to conform to the philistine idea of beauty. It flatters the philistines with idealized representations or titillates them with artificial and often stilted sentiments, either attracting them by the “authentic” reproduction of nature or, on the contrary, by a mannered distortion of the objective world in keeping with the whims of fashion, which eventually is recognized by philistines as the standard of taste.

At the same time, salon art seeks to direct and form the artistic tastes of the public and to impose on the mass of viewers a universally understandable model—or rather a substitute for art. With the development of the mass media and the expanded possibilities for the mass reproduction and circulation of salon artworks, salon art has been increasingly standardized, becoming a part of mass culture.

The inevitable hallmarks of salon art—an eclectic creative and formal approach, deliberate “beguiling” effects, and a lack of stylistic consistency on the part of technically dexterous artists—place this concept outside the limits of any particular epoch, style, or trend. Rooted in academicism, which combined the late decadent tendencies of classicism and romanticism, and sustained by naturalism, salon art furnishes a vulgar version, with pretensions to refinement, of any succeeding trend in figurative art.

V. A. KALMYKOV

References in periodicals archive ?
Further afield, The Salon Art + Design in New York returns for its sixth edition from 9-13 November.
After the success of the previous exhibition in the salon art capital 2014 - Grand Palais Paris in Paris, I decided to participate in Venice, where a select group of artists from different countries were showing, including those from America, Britain, France, Norway, Japan, China, Sweden, Canada and Germany.
I think the archness and the utter gentility of refinement of it all, it's just for giggling ladies on the Upper East Side or something; it's salon art.
Starting with the period of Enlightenment in the 18th century, the presentation will focus mainly on the time around 1800, on tendencies of Salon Art, as well as on art around 1900 and after 1945.
Lefebvre, therefore, was perhaps weighing his options in 1889-1890 as he experienced a double negative: growing general contempt for Salon art and a secession that left the SAF without some of its most respected members.
This is the focus of a fascinating chapter entitled "Bisextuality" that draws on the work of Naomi Schor, where by considering how contemporary authors set out to appeal to the growing segment of female readers Chu suggests that Courbet similarly looked for ways to slip between distinct ideas of masculinity and femininity in his Salon art.
The Christie's Country House Sale in North Wales brought together everything from rare 19th-century French salon art to fishing rods.
And eight years before young Impressionists started the famous Salon des Refuses as an alternative to the official Paris salon art show, Courbet in 1855 created his anti-establishment Pavilion of Realism outside a Paris exhibition in protest of his work being rejected.
In Konz's account, Bashkirtseff is both a traditional artist, whose self-portraits fit easily with other 19th- century Salon art, and a radical associated with the suffrage movement.
Soon, the annual FADA Show became known as the West Coast source for 19th-and 20th-century works of European and American Impressionism, plein air and classical landscape, Barbizon, maritime, Hudson River School, Western, academic and salon art, portraiture, WPA, Ashcan School and Regionalism, including Taos Society, Hoosiers, and California Scene.
After an exhaustive examination of this controversial project - its political ambiguities (initiated by the conservative Giscard d'Estaing but realized by the socialist Francois Mitterrand), its artistic uncertainties (did nineteenth-century salon art really deserve a museum of its own?

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