Guarisco Gallery 2012

9 AHistory of European Art Academies and Salons hroughout the 19 th century, nearly every European country had an official art academy based on the French model—the Académie des Beaux-arts. The French Academy ran the official art school, the École des Beaux-arts, and hosted the annual exhibition of artwork known as the Salon. By the mid-19 th century, the members of the French Academy, most of whom were notoriously conservative, controlled every facet of the official exhibition. Membership and the opportunity to exhibit were by invitation only—artists had to adhere to strict requirements and women were often given little attention. SALON DES REFUSÉS —An exhibition including artworks by Edouard Manet, Camille Pisarro, Paul Cézanne, and James McNeill Whistler that had been rejected by the selection committee of the official salon in 1863. The event marks a turning point in the history of art; thereafter, artists began to organize their own exhibitions—like the Impressionists in 1874—and art dealers became increasingly important. SALON DES INDÉPENDANTS —Established by Paul Signac, Georges Seurat, and other artists who opposed the official salon, the Salon des Indépendants became the main showcase of the Post-Impressionists and was a major art event in Paris up to the First World War. SALON D’AUTOMNE —Held annually in Paris during the fall, the Salon d’Automne was founded in 1903 by Pierre Bonnard, Henri Matisse, Henri Lebasque and others. The Salon was noted for its landmark 1905 exhibition of the Fauves, or “Wild Beasts,” as well as major retro- spectives of Paul Gauguin in 1906 and Paul Cezanne in 1907. ROYAL ACADEMY —Founded in 1768, the Royal Academy of Arts in London was the main institution for the propagation and exhibition of the arts in Britain. It was a self-governing institution run by 40 elected Academicians and its members bear the letters R.A. after their names. The opening of the Royal Academy Summer Exhibition marked the beginning of the London Season and was a highly fashionable event. GROSVENOR GALLERY, ROYAL SOCIETY OF BRITISH ARTISTS and the BRITISH INSTITUTE were small but important independent galleries and societies that were intended to rival the prestige and supremacy of the Royal Academy of Arts. Prior to the late-19th century, American artists were limited in choice for their formal artistic training to a few small art schools and fledgling academies. Many artists chose to go to Europe to either receive or supplement their studies. The establishment of the Penn- sylvania Academy of the Fine Arts in Philadelphia in 1805 and the National Academy of Design in New York in 1825, provided the first American academy-style venues for artists to study and exhibit. By the mid-19th century, annual exhibitions at these two ven- ues and the Chicago Art Institute were attracting public attention and led to a widespread acceptance of Americans as credibleartists. Early in America’s art historical development, art schools offered academic training that often lacked the richness of education available in Europe. In general, it was necessary for American artists to travel abroad to learn the traditional skills, latest technical training, and newest ideas. For example, in the late 19th century many of America’s premier painters such as Theodore Robinson, Theodore Butler, Richard Miller, and Karl Albert Buehr made pilgrimages to France, where they were exposed to the new painting style of Impressionism. T American Academies Pennsylvania Academy of the Fine Arts, Philadelphia est. 1805 National Academy of Design, New York est. 1825 Art Institute of Chicago est. 1866 Arts Students League, New York est. 1875 Corcoran School of Art, Washington, D.C. est. 1875 European Americans at Home Americans Abroad