Exposition des Ouvrages non Admis. This was an exhibition at the opposite end of the juried show in the Palais de l’Industrie, one in which artists who had been rejected by that year’s capricious jurists, who had only admitted 30 percent of applicants, were given the chance to show. Napoleon III was the instigator, perhaps the curator: in a provision befitting a ruler in a fairy tale, he offered artists a chance to exhibit so the public could judge their worth. Many refused the Refusés – to be shown there was, after all, the art-career equivalent of being pilloried or stocked – but proto-modernists like James McNeill Whistler and édouard Manet did not. Famously, Manet’s groundbreaking painting Le déjeuner sur l’herbe was one of the pieces in the Salon des Refusés.
After the Salon des Refusés, artist-initiated exhibitions began to proliferate. There is no nominal curator here – artists themselves curate, a brave move for the time, complementing a newly personal, direct, collaborative and sometimes raw approach to making work, and in opposition to the academy-, studio- and patron-bound practices that had become standard. Paris exhibitions held by the Impressionists in the 1870s and 1880s, such as by the collective Societé Anonyme, ran concurrently with the Salon; the first, in 1874, was held at the studio of the photographer Nadar. The exhibitions might be seen as the forerunners of what we now call artist-run culture, but they were not divorced from the market. The emergent dealer played a role. Crucially, the Societé Anonyme, following the Royal Academy (and vociferous individuals like Courbet), rejected the Salon practice of ‘skying’ works: hanging paintings in a busy constellation on walls, with works deemed less important receiving obscure placement. Instead, the works were organized in two clean rows, standing out better and thereby easier both to appreciate and to sell. The exhibitions of the Societé Anonyme would continue to be held in intimate houses or studios in the manner of current-day auction previews, and would set the stage for other artist groups who forged alternative markets and patron systems for themselves, such as turn-of-the-century artist group the Nabis, also Paris-based, who circulated among a group of wealthy Jewish intellectuals who exhibited them in their drawing rooms and offices.
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