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An unjuried or open access art exhibition or festival is one where all submissions are accepted. [1] Within theater, it is often referred to as a fringe festival, following the unjuried Edinburgh Festival Fringe.
Traditionally gatherings have had varying degrees of inclusiveness and exclusiveness, hence broadly speaking, the notion of a "juried" or "unjuried" gathering dates to prehistory. More narrowly, the notion of an unjuried exhibition arose in response to the Paris Salon, which began in 1725 and was juried from 1748 onwards. The Salon was very influential in the western world during the period 1748–1890 as an arbiter of taste, and the revolt against its strictures was a key conflict in the development of western art. An exhibitions of works refused from the official Salon was referred to as a Salon des Refusés, which became particularly prominent from 1863 onwards, when the French government under Emperor Napoléon III funded a Salon des Refusés for the large number of rejected artworks in that year. 1884 saw the formation of the Société des Artistes Indépendants (Society of Independent Artists), whose device was Sans jury ni récompense (Without jury nor awards), and which has run unjuried art exhibits from 1884 to the present day, under the title of Salon des Indépendants (Independents Salon). The development of these rejected or unjuried exhibits was key in the development of the avant-garde in painting, particularly the École de Paris (Paris School), with the SAI being particularly prominent during the Gilded Age, until World War I.
In theater, unjuried festivals rose to prominence in the second half of the twentieth century, most prominently in the Edinburgh Festival Fringe.
Despite declaring no criteria for inclusion, some unjuried exhibits or festivals have constraints on genre. Thus, while they may accept any work of art, they may reject an object as "not art". Notoriously, Marcel Duchamp's Fountain was rejected from an unjuried art exhibition in 1917 as "not being art" – this being a stunt staged by Duchamp to challenge the conventional (even within the avant-garde) definition of "art".
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related artistic movements in music, literature, and architecture. In Cubist works of art, the subjects are analyzed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris or near Paris (Puteaux) during the 1910s and throughout the 1920s.
The Salon des Refusés, French for "exhibition of rejects", is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.
Suzanne Duchamp-Crotti was a French Dadaist painter, collagist, sculptor, and draughtsman. Her work was significant to the development of Paris Dada and modernism and her drawings and collages explore fascinating gender dynamics. Due to the fact that she was a woman in the male prominent Dada movement, she was rarely considered an artist in her own right. She constantly lived in the shadows of her famous older brothers, who were also artists, or she was referred to as "the wife of." Her work in painting turns out to be significantly influential to the landscape of Dada in Paris and to the interests of women in Dada. She took a large role as an avant-garde artist, working through a career that spanned five decades, during a turbulent time of great societal change. She used her work to express certain subject matter such as personal concerns about modern society, her role as a modern woman artist, and the effects of the First World War. Her work often weaves painting, collage, and language together in complex ways.
The Salon, or rarely 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, and eleven engravers contributed. From 1881 onward, it was managed by the Société des Artistes Français.
The Salon d'Automne, or Société du Salon d'automne, is an art exhibition held annually in Paris. Since 2011, it is held on the Champs-Élysées, between the Grand Palais and the Petit Palais, in mid-October. The first Salon d'Automne was created in 1903 by Frantz Jourdain, with Hector Guimard, George Desvallières, Eugène Carrière, Félix Vallotton, Édouard Vuillard, Eugène Chigot and Maison Jansen.
Albert Dubois-Pillet was a French Neo-impressionist painter and a career army officer. He was instrumental in the founding of the Société des Artistes Indépendants, and was one of the first artists to embrace Pointillism.
The Société des Artistes Indépendants or Salon des Indépendants was formed in Paris on 29 July 1884. The association began with the organization of massive exhibitions in Paris, choosing the slogan "sans jury ni récompense". Albert Dubois-Pillet, Odilon Redon, Georges Seurat and Paul Signac were among its founders. For the following three decades their annual exhibitions set the trends in art of the early 20th century, along with the Salon d'Automne. This is where artworks were often first displayed and widely discussed. World War I brought a closure to the salon, though the Artistes Indépendants remained active. Since 1920, the headquarters has been located in the vast basements of the Grand Palais.
Society of Independent Artists was an association of American artists founded in 1916 and based in New York.
Nude Descending a Staircase, No. 2 is a 1912 painting by Marcel Duchamp. The work is widely regarded as a Modernist classic and has become one of the most famous of its time. Before its first presentation at the 1912 Salon des Indépendants in Paris it was rejected by the Cubists as being too Futurist. It was then exhibited with the Cubists at Galeries Dalmau's Exposició d'Art Cubista, in Barcelona, 20 April–10 May 1912. The painting was subsequently shown, and ridiculed, at the 1913 Armory Show in New York City.
Louis Marcoussis, formerly Ludwik Kazimierz Wladyslaw Markus or Ludwig Casimir Ladislas Markus, was a Polish-French avant-garde painter active primarily in Paris. Markus studied law in Warsaw before attending the Kraków Academy of Fine Arts, and later moved to Paris to study under Jules Lefebvre at the Académie Julian. His work was first featured in a major exhibition at the Salon d'Automne in 1905. In Paris, he became acquainted with prominent artists of the School of Paris and writers in the cafes of Montmartre and Montparnasse.
René-Paul Schützenberger was a French Post-Impressionist painter.
Joseph Csaky was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation in the Cubist movement as a sculptor. Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art. A pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century. He was an active member of the Section d'Or group between 1911 and 1914, and closely associated with Crystal Cubism, Purism, De Stijl, Abstract art, and Art Deco throughout the 1920s and 1930s.
Jacqueline Marval was the pseudonym for Marie Josephine Vallet, who was a French painter, lithographer and sculptor.
Man on a Balcony, is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912. The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.
Groupe de femmes, also called Groupe de trois femmes, or Groupe de trois personnages, is an early Cubist sculpture created circa 1911 by the Hungarian avant-garde, sculptor, and graphic artist Joseph Csaky (1888–1971). This sculpture formerly known from a black and white photograph had been erroneously entitled Deux Femmes , as the image captured on an angle showed only two figures. An additional photograph found in the Csaky family archives shows a frontal view of the work, revealing three figures rather than two. Csaky's sculpture was exhibited at the 1912 Salon d'Automne, and the 1913 Salon des Indépendants, Paris. A photograph taken of Salle XI in sitiu at the 1912 Salon d'Automne and published in L'Illustration, 12 October 1912, p. 47, shows Groupe de femmes exhibited alongside the works of Jean Metzinger, František Kupka, Francis Picabia, Amedeo Modigliani and Henri Le Fauconnier.
The Société Normande de Peinture Moderne, also known as Société de Peinture Moderne, or alternatively, Normand Society of Modern Painting, was a collective of eminent painters, sculptors, poets, musicians and critics associated with Post-Impressionism, Fauvism, Cubism and Orphism. The Société Normande de la Peinture Moderne was a diverse collection of avant-garde artists; in part a subgrouping of the Cubist movement, evolving alongside the so-called Salon Cubist group, first independently then in tandem with the core group of Cubists that emerged at the Salon d'Automne and Salon des Indépendants between 1909 and 1911. Historically, the two groups merged in 1912, at the Section d'Or exhibition, but documents from the period prior to 1912 indicate the merging occurred earlier and in a more convoluted manner.
Danseuse, also known as Femme à l'éventail, or Femme à la cruche, is an early Cubist, Proto-Art Deco sculpture created in 1912 by the Hungarian avant-garde sculptor Joseph Csaky (1888–1971). This black and white photograph from the Csaky family archives shows a frontal view of the original 1912 plaster. Danseuse was exhibited in Paris at the 1912 Salon d'Automne, an exhibition that provoked a succès de scandale and resulted in a xenophobic and anti-modernist quarrel in the French National Assembly. The sculpture was then exhibited at the 1914 Salon des Indépendants entitled Femme à l'éventail ; and at Galerie Moos, Geneva, 1920, entitled Femme à la cruche.
Juliette Roche (1884–1980), also known as Juliette Roche Gleizes, was a French painter and writer who associated with members of the Cubist and Dada movements. She was married to the artist Albert Gleizes.
Eugène Konopatzky was Russian and Ukrainian painter and printmaker, known artist and modern art theoretician of Russian avant-garde.
Head, also known as Tête d'homme, or Portrait d'homme, is an early Cubist sculpture created in 1913 by the Hungarian avant-garde sculptor Joseph Csaky. This black and white photograph from the Csaky family archives (AC.111) shows a frontal view of the original 1913 plaster. Head was exhibited at Galerie Clovis Sagot, 46, rue Laffitte, Paris, 1913–14, and at the 1914 Salon des Indépendants titled Tête d'homme. It was subsequently exhibited at Galerie Moos, Geneva, 1920, titled Buste.