"Fisher Girl of Picardy" by Elizabeth Nourse |
The latter group included many of the great painter-teachers from the Academie Julian's various schools - men such as Bouguereau, Benjamin Constant, Lefebvre, and Tony Robert-Fleury. A number were also stockholders in Rodolphe Julian's academies, so that in effect, those affiliated with Julian dominated the Old Salon. The younger artists of the New Salon included Albert Besnard, Jean-Charles Cazin, Pascal Dagnan-Bouveret and Auguste Rodin, all of whom were to become close friends of Nourse's in the years that followed.
Nourse promptly sent he four entries she had intended for the Old Salon to the new group's exhibition at the Champs de Mars. It took courage for her to turn her back on the prestigious Old Salon, where she had met with success, and join forces with the progressives. As it happened, the New Salon provided her not only with sympathetic associates but with a much greater opportunity to show her work and have it reviewed. She took the risk, however, that the new group might fail to gain public acceptance and that she would lose her opportunity to establish her reputation as a Salon painter. Both European and American collectors of the late nineteenth century considered the approval of a Salon jury necessary to guarantee the quality of their purchases."
To be continued
(Excerpts from "Cincinnati Societaire" by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.")
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