Refusés

Refusés refers to artworks that were rejected by official art exhibitions or salons. Historically, these rejections often meant artists were denied a platform to display their work and gain recognition. The most famous example is the Paris Salon, a highly prestigious annual exhibition in France. When artists were refused by the Salon, it could significantly hinder their career prospects.

The concept of "refusés" gained prominence in the mid-19th century with the rise of new artistic movements that challenged traditional academic styles favored by the Salon. Artists like Gustave Courbet, Édouard Manet, and the Impressionists faced numerous rejections from the Salon. Their innovative approaches, subject matter, and techniques were often deemed too unconventional or even scandalous by the established jury.

In response to these widespread rejections, some artists organized their own independent exhibitions. The Salon des Refusés, held in Paris in 1863, was a pivotal event that showcased works rejected by the official Salon. This exhibition, which included Manet's "Le Déjeuner sur l'herbe," brought significant attention to the "refusés" and signaled a shift in the art world, demonstrating that artistic merit could exist outside the confines of official institutions. The existence of "refusés" highlights the tension between established art institutions and emerging artistic trends, and how rejection can sometimes pave the way for new artistic paradigms.