thumb|right|Catalogue of first , 1903

thumb|right|, 1905, catalogue cover. [[Fauvism was launched at this exhibition]]

The (; ), or , is an art exhibition held annually in Paris. Since 2011, it is held on the Champs-Élysées, between the and the , in mid-October. The first was created in 1903 by Frantz Jourdain, with Hector Guimard, George Desvallières, Eugène Carrière, Félix Vallotton, Édouard Vuillard, Eugène Chigot and Maison Jansen.

Perceived as a reaction against the conservative policies of the official Paris Salon, this massive exhibition almost immediately became the showpiece of developments and innovations in 20th-century painting, drawing, sculpture, engraving, architecture and decorative arts. During the Salon's early years, established artists such as Pierre-Auguste Renoir threw their support behind the new exhibition and even Auguste Rodin displayed several works. Since its inception, works by artists such as Paul Cézanne, Henri Matisse, Paul Gauguin, Georges Rouault, André Derain, Albert Marquet, Jean Metzinger, Albert Gleizes and Marcel Duchamp have been shown. In addition to the 1903 inaugural exhibition, three other dates remain historically significant for the : 1905 bore witness to the birth of Fauvism; 1910 witnessed the launch of Cubism; and 1912 resulted in a xenophobic and anti-modernist quarrel in the National Assembly (France).

History

thumb|left|[[Paul Cézanne, 1900-1904, The Grounds of the Château Noir, oil on canvas, 90.7 x 71.4 cm, The National Gallery, London]]

The aim of the salon was to encourage the development of the fine arts, to serve as an outlet for young artists (of all nationalities), and a platform to broaden the dissemination of Impressionism and its extensions to a popular audience.

The platform of the was based on an open admission, welcoming artists in all areas of the arts. Jurors were members of society itself, not members of the Academy, the state, or official art establishments. Included in the show were the works of Pierre Bonnard, Coup de vent, Le magasin de nouveautés, Étude de jeune femme (no. 62, 63 and 64); Albert Gleizes, A l'ombre (l'Ile fleurie), Le soir aux environs de Paris (no. 252, 253); Henri Matisse, Dévideuse picarde (intérieur), Tulipes (386, 387), along with paintings by Francis Picabia, Jacques Villon, Édouard Vuillard, Félix Vallotton, Maxime Maufra, Henri Manguin, Armand Guillaumin, Henri Lebasque, Gustave Loiseau, Albert Marquet, Eugene Chigot with an homage to Paul Gauguin who died May 8, 1903.

Kees van Dongen presented two works, Jacques Villon, three paintings, Francis Picabia three, Othon Friesz four, Albert Marquet seven, Jean Puy five, Georges Rouault eight paintings, Maufra ten, Manguin five, Vallotton three, and Valtat three.

Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the "orgy of pure tones" with a Renaissance-style sculpture that shared the room with them. Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. The pictures gained considerable condemnation—"A pot of paint has been flung in the face of the public", wrote the critic Camille Mauclair (1872–1945)—but also some favorable attention.

Two large retrospectives occupied adjacent rooms at the 1905 Salon d'Automne: one of Jean-Auguste-Dominique Ingres and the other Édouard Manet.

1906

thumb|right|[[Robert Delaunay, 1906, L'homme à la tulipe (Portrait de Jean Metzinger), oil on canvas, 72.4 x 48.5 cm (28 1/2 by 19 1/8 in). Exhibited at the 1906 Salon d'Autome (Paris) along with a portrait of Delaunay by Jean Metzinger]]

The exhibition of 1906 was held from 6 October to 15 November. Jean Metzinger exhibited his Fauvist/Divisionist Portrait of M. Robert Delaunay (no. 1191) and Robert Delaunay exhibited his painting L'homme à la tulipe (Portrait of M. Jean Metzinger) (no. 420 of the catalogue). Matisse exhibited his Liseuse, two still lifes (Tapis rouge and à la statuette), flowers and a landscape (no. 1171-1175)

At the same exhibition Paul Cézanne was represented by ten works. He wouldn't live long enough to see the end of the show. Cézanne died 22 October 1906 (aged 67). His works included Maison dans les arbres (no. 323), Portrait de Femme (no. 235) and Le Chemin tournant (no. 326). Constantin Brâncuși entered three plaster busts: Portrait de M. S. Lupesco, L'Enfant and Orgueil (no. 218 - 220). Raymond Duchamp-Villon exhibited Dans le Silence (bronze) and a plaster bust, Œsope (no. 498 and 499). His brother Jacques Villon exhibited six works. Kees van Dongen showed three works, Montmartre (492), Mademoiselle Léda (493) and Parisienne (494). André Derain exhibited Westminster-Londres (438), Arbres dans un chemin creux (444) and several other works painted at l'Estaque. Jean Metzinger exhibited two landscapes (no. 1270 and 1271), also difficult to identify.

At this 1907 salon the drawings of Auguste Rodin were featured. There were also retrospectives of the works of Berthe Morisot (174 works) and Jean-Baptiste Carpeaux (149 works), and a Paul Cézanne retrospective exhibition which included 56 works as a tribute to the painter who died in 1906. Apollinaire referred to Matisse as the "fauve of fauves". Works by both Derain and Matisse are criticized for the ugliness of their models. Braque and Le Fauconnier are considered as Fauves by the critic Michel Puy (brother of Jean Puy). Constantin Brâncuși exhibited alongside Metzinger, Le Fauconnier and Fernand Léger.

<blockquote>I have in front of me a small cutting from an evening newspaper, The Press, on the subject of the 1910 Salon d'Automne. It gives a good idea of the situation in which the new pictorial tendency, still barely perceptible, found itself: The geometrical fallacies of Messrs. Metzinger, Le Fauconnier, and Gleizes. No sign of any compromise there. Braque and Picasso only showed in Kahnweiler's gallery and we were unaware of them. Robert Delaunay, Metzinger and Le Fauconnier had been noticed at the Salon des Indépendants of that same year, 1910, without a label being fixed on them. Consequently, although much effort has been put into proving the opposite, the word Cubism was not at that time current. (Albert Gleizes, 1925)</blockquote>

In a review of the Salon, the poet Roger Allard (1885-1961) announces the appearance of a new school of French painters concentrating their attention on form rather than on color. A group forms that includes Gleizes, Metzinger, Delaunay (a friend and associate of Metzinger), and Fernand Léger. They meet regularly at Henri le Fauconnier's studio near the Bld de Montparnasse, where he is working on his ambitious allegorical painting entitled L'Abondance. "In this painting" writes Brooke, "the simplification of the representational form gives way to a new complexity in which foreground and background are united and the subject of the painting obscured by a network of interlocking geometrical elements".

This exhibition preceded the 1911 Salon des Indépendants which officially introduced "Cubism" to the public as an organized group movement. Metzinger had been close to Picasso and Braque, working at this time along similar lines. in which he compares the similarities in the works Picasso, Braque, Delaunay, Gleizes and Le Fauconnier. In doing so he enunciated for the first time what would become known as the characteristics of Cubism: notably the notions of simultaneity, mobile perspective. In this seminal text Metzinger stressed the distance between their works and traditional perspective. These artists, he wrote, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over the course of time.

Once launched at the 1910 Salon d'Automne, the new movement would rapidly spread throughout Paris.

Convinced that exposure to the work of German designers would prompt healthy competition in the decorative arts, Frantz Jourdain invited artists, architects, designers, and industrialists from the Munich-based Deutscher Werkbund to exhibit at the 1910 salon. "Our art menaced by Bavarian decorators" read the headline of the journal Le Radical (12 May 1910). This scandal, in addition to the non-French status of the authors in a time of growing nationalism, aroused the old polemic of exhibiting low-cost production objects, mass-produced items, simply designed furniture and interior decoration, in the context of a salon dedicated to art. Industrial art had never before been so controversial. The exhibition was reviewed in all the major journals. Louis Vauxcelles added to the crisis in a Gil Blas article. the collaborative effort of the designer André Mare, Raymond Duchamp-Villon and other artists associated with the Section d'Or.

Henri Matisse exhibited La Danse at the Salon d'Automne of 1910.

1911, the rise of Cubism

thumb|right|[[Jean Metzinger, 1911, Le goûter (Tea Time), 75.9 x 70.2 cm, Philadelphia Museum of Art. Exhibited at the 1911 Salon d'Automne. André Salmon dubbed this painting "The Mona Lisa of Cubism". Main article: Le goûter (Tea Time)]]

thumb|right|[[Albert Gleizes, 1911, Portrait de Jacques Nayral, oil on canvas, 161.9 x 114 cm, Tate Modern, London. This painting was reproduced in Fantasio: published 15 October 1911, for the occasion of the Salon d'Automne where it was exhibited the same year.]]

In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Metzinger (Le goûter (Tea Time)), Henri Le Fauconnier, Fernand Léger, Albert Gleizes, Roger de La Fresnaye, André Lhote, Jacques Villon, Marcel Duchamp, František Kupka, Alexander Archipenko, Joseph Csaky and Francis Picabia. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants. In room 41 hung the work of Gleizes, Metzinger, Léger, Delaunay, Le Fauconnier and Archipenko. Articles in the press could be found in Gil Blas, Comoedia, Excelsior, Action, L'Œuvre, Cri de Paris. Apollinaire wrote a long review in the April 20, 1911, issue of L'Intransigeant.

Apollinaire took Picasso to the opening of the Salon d'Automne in 1911 to see the cubist works in Room 7 and 8.

Albert Gleizes writes of the Salon d'Automne of 1911: "With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants." He writes: "The painters were the first to be surprised by the storms they had let loose without intending to, merely because they had hung on the wooden bars that run along the walls of the Cours-la-Reine, certain paintings that had been made with great care, with passionate conviction, but also in a state of great anxiety."</blockquote>

1912, political ramifications

thumb|upright=1.70|Salon d'Automne, Grand Palais des Champs-Élysées, Paris, Salle XI, between 1 October and 8 November 1912. [[Joseph Csaky (Groupe de femmes, sculpture front the left); Amedeo Modigliani (sculptures behind that of Csaky); paintings by František Kupka (Amorpha, Fugue in Two Colors); Francis Picabia (La Source (The Spring)); Jean Metzinger (Dancer in a café); and Henri Le Fauconnier (Mountaineers Attacked by Bears)]]

The Salon d'Automne of 1912 was held in Paris at the Grand Palais from 1 October to 8 November. The Cubists (a group of artists now recognized as such) were regrouped into the same room, XI.

The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI of the Salon d'Automne where the Cubists, among whom were several non-French citizens, exhibited their works. The resistance to both foreigners and avant-garde art was part of a more profound crisis: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during the Cubist exhibition, and as in the 1905 Salon d'Automne, the critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. It was also Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay. On 3 December 1912 the polemic reached the Chambre des députés (and was debated at the Assemblée Nationale in Paris).

thumb|right|[[Francis Picabia, 1912, La Source (The Spring), oil on canvas, 249.6 x 249.3&nbsp;cm, Museum of Modern Art, New York. Exhibited at the 1912 Salon d'Automne, Paris]]

In his 1921 essay on the Salon d'Automne, published in Les Echos (p.&nbsp;23), founder Frantz Jourdain denouncing aesthetic snobbery, writes that the saber-rattling revolutionaries dubbed the Cubists, Futurists and Dadaists were actually crusty reactionaries who scorned modern progress and revealed contempt for democracy, science, industry and commerce.

Jourdain again came under vicious attack in 1912—as the French nation drew closer to war in a conservative and fiercely nationalistic political climate—now by the dean of the Conseil Municipal and member of the city's Commission des Beaux-Arts, Jean Pierre Philippe Lampué. Lampué argued, unsuccessfully, that the Salon d'Automne be refused use of the Grand Palais on the grounds that the organizers were unpatriotic and were undermining—with their foreign "Cubo-Futurist" exhibitions—the artistic heritage of France. He did however manage to raise public opinion against the Salon d'Automne, the Cubists and Jourdain specifically. The huge scandal prompted the critic Roger Allard to defend Jourdain and the Cubists in the journal La Côte, pointing out that it wasn't the first time the Salon d'Automne—as a venue to promote modern art—came under attack by city officials, the Institute, and members of the Conseil. And it would not be the last either.

To appease the French, Jourdain invited the pontiffs des Artistes Français, writes Gleizes, to an "exposition de portraits" specially organized at the salon.). His wife, Georgette Agutte, an artist associated with the Fauves, had exhibited from 1904 at the Salon des Indépendants and participated in the founding of the Salon d'Automne (her art collection included works by Derain, Matisse, Marquet, Rouault, Vlaminck, Van Dongen, and Signac). Charles Beauquier, the politician and self-proclaimed free-thinker ("libre-penseur") sided with Breton and Benoist: "We do not encourage garbage! There is garbage in the arts and elsewhere".

thumb|Albert Gleizes, 1912, [[Man on a Balcony (Gleizes)|L'Homme au balcon (Portrait of Dr. Théo Morinaud), oil on canvas, 195.6 x 114.9 cm (77 x 45 1/4 in.), Philadelphia Museum of Art. Completed the same year that Albert Gleizes co-authored the book Du "Cubisme" with Jean Metzinger]]

Ultimately, Marcel Sembat won the debate on several fronts: the Salon d'Automne remained at the Grand Palais des Champs Elysées for years to come; the press coverage following the Assemblée nationale's discussions was as intense as it was widespread, publicizing Cubism still further; the reverberations caused by the Cubist scandal echoed across Europe, and elsewhere, extending far beyond what would have been predicted without such publicity. Marcel Sembat would soon become Minister of Public Works; from 1914 to 1916, under Prime Ministers René Viviani and Aristide Briand.

Works exhibited at the 1912 Salon d'Automne

  • Jean Metzinger entered four works: Dancer in a café, titled Danseuse (Albright-Knox Art Gallery), La Plume Jaune (The Yellow Feather), Paysage (Landscape), and Femme à l'Éventail (Woman with a Fan) (Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House).
  • Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York)
  • Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland)
  • Roger de La Fresnaye, Les Baigneuses (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players)
  • Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design).
  • Albert Gleizes, L'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud), 1912 (Philadelphia Museum of Art), also exhibited at the Armory Show, New York, Chicago, Boston, 1913.
  • André Lhote, Le jugement de Pâris, 1912 (Private collection)
  • František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude.
  • Alexander Archipenko, Family Life, 1912, sculpture (destroyed)
  • Amedeo Modigliani, exhibited four sculptures of elongated and highly stylized heads
  • Joseph Csaky exhibited the sculptures Groupe de femmes, 1911-12 (location unknown), Portrait de M.S.H., no. 91 (location unknown), and Danseuse (Femme à l'éventail, Femme à la cruche), no. 405 (location unknown)

La Maison Cubiste (Cubist House)

thumb|260px|[[Raymond Duchamp-Villon, 1912, Maquette originale de La Maison Cubiste (Cubist House, Façade architecturale), Document du Musée National d'Art Moderne, Paris]]

thumb|right|260px|Interior of the Maison Cubiste, with early [[Art Deco decoration by André Mare]]

This Salon d'Automne also featured La Maison Cubiste. Raymond Duchamp-Villon designed façade of a 10 meter by 3 meter house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer, Roger de La Fresnaye, Jacques Villon and Marie Laurencin. In the house were hung cubist paintings by Marcel Duchamp, Albert Gleizes, Fernand Léger, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912).

While the geometric decoration of the plaster façade and the paintings were inspired by cubism, the furnishings, carpets, cushions, and wallpapers by André Mare were the beginning of a distinct new style, Art Deco. They were extremely colorful, and consisted of floral designs, particularly stylized roses, in geometric patterns. Thsee themes were to reappear in decoration after the First War through the firm founded by Mare.

Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", wrote Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the façade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the façade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Façade architectural, plaster" (Façade architecturale).

For the occasion, an article entitled Au Salon d'Automne "Les Indépendants" was published in the French newspaper Excelsior, 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism.

1913–1914

thumb|right|[[Roger de La Fresnaye, 1913, The Conquest of the Air, Museum of Modern Art, New York. Exhibited at the 1913 Salon d'Automne]]

By 1913 the predominant tendency in modern art visible at the Salon d'Automne consisted of Cubism with a clear tendency towards abstraction. The trend to use brighter colors that had already begun in 1911 continued through 1912 and 1913. This exhibition, held from 15 November to 8 January 1914, was dominated by de La Fresnaye, Gleizes and Picabia. Works by Delaunay, Duchamp and Léger were not exhibited.

<blockquote>"I do not in the least wish... to offer a defense of the principles of the cubist movement! In whose name would I present such a defense? I am not a painter... What I do defend is the principle of the freedom of artistic experimentation... My dear friend, when a picture seems bad to you, you have the incontestable right not to look at it, to go and look at others. But one doesn't call the police!" (Marcel Sembat)

After 1918

thumb|upright|[[Amedeo Modigliani, ca. 1912, Female Head]]

During World War I (1914 through 1918) no Salon d'Automne exhibition was held. It wasn't until the autumn of 1919 that the Salon d'Automne once again took place, from 1 November to 10 December, at the Grand Palais in Paris. Special attention, that is, a retrospective, was given to Raymond Duchamp-Villon who died on 9 October 1918. On display were 19 works by the French sculptor dated between 1906 and 1918. the Philadelphia Museum of Art showcased a partial reconstruction of the 1912 Salon d'Automne. Many of the works exhibited, however, had not been on display at the 1912 salon, while others exhibited in 1912 were conspicuously absent. The exhibition served to highlight the importance of the Salon Cubism—usually pitted against Gallery Cubism as two opposing camps—in developments and innovations of 20th-century painting and sculpture.

1922, Braque

Fourteen years after the rejection of Georges Braque's L'Estaque paintings by the jury of the Salon d'Automne of 1908 (composed of Matisse, Rouault, Marquet, and Charles-François-Prosper Guérin), Braque was given the accolade of the Salle d'Honneur in 1922, without incident.

1944, Picasso at the Salon d'Automne

thumb|left|[[Pablo Picasso, 1921, Head of a woman, pastel on paper, 65.1 x 50.2 cm, Metropolitan Museum of Art, New York]]

In a dramatic case of situational irony, a room at the Salon d'Automne was dedicated to Picasso in 1944. During the crucial years of Cubism, between 1909 and 1914, the dealer Daniel-Henry Kahnweiler forbade Braque and Picasso from exhibiting at both the Salon d'Automne and the Salon des Indépendants. He thought the salons were places of humor and ribaldry, of jokes, laughter and ridicule. Fearing that Cubism would not be taken seriously in such public exhibitions where thousands of spectators would assemble to see new creations, he signed exclusivity contracts with his artists, ensuring that their works could only be shown (and sold) in the privacy of his own gallery.

After the Liberation of Paris, the first post-World War II Salon d'Automne was to be held in the fall of 1944 in the newly freed capital. Picasso was given a room of his own that he filled with examples of his wartime production. It was a triumphant return for Picasso who had remained aloof from the art scene during the war. The exhibition however, was "marred by disturbances that have remained unattributed" according to Michèle C. Cone (New York-based critic and historian, author of French Modernisms: Perspectives on Art before, during and after Vichy, Cambridge 2001). On Nov. 16, 1944, Matisse wrote a letter to Camoin: "Have you seen the Picasso room? It is much talked about. There were demonstrations in the street against it. What success! If there is applause, whistle." One can guess who the demonstrators might have been, writes Cone, "cronies of the Fauves, still ranting against the Judeo-Marxist decadent Picasso".

See also

  • French art salons and academies
  • Salon des Refusés
  • Salon (gathering)

References

  • 1903 Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Petit Palais des Champs-Élysées, 1903
  • 1904 Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1904
  • 1905 Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1905
  • 1906 Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1906
  • 1907 Salon d'automne; Société du Salon d'automne, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Petit Palais des Champs-Élysées, 1907
  • Official site of the Salon d'Automne
  • Timeline of the Paris salons
  • Salon d' Automne, 1905. Catalog for the 3rd exhibition of the Salon d' Automne at the Grand Palais des Champs-Elysées , Paris, France. Miscellaneous art exhibition catalog collection, Archives of American Art, Smithsonian Institution