Word: salons
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Dates: during 1950-1959
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...Paris fashion was petite, disdainful Gabrielle ("Coco") Chanel. A bored, restless, country-bred orphan who fled to the city at 17 with no capital beyond her native Auvergnate shrewdness, Chanel had parlayed a flair for simple elegance into a million-dollar fashion business whose headquarters was the distinctive salon at 31 Rue Cambon, Paris...
...drawings for $20 each. Edouard Manet's Portrait of Victorine Meurend for $200. (In 1928, Rosenberg rebought the picture for $40,000, sold it again at a profit. It now hangs in the Boston Museum of Fine Art). At 20, he took over his father's Paris salon. By paying better prices than competing dealers, Rosenberg kept artists like Picasso, Matisse, Braque and others in his stable, built his business into one of Paris' top dealerships. When France fell in 1940, Rosenberg fled to the U.S., opened a gallery on Manhattan's 57th Street. The current...
This year the Salon set up a special section in commemoration of its birthday, called Satte 1903. The organizers tried to get together as many as possible of the works displayed in 1903. Among the souvenirs: a Rouault clown and a Tahitian painting by Gauguin. A better showing was made in the section called Hommage aux Ainés (homage to the elders), in which were displayed the works of now-famous artists who have shown at the Salon through the years. Among les Ainés: Matisse, Dufy, Utrillo. Picasso, Vlaminck, Braque, Chagall...
...Comic Strip. In the contemporary section of the 1953 Salon, the standouts were a brilliant tapestry design done by Jean Picart le Doux and an expertly drawn Quartet of musicians by Hilaire Camille. There was also some plain trash. The trashiest: two heavyhanded pieces of political propaganda by Communist Painter André Fougeron. One, called Atlantic Civilization, had all the artistic merit of a low-class comic strip; it showed a soldier shooting from a brassy U.S. automobile while a bloated capitalist looked on gloatingly and the proletariat wept over their coffins. Le Figaro called Fougeron's work...
Some Frenchmen wondered how works of so little worth could have got onto the Salon's distinguished walls. But those who had followed the Salon through half a century of success suspected that the organizers of this year's show, like those who put forward the "wild beasts" of 1905. were quite happy that a row had been kicked...