JEAN BÉRAUD (1849-1936)
JEAN BÉRAUD (1849-1936)
JEAN BÉRAUD (1849-1936)
JEAN BÉRAUD (1849-1936)
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Property from a Prestigious American Collection
JEAN BÉRAUD (1849-1936)

Jour d'ouverture au Salon

Details
JEAN BÉRAUD (1849-1936)
Jour d'ouverture au Salon
signed 'Jean Béraud.' (lower right)
oil on canvas
15 1⁄8 x 21 7⁄8 in. (38.4 x 55.6 cm.)
Painted circa 1895
Provenance
Peter A. Schemm, Philadelphia; Estate sale, American Art Association, New York, 15-17 March 1911, lot 194.
Peter Winchester Rouss, New York (acquired at the above sale).
Ellen Swan Rouss (by descent from the above); sale, American Art Association, New York, 22-24 October 1936, lot 30.
Spencer (acquired at the above sale).
Private collection, Midwest (2007).
Acquired by the present owner, November 2012.
Literature
P. Offenstadt, Jean Béraud, The Belle Époque: A Dream of Times Gone By, Catalogue Raisonné, Cologne, 1999, pp. 136-137, no. 117 (illustrated).

Presentado por

Emmanuelle Loulmet
Emmanuelle Loulmet Specialist, Head of the Impressionist and Modern Day Sale

Ensayo del lote

Painted circa 1895, the present work depicts the opening day of the Paris Salon, one of the most important artistic events on the Parisian social calendar every year. Though at the time they had become a battleground between the more conservative Academy and the Avante Garde, the Salons still provided an opportunity for a diverse group of Parisians to view and form opinions about works of art, and were always well-attended as well as discussed in the international press for weeks on end following the opening. The Salon was then held at the Palais de l'Industrie, which had been built in 1855 for the World’s Fair, though the building was torn down in 1897 to make way for the Grand Palais and the Petit Palais, which were built for the 1900 fair. In addition to the top hatted men in morning dress and elegant ladies accompanying them, Béraud also includes more bohemian figures within the crowd to emphasize the variety of attendees, such as the less-elegantly attired older couple below the coachman at center, and the woman in more Italianate dress, possibly an artist’s model, at right. Béraud often painted the elegant throngs depicted in his paintings from a specially equipped hansom cab, and here a few of his subjects seem too have caught sight of the artist at work, including the man and woman at furthest right, and the older bearded man at center, the bright red pin in his lapel possibly signifying the Légion d'honneur.

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