Floor plan

Style galleriesParis Salon painting

Paris Salon painting

Dark portrait of older woman in black dress with lace collar, flowers.
On the Beach, Sunset, by Eugène Boudin, 1865
A work made of oil on canvas.
Aglaida and Boniface, by Alexandre Cabanel, c. 1857
The Orange Christ, by Maurice Denis, 1889
Landscape with Rider on White Horse, by Jean Achille Benouville, 1846
A work made of oil on panel.

The works in this room are listed below.

Works in this room

Painting made for the great annual exhibition in Paris, and the realists who argued with it.

First room, north wall

  1. Dark portrait of older woman in black dress with lace collar, flowers.
    Mère GrégoireGustave Courbet, 1855, reworked 1857–59Courtesy of the Art Institute of Chicago
  2. On the Beach, Sunset, by Eugène Boudin, 1865
    On the Beach, SunsetEugène Boudin, 1865Courtesy of The Metropolitan Museum of Art
  3. A work made of oil on canvas.
    The Roll Call of the Last Victims of the TerrorCharles Louis-Lucien Muller, c. 1850Courtesy of the Art Institute of Chicago

First room, south wall

  1. Aglaida and Boniface, by Alexandre Cabanel, c. 1857
    Aglaida and BonifaceAlexandre Cabanel, c. 1857Courtesy of the Cleveland Museum of Art
  2. The Orange Christ, by Maurice Denis, 1889
    The Orange ChristMaurice Denis, 1889Courtesy of the Cleveland Museum of Art
  3. Landscape with Rider on White Horse, by Jean Achille Benouville, 1846
    Landscape with Rider on White HorseJean Achille Benouville, 1846Courtesy of the Cleveland Museum of Art
  4. A work made of oil on panel.
    Colonnade and Gardens of the Medici PalaceStyle of Hubert Robert, After 1870Courtesy of the Art Institute of Chicago

Second room, south wall

  1. A work made of oil on canvas.
    The ConversationMarcellin Gilbert Desboutin, 1875–79Courtesy of the Art Institute of Chicago
  2. A person rides a horse away from us on a narrow dirt path curving through a forest dominated by golden yellow trees in this vertical landscape painting. A boulder about twice the width of the path is backlit where it sits just left of the lower center of the canvas. The path begins near the bottom right corner of the painting and curves back and to the right. The horse is white, and the rider wears dark brown pants and a hat, and a lighter brown shirt. Trees towering over the rider to either side of the curve nearly reach the top of the composition. The horizon comes less than a third of the way up the painting. Pearly white sky fills in the gap between the trees around the rider, and ivory-colored clouds frame an icy blue sky above. The scene is painted with textured and blended strokes, which gives the painting a soft look even though some of the brushstrokes are visible. The artist signed and dated the lower center of the canvas, though it is partially cut off: “COROT 1872.”
    The Forest of CoubronJean Baptiste Camille Corot, 1872Courtesy National Gallery of Art, Washington

Second room, north wall

  1. Young Ladies of the Village, by Gustave Courbet, 1851–52
    Young Ladies of the VillageGustave Courbet, 1851–52Courtesy of The Metropolitan Museum of Art
  2. A pale-skinned young man with a carrot-red beard and hair faces us, straddling a green chair in a sunny outdoor setting in this vertical painting. The scene is loosely painted so his features are indistinct. His eyes are painted as pale blue dots, and he looks out at us. His chair unfolds into an X shape, with interlacing slats to make the seat. He leans forward to rest his hands on one side of the chair, and his legs are spread wide. He wears a marine-blue jacket over a white shirt, sage-green trousers streaked with gray, and black shoes. A soft blue V-shape at the neck suggests a neckerchief. Behind him, a half wall is topped by a trellis. The wall is painted in muted tones of pale laurel green while the trellis is painted with crisscrossed strokes of pine green. Daubs of emerald, pine, and forest green suggest vines and leaves, and flicks of orange, gold, and blue could be flowers. The ground beneath the man is pale peach scattered with thin scribbles and patches of fog blue. The painting is inscribed with “E 72.” in the lower right.
    George Moore in the Artist's GardenÉdouard Manet, c. 1879Courtesy National Gallery of Art, Washington

Third room, north wall

  1. A work made of oil on canvas.
    Mon Ancien RegimentJean Baptiste Édouard Detaille, 1881Courtesy of the Art Institute of Chicago
  2. A young woman in a dark hat and coat with light ruffled collar sits reading a large periodical held up in her gloved hands. Flowers and foliage are suggested behind her.
    Woman ReadingÉdouard Manet, 1880–82Courtesy of the Art Institute of Chicago
  3. A work made of oil on canvas.
    The CourtyardStanislas Lépine, c. 1880Courtesy of the Art Institute of Chicago

Third room, south wall

  1. In this painting, there are two women standing near a body of water, surrounded by tall green grass and white flowers. One woman wears a bright pink dress, while the other wears a brown dress with a white apron. The woman in pink holds a long, thin rod outwards, its other end connected to a thin string and a small red lure floating on the water. The other woman stands behind her and holds a baby wearing white clothes and a white bonnet. Behind both women, on the right, is a brown shape like a small dog running towards them. The reflection of the women is visible against the still, blue water. The sky is light blue at the top, transitioning to a warm pink by the horizon, crossed by purple clouds and a flock of small birds. In the bottom right corner, across the water from the women, is a patch of more tall blue-and-green grass. The brushstrokes of the painting are light and feathery.
    The Artist's Wife FishingJean Louis Forain, 1896Courtesy National Gallery of Art, Washington
  2. René-Charles Dassy and His Brother Jean-Baptiste-Claude-Amédé Dassy, by Hippolyte Jean Flandrin, 1850
    René-Charles Dassy and His Brother Jean-Baptiste-Claude-Amédé DassyHippolyte Jean Flandrin, 1850Courtesy of the Cleveland Museum of Art