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26-452: Albert Robida (14 May 1848 – 11 October 1926) was a French illustrator, etcher, lithographer, caricaturist, and novelist. He edited and published La Caricature magazine for 12 years. Through the 1880s, he wrote an acclaimed trilogy of futuristic novels. In the 1900s he created 520 illustrations for Pierre Giffard's weekly serial La Guerre Infernale . He was born in Compiègne , France,

52-531: A cartoon of Sarah Bernhardt's planned trip to the United States, making fun of her thin figure, her grandiose opinion of her importance, and the public view of her epic battles with adversity. The paper caricatured the Salon exhibitions, fashion and horse racing. It was common for an issue to be devoted to one topic such as women's emancipation, sea bathing or a visit to a château. The 25 October 1883 issue

78-399: A lively and colorful format, exploiting the recently invented photogravure technique. The title recalled the earlier La Caricature (1830–1843) founded by Charles Philipon , which portrayed Louis Philippe as a pear, and which included works by the great Honoré Daumier . The new Caricature was less politically engaged than its predecessor, focusing more on caricature of the manners of

104-719: The Académie royale de peinture et de sculpture (a division of the Académie des beaux-arts ), held its first semi-public art exhibit at the Salon Carré . The Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts , which was created by Cardinal Mazarin , chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least

130-580: The Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés , containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde . The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886. In 1881

156-498: The Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic . The French salon, a product of the Enlightenment in the early 18th century, was a key institution in which women played a central role. Salons provided a place for women and men to congregate for intellectual discourse. The French Revolution opened

182-595: The Salons. After the French Revolution of 1848 liberalized the Salon, far fewer works were refused. Medals were introduced in 1849. The increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1863

208-520: The age. The first issue appeared on 3 January 1880, heralding a break from the oppressive morality of the regime that had followed the fall of the Paris Commune in 1871. However, La Caricature appeared before the act of 29 July 1881 gave much greater freedom to the press. The masthead of La Caricature was classic in design, at first showing Albert Robida as editor, and La Librairie illustrée as publisher. The offices were 7 rue du Croissant,

234-438: The arts. His elder son Camille became a well-known architect. His youngest son, Henry, had been tabbed to serve as consulting architect to the government of Siam (today Thailand), but his life was cut short by World War I . Daughter Émilie was also an illustrator. In addition to several collaborations with her father, she was published in periodicals such as Le Journal pour tous and La Poupée modèle . Another son, Frédéric,

260-484: The exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited. The vernissage (varnishing) of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier . Charles Baudelaire , Denis Diderot and others wrote reviews of

286-494: The feast day of St. Louis (25 August) and run for some weeks. Once made regular and public, the Salon's status was "never seriously in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini 's Salon of 1785 . Printed catalogues of

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312-490: The government withdrew official sponsorship from the annual Salon, and a group of artists organized the Société des Artistes Français to take responsibility for the show. In December 1890, the leader of the Société des Artistes Français , William-Adolphe Bouguereau , proposed that the Salon should be an exhibition of young, not-yet-awarded, artists. Ernest Meissonier , Puvis de Chavannes , Auguste Rodin and others rejected

338-490: The head of La Caricature . With Robida's departure the journal lost some of its graphic appeal, and became more clichéd. On 5 September 1896 Kolb's name was dropped from the masthead of issue 871, which now simply said "weekly journal". In January 1897 the journal was sold to the Librairie Fayard , and Fayard frères began to appear on the masthead. On 23 January 1893 the office moved to 78 boulevard St Michel, in

364-409: The hills of the city, violated by a network of railways that run over or through famous structures of the city. Robida used color boldly, in contrast to other journals of the time. La Caricature gave good coverage to theater in the early years, typically focusing on one production. This was not advertising. The journal did not produce posters for the shows, but gave pictures that captured the mood of

390-422: The military items and also caricatures of sportsmen, domestic servants in large houses and people wearing the ridiculous fashions of past periods, such as the days of Louis Philippe. The cartoonist Job (Jacques Onfroy de Bréville; 1858–1931) also contributed cartoons, depicting horses and small scenes of gallantry. On 2 July 1892, with issue 653, Robida retired after twelve years as editor and Eugene Kolb became

416-487: The moon and synthetic food. Other whimsical concepts of his prosperous world of the future included air taxis, transatlantic balloons, aerial hotels, underwater sports and a women-only stock exchange. Robida was ambivalent about modernization. His drawing of The Embellishment of Paris by the Metro appeared on the 19 June 1886 cover. Robida depicts Paris as a woman, her crown adorned with the windmills that had once stood on

442-627: The next 200 years. Exhibition in the Salon marked a sign of royal favor. In 1725, the Salon was held in the Palace of the Louvre , when it became known as Salon or Salon de Paris . In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre , became public. They were held, at first, annually, and then biennially, in odd-numbered years. They would start on

468-673: The premises of the Librairie Dentu . B. Roussat became the manager. Soon after La Caricature abandoned photogravure for halftone etching. There were repeated changes of manager. The paper began to adopt a more strident and populist tone. On 31 December 1904 the last issue of La Caricature announced its merger with L’Indiscret , a black and white tabloid that gave more images than La Caracature but lower quality. Citations Sources Salon (Paris) The Salon ( French : Salon ), or rarely Paris Salon (French: Salon de Paris [salɔ̃ də paʁi] ), beginning in 1667

494-610: The proposal and broke way to create the Société Nationale des Beaux-Arts , with its own exhibition, immediately referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts . Soon, it was also widely known as the Nationale . In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors, led by Pierre-Auguste Renoir and Auguste Rodin , organized

520-534: The same premises as La Librairie illustrée , in the heart of the press district of Paris. The journal appeared every Friday. With eight pages of drawings, and little text, La Caricature gave stories in pictures without captions, silhouettes, portraits and large compositions, including all forms of caricature at the time. It covered news, literature, theater and gossip, but generally avoided political comment. It often made fun of Sarah Bernhardt , Alexandre Dumas and Émile Zola . In May 1880 La Caricature published

546-560: The shows in exaggerated form, with critical comment written in a satirical vein. The large theatrical pictures drawn by Robida mainly appeared in the first three years. They were revived in 1897 when the journal was under new management, now drawn by Maurice Radiguet. The work of young artists such as Ferdinand Bac , Caran d'Ache and Louis Morin was published in La Caricature . The cartoonist Draner (Jules Jean Georges Renard; 1833–1926) contributed illustrations, including most of

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572-484: The son of a carpenter. He studied to become a notary, but was more interested in caricature. In 1866 he joined Journal amusant as an illustrator. In 1880, with Georges Decaux , he founded his own magazine La Caricature , which he edited for 12 years. He illustrated tourist guides, works of popular history, and literary classics. His fame disappeared after World War I . Robida and his wife Marguerite (née Noiret) had seven children, three of which made contributions to

598-441: Was a flat screen television display that delivered the latest news 24-hours a day, the latest plays, courses, and teleconferences. Robida illustrated two works by Pierre Giffard : La Caricature (1880%E2%80%931904) La Caricature was published weekly between 1880 and 1904, first by Librairie illustrée, then by Eugene Kolb and finally by Fayard frères. The founding editor was Albert Robida (1848–1926). The new journal had

624-686: Was a president of the Touring Club de France . École primaire Albert Robida, a school in his native Compiègne, is named in his honor. Albert Robida was rediscovered thanks to his trilogy of futuristic works: These works drew comparison with Jules Verne . Unlike Verne, he proposed inventions integrated into everyday life, not creations of mad scientists, and he imagined the social developments that arose from them, often with accuracy: social advancement of women, mass tourism, pollution, etc. His La Guerre au vingtième siècle describes modern warfare, with robotic missiles and poison gas. His Téléphonoscope

650-518: Was devoted to La Guerre au vingtième siècle ( War in the 20th Century ). It shows a war fought in 1975 between Australia and Mozambique using every possible weapon. Robida borrowed ideas from Jules Verne . Unlike Verne he was unconcerned with whether his machines could really work, purely interested in the image. In other futuristic illustrated stories Robida depicted many grotesque types of mechanical transport, including submarine pleasure boats, as well as television news, video phones, excursions to

676-525: Was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it was managed by the Société des Artistes Français . In 1667, the royally sanctioned French institution of art patronage,

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