Art Salon - Painting

4 – 25 May 2012

The exhibition Art Salon – Painting originated on the basis of an open call to artists and the wider public Exhibit your Work in DOX!
The open call attracted 535 entrants with 1132 works, which were exhibited at 1 000m2 of exhibition space.
The voting for the best exhibited work progressed at:
Formally, the total winner is Teodor Buzu, who gained 5 votes in the exhibition and 2411 votes on Facebook. Congratulations to the effective use of social media!
The prize for the highest count of votes given by the DOX visitors goes to Patrik Hábl, who collected 252 votes in the exhibiton and 609 votes on FB. He became the only participant of Art salon who placed amongst the first twenty both on FB and in the exhibition (where he gained the first place).
The final amount of votes was 2670 in the exhibition and 16 318 on Facebook. The summary sheet can be downloaded as the pdf file in three versions - sequenced by the authors' surnames, the number of votes in the exhibition and the number of votes on Facebook.
Thank you for your votes!
The beginnings of art salons date back to the second half of the 17th century in France at exhibitions held under the royal patronage of the Académie royale de peinture et de sculpture. The salon was an official exhibition of the French Academy of Fine Arts in Paris (Académie des beaux-arts) and its influence on the development of exhibition practice and art criticism is seen as entirely fundamental: the Paris salons were the first ever public exhibitions of fine art. From the second half of the 18th century until 1890, the Paris salon was the largest artistic exhibition in the Western world, and its influence on the reputation of the artist and the style of his work was absolutely fundamental. Until the first half of the 18th century exclusively members of the French Academy had the opportunity to exhibit within the context of the salon, and until the French revolution this was the preserve of only French artists, however eventually the rules were relaxed and the salons were made available to other artists, the selection of whom was nevertheless still subject to a professional panel composed of key representatives of the Paris Academy. At the beginning of the 19th century the Paris Salon enjoyed its greatest heyday and its influence on European art reached its peak, but the conservative constitution of the academic panel laid the foundations for its gradual decline. The failure to understand new directions such as realism and impressionism led to the establishment of a “Salon of the Rejected” (Salon des refuses) in 1863, and of the Salon of the Independents (Salon des indépendants) in 1884, which can be regarded as the cradle of 
modern art. 
The exhibition in its conception of installation of paintings in several rows above one another links back to the installation of the Paris salons. The principle of open entry however rather recalls the Salon of the Independents, which coined the phrase “no panel, no prizes”. The exhibition show more than 1000 paintings. The exhibited works are not subject to the selection of
a commission or any other classification or hierarchy. Art Salon is
a democratic arena, an arena for public participation and criticism.