Salon des Refusés (exhibition of rejects) in 1863, marks the gradual acceptance of more avant-garde artistic movements and a rebellion against the traditional, academic authority of the Paris Salon. Funded by the french government, following the refusal of over 3000 works by the Salon, the new exhibiting space next to the Salon was an acknowledgement that the academies were not the sole decision makers with regards to fine art. This support of the artists allowed artistic freedom the chance to flourish, artists could begin to question, experiment and develop in ways that had previously been stifled, due to the fear of rejection from the Salon.The opening of the
Édouard Manet's Le déjeuner sur l'herbe (1862-3) was the most notable work of the first exhibition at the Salon des Refusés, having been rejected due to its shocking portrayal of large scale, unabashed nudes in a far from classical setting. Manet was pushing the boundaries, questioning the hypocritical standards of taste and decency of the time and taking a forthright step towards making artists bold commentators. Artists could begin to push boundaries and explore different possibilities with regards to style and subject, meaning that more diverse, artist led movements could begin to flourish.