What is a “salon hang,” and what is its relevance in our art culture today? These are questions raised by our current one-gallery installation of Samuel F. B. Morse’s Gallery of the Louvre (1831–33). On the opposite wall from Morse’s painting, which measures seven by nine feet, Maggie Adler, the curator of the space, has displayed a number of related works from our collection in a salon-style hang.
Amon Carter curator Maggie Adler did a salon hang from the collection to coincide with the display of Morse’s painting in the same gallery
A salon-style hang places pictures in groups of different sizes where the works are placed alongside, above, and below each other. The historical narrative is that during the late nineteenth century in France, the idea of hanging art differently became the fashion. The salon hang became the established pattern at the annual Paris Salon, and it suggested a hierarchy. Works by artists of importance were hung lower on the wall, while those by less important artists were hung higher.
While the artists known as the Impressionists recognized the importance of being shown in the annual Salon in order to be validated, they chose a different way to display their art. For them, art was not about “reputation” but rather about “seeing,” and so rather than stacking the art to the ceiling, they hung their works along the same linear line, all on the same level, giving each work ample space to be seen and understood.
Many art historians believe that this action and others by Cassatt, Degas, Pissarro, and the rest of the Impressionists changed the modern art world across the globe. It certainly changed the way art is hung institutionally. Still today, rarely do we see works of art hung in a museum as they are displayed in Morse’s painting. But there seems to be a discernible shift taking place; an Internet search of “salon style hang” offers up plenty of evidence of a trend toward salon hanging, which allows individuals and collectors to maximize their wall space for the display of art. I have also noticed a similar shift in the galleries of living artists, particularly those working outside the art world’s heavily networked centers.
Salon-style hanging allows individuals and collectors to maximize their wall space for the display of art
Does the salon-style hang in this day actually invert the historical sense of hierarchy present in the nineteenth century? Where artists in a community might come from multiple backgrounds, trained and untrained, the salon style captures a consciousness that is open and inviting. As an artist friend of mine shared recently: “Stand close to just one piece; step back, and with the works around it, the piece becomes part of a collection; one more step back reveals the collective consciousness of the artists of our times and how they are expressing themselves! The entire wall becomes a piece of art.”