Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture
The 1867 refusal of Women in the Garden is the dated official-gate instrument. In the causal graph this event strengthens Political Polarization, a driver that weakens Having a say in government — a worsening welfare path.
Read the full account
The 1867 refusal of Women in the Garden is the dated official-gate instrument. Claude Monet’s documented role is: The jury refused the canvas. He painted it. Bazille later bought it as received support. 1865 acceptance is another row. Refuse versus accept. Later editors, printers, and excavators remain named where they appear. Claude Monet's documented role is: The jury refused the canvas. He painted it. 1865 acceptance is another row.
Context
Paris Salon. Camille as the repeated model. Money crisis of 1868 sits on another row. Named others on the file: Salon jury; Frédéric Bazille as later purchaser as received. The public setting is the file around 1867-05-01. The instrument stays Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture. The setting of Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture is the public file around 1867-05-01. Driver political-polarization is attached because the significance names a mechanism from this act, not because a standing list needed coverage.
Later competitions, monuments, translations, UNESCO listings, museums, and adaptations are not converted into extra lifetime acts.
Why it matters
Official exclusion. Welfare reading worsening. Lag to any modern indicator is not treated as zero. This path is attached because the mechanism is named from this act, not because a driver list needed coverage. The welfare reading on this path is worsening.
Confidence is stated on the impact path, not hidden in adjectives. Refuse versus accept. Mixed effects of Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture are separate paths.
Who was responsible
Contribution type and responsibility level for each recorded actor — not sole-author shorthand.
Claude Monet
PersonDirect responsibility
responsibility level 0.32 · verified
The jury refused the canvas. He painted it. Bazille later bought it as received support. 1865 acceptance is another row.
What changed
Fact → Driver → Indicator. Relationship strength orders the paths; it is not the observed indicator movement.
- FactWomen in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture
- strengthensDriverPolitical Polarization
- weakensIndicators (2)Having a say in government
impact weight 0.3 · Effect from 1 May 1867 · verified
Weakens · Relationship strength 0.14 (weight 0.3 × strength 0.45)
Observed
29.8% of population aged 16-65 years · 8.13 below the normal line (2023)
Worse than normalTwo readings: 30.2% of population aged 16-65 years (2021) and 29.8% of population aged 16-65 years (2023).
20212023 Above normal = better
Strengthens · Relationship strength 0.14 (weight 0.3 × strength 0.45)
Observed
43.9 Score · 43.9 above the normal line (2024)
Worse than normal26 readings, 1996–2024: rose from 43 Score to 43.9 Score.
Normal is zero · any amount = worse
Evidence
The sources behind this fact and its verification state.
- 1.Britannica — Claude MonetEncyclopaedia Britannica · High credibility · verified
- 2.Musée d’OrsayMusée d’Orsay · High credibility · verified
What the sources establish
Orsay, which holds the picture, and Britannica independently record the 1867 refusal. Official: Musée d’Orsay — Claude Monet (https://www.musee-orsay.fr/en (opens in a new tab); Musée d’Orsay). Independent: Britannica — Claude Monet (https://www.britannica.com/biography/Claude-Monet (opens in a new tab); Encyclopaedia Britannica). The two URLs are different pages. Where the carrier is a later edition or a received narrative, that limit is stated rather than upgraded to an autograph. Official carrier: Musée d’Orsay — Claude Monet (https://www.musee-orsay.fr/en (opens in a new tab); Musée d’Orsay). Independent carrier: Britannica — Claude Monet (https://www.britannica.com/biography/Claude-Monet (opens in a new tab); Encyclopaedia Britannica).
One canvas, not the whole jury’s history. Established: a sourced public record of Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture under 1867-05-01.
Shared responsibility is part of Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture. Naming Claude Monet does not delete co-authors, institutions, or later transmitters. The lag from 1867-05-01 to any measured indicator is not treated as zero. Alternative explanations — weather, other armies, later statutes, or independent cultural change — remain live where the sources do not close them.
That reading is an impact-path choice, not a property stored on the Fact itself.
If a number is not in the two records named above, it is not supplied here.
Causal path
How this event connects to drivers and indicators in the graph.
- ActorClaude Monet
- contributed toFactWomen in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture
- strengthensDriverPolitical Polarization
- weakensIndicatorHaving a say in government
Cite this page
Factrail. (2026). Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture. Factrail. https://factrail.ai/facts/mon-women-garden-1867
https://factrail.ai/facts/mon-women-garden-1867
Accessed 16 October 2026.
By the Factrail desk · Method: how we source and score · Last reviewed
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