# Women in the Garden is refused by the 1867 Salon, a public official-gate against a large outdoor figure picture

Date: 1867

## The fact

The 1867 refusal of Women in the Garden is the dated official-gate instrument. [Claude Monet](/people/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. Do not merge with 1865 acceptances. 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. Bazille later bought it as received support. 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. Unnamed clerks, soldiers, printers, or later editors may appear without becoming this instrument. 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. Shared offices, unnamed crews, printers, or later editors may appear without becoming this instrument. Driver [political-polarization](/drivers/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.

## Evidence and sources

Orsay, which holds the picture, and Britannica independently record the 1867 refusal. Official: Musée d’Orsay — Claude Monet (https://www.musee-orsay.fr/en; Musée d’Orsay). Independent: Britannica — Claude Monet (https://www.britannica.com/biography/Claude-Monet; 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; Musée d’Orsay). Independent carrier: Britannica — Claude Monet (https://www.britannica.com/biography/Claude-Monet; Encyclopaedia Britannica).

Official or archival record: Musée d’Orsay — Claude Monet (https://www.musee-orsay.fr/en; Musée d’Orsay).

## Significance

Official exclusion. Welfare reading worsening. The attached mechanism is A Salon refusal of a large modern figure-outdoor is a polarisation-and-access-cost path. 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. Do not merge with 1865 acceptances. 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.

## What is established and what is not

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. 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.

The attached driver is political-polarization. The welfare reading used in this dossier is worsening. 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.

## People

- Claude Monet: https://factrail.ai/people/claude-monet

## Drivers

- Political Polarization: https://factrail.ai/drivers/political-polarization

## Sources

- https://www.britannica.com/biography/Claude-Monet
- https://www.musee-orsay.fr/en

## Methodology

https://factrail.ai/methodology

Canonical: https://factrail.ai/facts/mon-women-garden-1867