本研究旨在透過魯奧（Georges Rouault,1871~1958）因競賽引發的事件，探討巴黎美術學院（École des Beaux-Arts de Paris）與十九世紀末現代藝術可能的關係。特別是從魯奧1894年的歇納瓦獎（Prix Chenavard）競賽作品，評審不公引發部份學生的抗議，以及參加1895年羅馬獎（Prix de Rome）造成的混亂事件。除此之外，從競賽作品參加官方沙龍展的評論，透過文獻分析可以發現，事件影響魯奧日後的創作甚深。魯奧在牟侯（Gustave Moreau,1826~1898）去逝之後，學院透過官方沙龍將他除名，爾後離開美術學院與官方沙龍，且迫使他放棄學院藝術轉向新的創作方式。

The purpose of this paper is to explore the possible relationships between École des Beaux-Arts de Paris and modern art at the end of the nineteenth century, through a series of championship developments triggered by Georges Rouault. This calls for attention to his conquest of Prix Chenavard in 1894, the unfair treatment of the juries that led to the protests from some of the students, and the pandemonium caused by Rouault’s attempt to win Prix de Rome in 1895. Furthermore, a review on the analysis of the commentaries made on Salon entries brought to light that these incidents indeed had a profound impact on Rouault's impending creation. Upon the death of Gustave Moreau, the Academy, who through the official delisting of Salon, manipulated Rouault’s withdrawal from École des Beaux-Arts de Paris. Though coerced into discontinuing his pursuit of the academic art, Rouault nonetheless found himself redirected and paved his way towards new methods of creation.