September Morn: Difference between revisions
Crisco 1492 (talk | contribs) →Reception: ce. |
Crisco 1492 (talk | contribs) met's catalogue and ''yet another version' |
||
Line 33: | Line 33: | ||
''September Morn'' depicts a young blond woman, apparently self-conscious, "innocent and reluctant as she is about to inch her way into a chilly lake".{{sfn|Hughes|1957|p=15}} She stands, facing away from the light, ankle deep in the water along the shoreline of a tranquil lake surrounded by hills.{{sfn|Tr.L|1912|p=465}} Her arms are folded about her body, her left hand on her right elbow.{{sfn|Pattison|1913|p=243}} This pose has been interpreted as an attempt to protect herself from the cold,{{sfn|Tr.L|1912|p=465}} as an effort to cover her modesty,{{sfn|San Francisco Call 1913}} or as sponge bathing.{{Sfn|Shteir|2004|p=59}} |
''September Morn'' depicts a young blond woman, apparently self-conscious, "innocent and reluctant as she is about to inch her way into a chilly lake".{{sfn|Hughes|1957|p=15}} She stands, facing away from the light, ankle deep in the water along the shoreline of a tranquil lake surrounded by hills.{{sfn|Tr.L|1912|p=465}} Her arms are folded about her body, her left hand on her right elbow.{{sfn|Pattison|1913|p=243}} This pose has been interpreted as an attempt to protect herself from the cold,{{sfn|Tr.L|1912|p=465}} as an effort to cover her modesty,{{sfn|San Francisco Call 1913}} or as sponge bathing.{{Sfn|Shteir|2004|p=59}} |
||
The painting is dominated by grays: the gray of the woman's shaded body, the blue-grays of the September water, the green-grays of the sky, and the pink-grays of the hills.{{sfn|Tr.L|1912|p=465}}{{sfn|Pattison|1913|p=243}} This [[oil painting]] on canvas measures {{convert|163.8|x|216.5|cm}} |
The painting is dominated by grays: the gray of the woman's shaded body, the blue-grays of the September water, the green-grays of the sky, and the pink-grays of the hills.{{sfn|Tr.L|1912|p=465}}{{sfn|Pattison|1913|p=243}} This [[oil painting]] on canvas measures {{convert|163.8|x|216.5|cm}},{{sfn|MET, September Morn}} and Chabas' signature is located in the lower left.{{sfn|Sterling|Salinger|1966|pp=222–223}} |
||
The age of the subject has been discussed. Chabas said that the model was 16 when she posed for him.{{sfn|Monfried|1971|p=9}} Fae Brauer, discussing the painting within the context of [[Child pornography|indecent images of children]], gives the subject's age at 11 to 13. She finds that Chabas deploys "specious body-concealing gestures" in the painting.{{sfn|Brauer|2011}} |
The age of the subject has been discussed. Chabas said that the model was 16 when she posed for him.{{sfn|Monfried|1971|p=9}} Fae Brauer, discussing the painting within the context of [[Child pornography|indecent images of children]], gives the subject's age at 11 to 13. She finds that Chabas deploys "specious body-concealing gestures" in the painting.{{sfn|Brauer|2011}} |
||
Line 58: | Line 58: | ||
}} |
}} |
||
In 1937, the Parisian hostess Suzanne Delve declared that she had been the model. In her version of events, Chabas – who she said had known her since she was an infant – had her pose nude in his studio and then later painted Lake Annecy without her. Delve described her nervousness at the first session, her mother chatting to her to distract her mind while Chabas' wife played soothing music on the piano. She said she took her pose "instinctively" and that the controversy over the painting had ruined her life, as no Frenchman would want to marry a woman marred by scandal.{{sfn|Salt Lake Tribune 1937}} |
In 1937, the Parisian hostess Suzanne Delve declared that she had been the model. In her version of events, Chabas – who she said had known her since she was an infant – had her pose nude in his studio and then later painted Lake Annecy without her. Delve described her nervousness at the first session, her mother chatting to her to distract her mind while Chabas' wife played soothing music on the piano. She said she took her pose "instinctively" and that the controversy over the painting had ruined her life, as no Frenchman would want to marry a woman marred by scandal.{{sfn|Salt Lake Tribune 1937}} |
||
Yet another version is presented by the [[Metropolitan Museum of Art]] (MET), which holds the painting, in their 1966 catalogue of French holdings. According to this telling, Chabas completed the portrait over three summers at Lake Annecy. However, his peasant model served only as the basis for the figure's body. The head was based on a sketch of a young American, Julie Phillips, which Chabas had completed upon observing her and her mother dining in Paris; finding her profile to his liking, he silently drew her, then introduced himself and "apologized for his presumption".{{sfn|Sterling|Salinger|1966|pp=222–223}} |
|||
==History== |
==History== |
||
Line 63: | Line 65: | ||
Chabas first exhibited ''September Morn'' in the Paris Salon of 1912, where it won the grand prize but created no controversy.{{sfn|Green|Karolides|2009|p=506}}{{sfn|Pattison|1913|p=244}} Not planning on selling the painting, Chabas gave a price of $10,000 – more than he expected anybody to pay.{{sfn|Oakland Tribune 1914}} Soon after the Salon, the painting was reprinted in ''[[Town & Country (magazine)|Town & Country]]''.{{sfn|Green|Karolides|2009|p=506}} |
Chabas first exhibited ''September Morn'' in the Paris Salon of 1912, where it won the grand prize but created no controversy.{{sfn|Green|Karolides|2009|p=506}}{{sfn|Pattison|1913|p=244}} Not planning on selling the painting, Chabas gave a price of $10,000 – more than he expected anybody to pay.{{sfn|Oakland Tribune 1914}} Soon after the Salon, the painting was reprinted in ''[[Town & Country (magazine)|Town & Country]]''.{{sfn|Green|Karolides|2009|p=506}} |
||
Sources are unclear as to the provenance of the painting after the Salon. The |
Sources are unclear as to the provenance of the painting after the Salon. The MET writes that a New Yorker named Philip (or Philippe) Ortiz had purchased the painting in late 1912.{{sfn|MET, September Morn}} Ortiz owned the Holland House Bar, and reportedly paid 12,000 francs ($2,400) for the work. A 1933 report in the ''[[Times Herald-Record|Middletown Times Herald]]'' stated that Ortiz had never brought the painting back to the United States, as his bar had already closed.{{sfn|Middletown Times Herald 1933}} According to the MET, the painting was later acquired by Leon Mantashev in 1913.{{sfn|MET, September Morn}} |
||
A 1935 article in the ''[[Montreal Gazette]]'', however, stated that the painting had yet to go to the United States, and that Chabas had sold ''September Morn'' directly to Mantashev.{{sfn|The Montreal Gazette 1935}} Chabas explained that an American had approached him to purchase the painting, but was unwilling to pay the asking price, and as such the sale was automatically forfeit; Mantashev, however, was willing to pay.{{sfn|Oakland Tribune 1914}} It is clear, however, that reproductions of ''September Morn'' had crossed the Atlantic by 1913.{{sfn|The Montreal Gazette 1935}} |
A 1935 article in the ''[[Montreal Gazette]]'', however, stated that the painting had yet to go to the United States, and that Chabas had sold ''September Morn'' directly to Mantashev.{{sfn|The Montreal Gazette 1935}} Chabas explained that an American had approached him to purchase the painting, but was unwilling to pay the asking price, and as such the sale was automatically forfeit; Mantashev, however, was willing to pay.{{sfn|Oakland Tribune 1914}} It is clear, however, that reproductions of ''September Morn'' had crossed the Atlantic by 1913.{{sfn|The Montreal Gazette 1935}} |
||
Line 153: | Line 155: | ||
The oil baron Leon Mantashev{{efn|Also Mantacheff {{harv|MET, September Morn}}. The son of Armenian oil magnate [[Alexander Mantashev]], Leon was known for his extravagant lifestyle. Robert W. Tolf, in his history of the Russian oil industry, describes him as "Russia's greatest gambler, a collector of paintings, race horses, and beautiful women" {{harv|Tolf|1976|p=100}}.}} acquired ''September Morn'' in {{circa}} 1913, for a price of $10,000.{{sfn|Monfried|1971|p=9}} He brought it with him to Russia, and after the outbreak of the [[October Revolution]] it was feared destroyed;{{sfn|Toledo Blade 1957}} after Mantashev fled Russia, pieces of his sizeable collection considered to have artistic value were sent to museums, but there was no information regarding works such as ''September Morn'',{{sfn|The Milwaukee Journal 1933}} such that in the United States, some copies of the painting were claimed to be the original.{{sfn|The Montreal Gazette 1935}} By 1933 Chabas was seeking information regarding the painting's fate, which ''[[The Milwaukee Journal]]'' suggested to be "hanging in some crowded Russian room, its owner perhaps completely ignorant of its world fame".{{sfn|The Milwaukee Journal 1933}} |
The oil baron Leon Mantashev{{efn|Also Mantacheff {{harv|MET, September Morn}}. The son of Armenian oil magnate [[Alexander Mantashev]], Leon was known for his extravagant lifestyle. Robert W. Tolf, in his history of the Russian oil industry, describes him as "Russia's greatest gambler, a collector of paintings, race horses, and beautiful women" {{harv|Tolf|1976|p=100}}.}} acquired ''September Morn'' in {{circa}} 1913, for a price of $10,000.{{sfn|Monfried|1971|p=9}} He brought it with him to Russia, and after the outbreak of the [[October Revolution]] it was feared destroyed;{{sfn|Toledo Blade 1957}} after Mantashev fled Russia, pieces of his sizeable collection considered to have artistic value were sent to museums, but there was no information regarding works such as ''September Morn'',{{sfn|The Milwaukee Journal 1933}} such that in the United States, some copies of the painting were claimed to be the original.{{sfn|The Montreal Gazette 1935}} By 1933 Chabas was seeking information regarding the painting's fate, which ''[[The Milwaukee Journal]]'' suggested to be "hanging in some crowded Russian room, its owner perhaps completely ignorant of its world fame".{{sfn|The Milwaukee Journal 1933}} |
||
However, the painting was safe; Mantashev had smuggled it out of the country,{{Sfn|The Milwaukee Journal 1937}} reportedly "rip[ping] it out of it frame" when the revolution broke out.{{sfn|The Montreal Gazette 1935}} In the early 1930s, in desperate need of funds, he sold ''September Morn'' to [[Armenians|Armenian]] art collector and philanthropist [[Calouste Gulbenkian]] for $30,000;{{efn|The MET gives 1931 {{harv|MET, September Morn}} while a 1935 ''Montreal Gazette'' article states that the sale happened the preceding year {{harv|The Montreal Gazette 1935}}}}{{sfn|MET, September Morn}} it was the last painting he owned.{{sfn|Levine|2007|p=48}} A [[United Press]] reporter discovered the painting in Gulbenkian's Paris home in 1935,{{sfn|The Montreal Gazette 1935}}{{sfn|The Berkshire County Eagle 1957}} and by 1937 ''September Morn'' was on display in the [[Musée du Luxembourg]], hung between a Raefelli and a Carriere.{{Sfn|The Milwaukee Journal 1937}} After Gulbenkian's death in 1955, the painting was acquired by Wildenstein & Company.{{sfn|MET, September Morn}} |
However, the painting was safe; Mantashev had smuggled it out of the country,{{Sfn|The Milwaukee Journal 1937}} reportedly "rip[ping] it out of it frame" when the revolution broke out.{{sfn|The Montreal Gazette 1935}} In the early 1930s, in desperate need of funds, he sold ''September Morn'' to [[Armenians|Armenian]] art collector and philanthropist [[Calouste Gulbenkian]] for $30,000;{{efn|The MET gives 1931 {{harv|MET, September Morn}} while a 1935 ''Montreal Gazette'' article states that the sale happened the preceding year {{harv|The Montreal Gazette 1935}}}}{{sfn|MET, September Morn}} it was the last painting he owned.{{sfn|Levine|2007|p=48}} A [[United Press]] reporter discovered the painting, which was framed as a [[tondo (art)|tondo]], in Gulbenkian's Paris home in 1935,{{sfn|Sterling|Salinger|1966|pp=222–223}}{{sfn|The Montreal Gazette 1935}}{{sfn|The Berkshire County Eagle 1957}} and by 1937 ''September Morn'' was on display in the [[Musée du Luxembourg]], hung between a Raefelli and a Carriere.{{Sfn|The Milwaukee Journal 1937}} After Gulbenkian's death in 1955, the painting was acquired by Wildenstein & Company.{{sfn|MET, September Morn}} |
||
===Acquisition by the MET=== |
===Acquisition by the MET=== |
||
Line 161: | Line 163: | ||
After acquisition, the painting was displayed near the MET's front entrance, taking a place previously occupied by the Pérussis Altarpiece.{{sfn|Toledo Blade 1957}} Hughes reported a "veritable pilgrimage" of visitors to see the painting, which she considered to add a "fresh, popular appeal" to the MET which had drawn museum-goers who would never have come otherwise.{{sfn|Hughes|1957|p=15}} By then, however, the earlier scandal of the model's nudity had lessened;{{sfn|Hughes|1957|p=15}} discussing an exhibit of the painting in [[Toledo, Ohio|Toledo]], Alan Schoedel of the ''[[Toledo Blade]]'' quoted a viewer as saying that 1950s America was so inundated with racy calendar art that the painting "couldn't stand the competition".{{sfn|Schoedel|1958|p=1}} |
After acquisition, the painting was displayed near the MET's front entrance, taking a place previously occupied by the Pérussis Altarpiece.{{sfn|Toledo Blade 1957}} Hughes reported a "veritable pilgrimage" of visitors to see the painting, which she considered to add a "fresh, popular appeal" to the MET which had drawn museum-goers who would never have come otherwise.{{sfn|Hughes|1957|p=15}} By then, however, the earlier scandal of the model's nudity had lessened;{{sfn|Hughes|1957|p=15}} discussing an exhibit of the painting in [[Toledo, Ohio|Toledo]], Alan Schoedel of the ''[[Toledo Blade]]'' quoted a viewer as saying that 1950s America was so inundated with racy calendar art that the painting "couldn't stand the competition".{{sfn|Schoedel|1958|p=1}} |
||
After ''September Morn'' was acquired by the MET, it was displayed at several venues, including the [[Legion of Honor (museum)|Palace of the Legion of Honor]] in [[San Francisco]] in 1958, the [[Toledo Museum of Art]] in [[Toledo, Ohio]] (also 1958), and by the Municipal Art Commission of [[Los Angeles]] in 1959.{{sfn|MET, September Morn}} In 1971, the MET took ''September Morn'' off display and sent it to storage; Walter Monfried of ''The Milwaukee Journal'' wrote that the once-racy painting was now considered "too tame and banal".{{sfn|Monfried|1971|p=9}} {{As of|September 2014}}, it is not on display.{{sfn|MET, September Morn}} |
After ''September Morn'' was acquired by the MET, it was displayed at several venues, including the [[Legion of Honor (museum)|Palace of the Legion of Honor]] in [[San Francisco]] in 1958, the [[Toledo Museum of Art]] in [[Toledo, Ohio]] (also 1958), and by the Municipal Art Commission of [[Los Angeles]] in 1959.{{sfn|MET, September Morn}} Six years later it was exhibited at the [[Legion of Honor (museum)|The California Palace of the Legion of Honor]] as part of an exhibition of works collected by the Wrights.{{sfn|Sterling|Salinger|1966|pp=222–223}} In 1971, the MET took ''September Morn'' off display and sent it to storage; Walter Monfried of ''The Milwaukee Journal'' wrote that the once-racy painting was now considered "too tame and banal".{{sfn|Monfried|1971|p=9}} {{As of|September 2014}}, it is not on display.{{sfn|MET, September Morn}} |
||
==Reception== |
==Reception== |
||
Line 728: | Line 730: | ||
|url=http://books.google.co.id/books?id=vPwVfOUWAe0C |
|url=http://books.google.co.id/books?id=vPwVfOUWAe0C |
||
|isbn=978-0-19-802935-9 |
|isbn=978-0-19-802935-9 |
||
}} |
|||
*{{Cite book |
|||
|title=French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art |
|||
|last1=Sterling |
|||
|volume=2 |
|||
|first1=Charles |
|||
|last2=Salinger |
|||
|first2=Margaretta |
|||
|url=http:www.metmuseum.org/research/metpublications/French_Paintings_A_Catalogue_of_the_Collection_of_The_Metropolitan_Museum_of_Art_Vol_2_Nineteenth# |
|||
|publisher= New York Graphic Society |
|||
|year=1966 |
|||
|oclc=231879699 |
|||
|ref=harv |
|||
}} |
}} |
||
*{{Cite journal |
*{{Cite journal |
Revision as of 07:50, 20 September 2014
September Morn | |
---|---|
![]() | |
Artist | Paul Émile Chabas |
Year | 1912 |
Type | Oil on canvas |
Dimensions | 163.8 cm × 216.5 cm (64.5 in × 85.2 in) |
Location | Metropolitan Museum of Art, New York |
Accession | 57.89 |
Matinée de Septembre (English: September Morn) is an oil painting on canvas by the French artist Paul Émile Chabas. Painted over three summers ending in 1912, it depicts a nude young woman standing in the shallow water of a lake, apparently protecting herself from the cold. The painting features an unknown model, and is in a similar style to Chabas' other work. He later described it as "all I know of painting", and responded positively to statements that it was his masterpiece.
Reproductions of September Morn, first exhibited at the Paris Salon in 1912, had begun circulating in the United States by 1913. After displays of the painting were met with charges of indecency and extensive polemics in the media, the work began to be marketed in a variety of forms, including on pins and calendars. Eventually some 7 million reproductions were sold, although Chabas – who had not copyrighted September Morn – did not receive any royalties.
The original painting, meanwhile, was sold to a Russian oil baron for $10,000. Thought lost during the October Revolution of 1917, September Morn resurfaced in the 1930s in the collection of Calouste Gulbenkian. After his death, the painting was sold in 1955 to a Philadelphia broker, who donated it to the Metropolitan Museum of Art (MET) two years later. In 1971, after having been displayed at the MET and several other American institutions, the painting was put into storage. As of 2014[update] it is not on display.
Description
September Morn depicts a young blond woman, apparently self-conscious, "innocent and reluctant as she is about to inch her way into a chilly lake".[1] She stands, facing away from the light, ankle deep in the water along the shoreline of a tranquil lake surrounded by hills.[2] Her arms are folded about her body, her left hand on her right elbow.[3] This pose has been interpreted as an attempt to protect herself from the cold,[2] as an effort to cover her modesty,[4] or as sponge bathing.[5]
The painting is dominated by grays: the gray of the woman's shaded body, the blue-grays of the September water, the green-grays of the sky, and the pink-grays of the hills.[2][3] This oil painting on canvas measures 163.8 by 216.5 centimetres (64.5 in × 85.2 in),[6] and Chabas' signature is located in the lower left.[7]
The age of the subject has been discussed. Chabas said that the model was 16 when she posed for him.[8] Fae Brauer, discussing the painting within the context of indecent images of children, gives the subject's age at 11 to 13. She finds that Chabas deploys "specious body-concealing gestures" in the painting.[9]
Creation; identity of model
![](http://upload.wikimedia.org/wikipedia/en/thumb/0/0b/Portrait_of_Paul_%C3%89mile_Chabas.jpg/220px-Portrait_of_Paul_%C3%89mile_Chabas.jpg)
By the time he painted September Morn, Paul Émile Chabas (1869–1937) already had an established career. He had won the Prix National at the 1899 Paris Salon with his Joyeux Ébats, and in 1902 he was made a Chevalier in the Legion of Honour.[a][10][11] Most of his output consisted of nude girls and women, many bathing and in a similar style to September Morn, although he also painted portraits of queens, princesses, and American society women.[11][12][2] The pose assumed by the model in September Morn was similar to the one taken by the model of Au crépuscule (At Twilight), which he completed c. 1905; a 1913 Milwaukee Sentinel article described the only difference being that the girl in Au crépuscule had long, straight hair, and that she clasped her right elbow with her left hand.[13][14]
There are several versions of how September Morn was completed. According to Chabas, he began work on September Morn in mid-1910, at Talloires on the shores of Lake Annecy in Haute-Savoie.[8][15] The model, whom he never identified but referred to as "Marthe", was well known to his family. Owing to the financial siatuation of the the young woman's family, "Marthe" had to work to support her mother.[16] On the first day of painting, "Marthe" entered the morning water and instinctively recoiled at its chilliness. Chabas approved of this pose, saying that it was "perfect". Over the next three summers he worked on the painting, half an hour a day. The work was ultimately completed on a September morning in 1912, giving the painting its name.[8] In 1937 Chabas explained that "Marthe" had since married a rich industrialist and had three children.[8]
Numerous women have claimed or been claimed to be the model, some presenting different versions of events. In 1913, a Miss Louise Buckley, performing in Eugene, Oregon, claimed to have been the model, stating that she had been paid $1,000 and posed in the artist's studio.[17] Other claimants included a Swedish model named Gloria[18] and a variety actress named Irene Shannon;[19] the latter made the claim in the lead-up to a vaudeville skit called "November Mourning".[20]
In 1937, the Parisian hostess Suzanne Delve declared that she had been the model. In her version of events, Chabas – who she said had known her since she was an infant – had her pose nude in his studio and then later painted Lake Annecy without her. Delve described her nervousness at the first session, her mother chatting to her to distract her mind while Chabas' wife played soothing music on the piano. She said she took her pose "instinctively" and that the controversy over the painting had ruined her life, as no Frenchman would want to marry a woman marred by scandal.[21]
Yet another version is presented by the Metropolitan Museum of Art (MET), which holds the painting, in their 1966 catalogue of French holdings. According to this telling, Chabas completed the portrait over three summers at Lake Annecy. However, his peasant model served only as the basis for the figure's body. The head was based on a sketch of a young American, Julie Phillips, which Chabas had completed upon observing her and her mother dining in Paris; finding her profile to his liking, he silently drew her, then introduced himself and "apologized for his presumption".[7]
History
Paris Salon and first sale
Chabas first exhibited September Morn in the Paris Salon of 1912, where it won the grand prize but created no controversy.[22][23] Not planning on selling the painting, Chabas gave a price of $10,000 – more than he expected anybody to pay.[24] Soon after the Salon, the painting was reprinted in Town & Country.[22]
Sources are unclear as to the provenance of the painting after the Salon. The MET writes that a New Yorker named Philip (or Philippe) Ortiz had purchased the painting in late 1912.[6] Ortiz owned the Holland House Bar, and reportedly paid 12,000 francs ($2,400) for the work. A 1933 report in the Middletown Times Herald stated that Ortiz had never brought the painting back to the United States, as his bar had already closed.[25] According to the MET, the painting was later acquired by Leon Mantashev in 1913.[6]
A 1935 article in the Montreal Gazette, however, stated that the painting had yet to go to the United States, and that Chabas had sold September Morn directly to Mantashev.[26] Chabas explained that an American had approached him to purchase the painting, but was unwilling to pay the asking price, and as such the sale was automatically forfeit; Mantashev, however, was willing to pay.[24] It is clear, however, that reproductions of September Morn had crossed the Atlantic by 1913.[26]
Controversy and popularity
Chicago
A full size reproduction of September Morn was displayed in a window of Jackson and Semmelmeyer, a photography shop in Chicago, Illinois, in March 1913.[b][22] A passing police officer noticed the print and insisted that it was indecent and had to be taken down.[c] The mayor of the city, Carter Harrison, Jr., agreed with the policeman's decision, stating that the image could be sold, but should not be displayed in public as children could see it.[23] Fred Jackson, the owner of the gallery, was charged with indecency,[27][28] and upon his request the case was brought to trial on March 18.[29]
In front of a jury, the city's art censor Jeremiah O'Connor argued that September Morn was lewd and thus should not be displayed in public, but rather only in a museum exhibition.[d] W. W. Hallam of the Chicago Vice Committee agreed, arguing that, as the woman was clearly committing the illegal act of bathing in public, September Morn had to be banned.[22][30] Other witnesses for the prosecution included censors, educators, and clergy, such as superintendent Ella Flagg Young and head of the Juvenile Protective Association Gertrude Howe Britton.[28][30][31]
Jackson, acting as his own lawyer, highlighted the hypocrisy of censoring the painting while a nude statue of Diana could be found in front of the Montgomery Ward Building. He called upon painters, poets, and sculptors as his witnesses, including painter Oliver Grover and art critic Walter Smith.[e][28][30] In his testimony, Grover stated "A nude woman is no more indecent than a bare tree. Men and women weren't born with overcoats on. Anyhow, indecency may be decidedly apart from nudity".[4]
After less than an hour of deliberations,[f] the jury found for Jackson, allowing him to reinstate the image in the display;[32][30][4] Jackson was so pleased that he promised a free copy to each juror.[33] However, a $25–$100 fine for displaying nude art was later implemented by the city government,[32] and by September Jackson (together with fellow art dealers Samuel Meyer and William Kuhl) had been found in violation of this law. Mayor Harrison later stated that he was "through" with the painting, saying "Chicago has been made the laughing stock of the whole country because of this bathing girl picture".[19]
New York
![](http://upload.wikimedia.org/wikipedia/commons/thumb/5/52/Anthony_Comstock.jpg/220px-Anthony_Comstock.jpg)
Further controversy arose, in New York, two months after the conclusion of the Chicago trial. Anthony Comstock, head of the New York Society for the Suppression of Vice and nationally recognized for his campaigns against "smut", saw a print of September Morn on display in the window of Braun & Company. Rushing inside, he raged "There's too little morn and too much maid! Take it out!".[g][5][27][8] A clerk, James Kelly, removed the painting, but the gallery's owner reinstated it in the window upon his return.[8] Ultimately, however, Comstock was unable to press legal action.[27]
This controversy was highly covered in the press, and following Comstock's visit large crowds blocked the street outside Braun & Company, ogling September Morn.[34] The controversy promoted polemics regarding the painting.[5] Comstock called the painting "demoralizing in the extreme and especially calculated to excite immodesty in the young", arguing that it must be suppressed in the interest of the children.[35] Reverend Sydney Ussher of St. Bartholomew's Episcopal Church took a more moderate approach, explaining that "so vivid a display of nudity as September Morn" would best not be displayed in the country, owing to the people's relative lack of appreciation for art.[35]
Other, more positive, views were also expressed. The suffragist Inez Milholland defended the painting, stating that it was "exquisite and delicate, depicting perfect youth and innocence", and found it "funny, if it weren't so sad" that such a painting would be censored while more titillating film posters were left untouched.[35] The social activist Rose Pastor Stokes was likewise positive, writing that this "glorious work of art" was a "rare" depiction of "the loveliest dream that nature ever made real—the human Body Beautiful" and that shame over one's body should not be blamed on the painting, but on a failed education system.[35] The artist James Montgomery Flagg proclaimed "only a diseased mind can find anything immoral in September Morn".[35]
Public relations pioneer Harry Reichenbach later claimed responsibility for the controversy surrounding September Morn – and the work's resulting popularity. However, sources differ in the chronology of events. Jonathon Green's Encyclopedia of Censorship has Reichenbach acquiring the painting and bringing it to New York.[22] Journalist Bob Considine, meanwhile, gives Braun & Company as having acquired some 2,000 reproductions of the painting which they could not sell; in this version, Reichenbach asked for $45 if he could unload the stock, then paid for a large lithograph reproduction to be made and put on display.[36] Reichenbach then contacted public figures to protest against the display. When there was no response, he accosted Comstock in his office and dragged him to the dealership, where a "small gallery of urchins", young children Reichenbach had hired for fifty cents each, lusted over the painting. The public relations man then worked towards maintaining interest in the painting, prints of which had already increased in price.[22][36]
Wide-spread reproduction
A 1937 Salt Lake Tribune article stated that, after the 1913 controversies, reproductions of September Morn were shown "on the front page of every newspaper in the land".[21] These publications, however, were sometimes censored. Fred L. Boalt of The Seattle Star, covering a local exhibit of a reproduction, explained his newspaper's rationale for such censorship thusly: "For humane as well as other reasons, [...] the Star artist has painted in a short petticoat. He didn't want to do it. He suffered. But we made him do it".[32]
Lithograph copies of Summer Morn were popularly sold for over a decade, extending the success that followed the scandal. Reproductions were featured on a variety of products, including cigar bands, suspenders, postcards, bottle openers, statuettes and candy boxes.[5] The painting was particularly common on calendars, and according to a 1973 Associated Press report it was the first nude used for that purpose.[37] By the late 1950s it had featured on millions of calendars.[38] A couplet referring to the painting, "Please don't think I'm bad or bold, but where its deep its awwful cold", was also widely circulated.[5] Musicians Frank Black and Bobby Heath penned a song, "September Morn", based on the painting.[36]
References to the painting were common in vaudeville acts,[36] and stage imitations of the painting were also created. In 1913, for instance, Florenz Ziegfeld, Jr. cast Ann Pennington as the model; in this version of September Morn, the subject bore a sheer cape, with leaves placed strategically over her body.[5] A burlesque act, deeming itself the "September Morning Glories", was also created.[39] In Milwaukee, a man wearing "little or no clothing" passed himself off as "September Morn" in a 1915 state fair; he was brought to trial and fined $25.[40]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/5/54/Scene_from_September_Mourn.jpg/220px-Scene_from_September_Mourn.jpg)
The public furor over September Morn inspired several films. A two-reel work by Pathé, titled September Morn, was released in February 1915 and followed the misadventures of a sailor who gets a tattoo of the model. After his girlfriend disapproves, he tries clothing the naked woman with a ripped skirt, but this fails to gain her approval; ultimately, he ends up with a fully-clothed nude and the text "Votes for Women" inked on his arm.[41][42] Meanwhile, September Mourning, a November 1915 release produced by L-KO, portrayed a pair of artists first vying for the attentions of a young woman in the park, then invading a school for girls.[41] Robert McElravy, reviewing for Moving Picture World, found the film funny, but considered it to lack plot.[43] A third film, Lois Weber's Hypocrites, portrayed "The Naked Truth" (Margaret Edwards) in a manner similar to Chabas' model.[41]
As interest grew, purity societies attempted to ban reproductions. Postcards bearing the painting were disallowed from being sent through the post.[5] Harold Marx, a New Orleans art dealer who displayed a reproduction, was arrested a month after being told to take the painting down;[22][44] displays of reproductions were also forcibly removed in Miami and Atlanta.[45] In Chicago, a man was charged with disorderly conduct after bringing home a reproduction.[19]
Ultimately some 7 million reproductions were sold,[22] and the "steady stream" of reproductions continued into the late 1930s.[46] Inspired by the popularity of September Morn, displays of images of nude women became more common; a New York Times reader wrote that they had become "increasingly vulgar and suggestive".[47] Life deemed September Morn "one of the most familiar paintings in the world",[46] and a retrospective Toledo Blade article characterized the model as having become America's number one pin-up girl.[39] Writing in 1957, Considine declared September Morn to be "the most controversial painting in the history of [the United States]".[36]
Russia and Paris
The oil baron Leon Mantashev[h] acquired September Morn in c. 1913, for a price of $10,000.[8] He brought it with him to Russia, and after the outbreak of the October Revolution it was feared destroyed;[48] after Mantashev fled Russia, pieces of his sizeable collection considered to have artistic value were sent to museums, but there was no information regarding works such as September Morn,[49] such that in the United States, some copies of the painting were claimed to be the original.[26] By 1933 Chabas was seeking information regarding the painting's fate, which The Milwaukee Journal suggested to be "hanging in some crowded Russian room, its owner perhaps completely ignorant of its world fame".[49]
However, the painting was safe; Mantashev had smuggled it out of the country,[50] reportedly "rip[ping] it out of it frame" when the revolution broke out.[26] In the early 1930s, in desperate need of funds, he sold September Morn to Armenian art collector and philanthropist Calouste Gulbenkian for $30,000;[i][6] it was the last painting he owned.[51] A United Press reporter discovered the painting, which was framed as a tondo, in Gulbenkian's Paris home in 1935,[7][26][38] and by 1937 September Morn was on display in the Musée du Luxembourg, hung between a Raefelli and a Carriere.[50] After Gulbenkian's death in 1955, the painting was acquired by Wildenstein & Company.[6]
Acquisition by the MET
September Morn was purchased by the Philadelphia broker and sportsman William Coxe Wright for $22,000 in 1957.[8][6] In April of that year he offered it to the Philadelphia Museum of Art, but the painting was rejected for having "no relation to the stream of 20th century art".[52] Eventually he anonymously donated the work – valued at an estimated $30,000 – to the Metropolitan Museum of Art (MET) in New York City.[8] Speaking for the museum, Dudley T. Easby explained that, although the painting could not be classified as a masterpiece, it was nevertheless "a part of art history in view of the controversy that raged around the picture in earlier years".[48]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/d/df/September_Morn_on_display_in_Toledo%2C_1958.jpg/220px-September_Morn_on_display_in_Toledo%2C_1958.jpg)
After acquisition, the painting was displayed near the MET's front entrance, taking a place previously occupied by the Pérussis Altarpiece.[48] Hughes reported a "veritable pilgrimage" of visitors to see the painting, which she considered to add a "fresh, popular appeal" to the MET which had drawn museum-goers who would never have come otherwise.[1] By then, however, the earlier scandal of the model's nudity had lessened;[1] discussing an exhibit of the painting in Toledo, Alan Schoedel of the Toledo Blade quoted a viewer as saying that 1950s America was so inundated with racy calendar art that the painting "couldn't stand the competition".[53]
After September Morn was acquired by the MET, it was displayed at several venues, including the Palace of the Legion of Honor in San Francisco in 1958, the Toledo Museum of Art in Toledo, Ohio (also 1958), and by the Municipal Art Commission of Los Angeles in 1959.[6] Six years later it was exhibited at the The California Palace of the Legion of Honor as part of an exhibition of works collected by the Wrights.[7] In 1971, the MET took September Morn off display and sent it to storage; Walter Monfried of The Milwaukee Journal wrote that the once-racy painting was now considered "too tame and banal".[8] As of September 2014[update], it is not on display.[6]
Reception
![](http://upload.wikimedia.org/wikipedia/commons/thumb/d/df/Chabas_and_September_Morn.jpg/220px-Chabas_and_September_Morn.jpg)
Chabas described September Morn as "all I know of painting", and responded positively to statements that it was his masterpiece.[8] In a 1914 interview, he stated that he had not meant to sell the painting, as it "was [his] wife's favorite picture".[24] At the time of his death in 1937, Chabas had only a single picture in his room: a reproduction of the painting, completed from memory;[8] he had boasted "If I had never seen it from the day I put down my brushes after painting it, I could make a perfect copy".[15] However, not having copyrighted the work, he did not receive any royalties from the marketing frenzy in the United States; he was later quoted as saying "Nobody was thoughtful enough even to send me a box of cigars".[8][1]
Reviewing the painting after the Salon, Tr.L in the Larousse Mensuel illustré described September Morn as having a "rare purity", and the model "a remarkable finesse".[j][2] A 1913 article in the Oregon Daily Journal described the model as "beautifully drawn", and suggested that "it requires a powerful imagination to find anything suggestive in the work".[35]
Later reviews were more negative. In 1958, Blake-More Godwin of the Toledo Museum of Art stated that, although September Morn was certainly art, it was not "great art" and overshadowed by the controversy it had created; the painting, he said, "bears the same relationship to art as a minor poem does to the classic and the imperishable".[39] Writing in 1957, the Montreal Gazette's art critic opined that the painting was banal and unacceptable for display in the MET's main hall. The reviewer suggested that September Morn, with its "delicate, pearly tonality and simple, sparse, airy composition", would be best served by being displayed among works considered better by early 20th century collectors but since reviewed poorly, to "dramatiz[e] for the public the danger of too-hasty judgments".[54] The painting has since been classified as kitsch by several writers.[27][55]
Explanatory notes
- ^ Chabas would later go on to head the Société des Artistes Français (Kingsport Times-News 1957).
- ^ The store was located at 44 Wabash Avenue (Chicago Daily Tribune 1913).
- ^ Sources disagree as to the name of this policeman. Boalt (1913, p. 1) gives "Jerry Sullivan", while The Milwaukee Journal gives "Fred Rirsch" (The Milwaukee Journal 1913, Paris).
- ^ In an interview with the Chicago Daily Tribune, O'Connor stated that he personally liked the painting, but considered it "embarrassing for women to look at" and thought displays would have a negative impact on young boys. He drew a comparison with the Bible, explaining that it "may be good reading for people who understand it, but some chapters are not intended for young folks" (Chicago Daily Tribune 1913).
- ^ The Milwaukee Journal reprinted one poem in defense of the painting, as follows (The Milwaukee Journal 1913, Beautiful) harv error: multiple targets (2×): CITEREFThe_Milwaukee_Journal_1913,_Beautiful (help):
Sometime, glad time, in Arcady, I want
to live a day
With Joy's slim daughter of the dawn
to teach my love the way;
To live a day without the clothes, the
coin, the masquerade
That burden so the struggle here—of
hypocrites afraid.
Sometime, dear time, in Arcady, im-
mune from 'pure' police
I hope to find the picture true, that
caught its light from Greece;
To be as true to life, dear life, as is the
painter's dream
Within the dawning of the day where
new ideals gleam. - ^ Sources differ as to the exact length. The San Francisco Call gives 20 minutes (San Francisco Call 1913), while the Escanaba Morning Press gives 45 (Escanaba Morning Press 1913).
- ^ Other versions are phrased "There's too little morning and too much maid!" (Monfried 1971, p. 9), or include the further explanation "It ought to have been pitch dark for a girl to go wading like that" (The Tuscaloosa News 1937).
- ^ Also Mantacheff (MET, September Morn). The son of Armenian oil magnate Alexander Mantashev, Leon was known for his extravagant lifestyle. Robert W. Tolf, in his history of the Russian oil industry, describes him as "Russia's greatest gambler, a collector of paintings, race horses, and beautiful women" (Tolf 1976, p. 100).
- ^ The MET gives 1931 (MET, September Morn) while a 1935 Montreal Gazette article states that the sale happened the preceding year (The Montreal Gazette 1935)
- ^ Original: "une rare purité ... une finesse remarquable"
References
- ^ a b c d Hughes 1957, p. 15.
- ^ a b c d e Tr.L 1912, p. 465.
- ^ a b Pattison 1913, p. 243.
- ^ a b c San Francisco Call 1913.
- ^ a b c d e f g Shteir 2004, p. 59.
- ^ a b c d e f g h MET, September Morn.
- ^ a b c d Sterling & Salinger 1966, pp. 222–223.
- ^ a b c d e f g h i j k l m Monfried 1971, p. 9.
- ^ Brauer 2011.
- ^ Kingsport Times-News 1957.
- ^ a b Logansport Pharos-Tribune 1937.
- ^ Stratton 1914, p. 421.
- ^ Musée d'Orsay, Au crépuscule.
- ^ The Milwaukee Sentinel 1913.
- ^ a b The Gazette and Daily 1937.
- ^ The Indiana Gazette 1933.
- ^ Daily Guard 1913.
- ^ The Milwaukee Journal 1921.
- ^ a b c The Pittsburgh Press 1913. sfn error: multiple targets (3×): CITEREFThe_Pittsburgh_Press_1913 (help)
- ^ The Leavenworth Times 1913.
- ^ a b Salt Lake Tribune 1937.
- ^ a b c d e f g h Green & Karolides 2009, p. 506.
- ^ a b Pattison 1913, p. 244.
- ^ a b c Oakland Tribune 1914.
- ^ Middletown Times Herald 1933.
- ^ a b c d e The Montreal Gazette 1935.
- ^ a b c d Kendrick 1996, p. 147.
- ^ a b c The Milwaukee Journal 1913, Beautiful. sfn error: multiple targets (2×): CITEREFThe_Milwaukee_Journal_1913,_Beautiful (help)
- ^ Chicago Daily Tribune 1913.
- ^ a b c d The Spokesman-Review 1913.
- ^ The Milwaukee Journal 1913, Don't be Afraid.
- ^ a b c Boalt 1913, p. 1.
- ^ Escanaba Morning Press 1913.
- ^ Taylor 2012, p. 166.
- ^ a b c d e f Oregon Daily Journal 1913.
- ^ a b c d e Considine 1957, p. 3.
- ^ Sarasota Herald-Tribune 1973.
- ^ a b The Berkshire County Eagle 1957.
- ^ a b c Toledo Blade 1958.
- ^ The Milwaukee Sentinal 1915.
- ^ a b c Taylor 2012, pp. 166–67.
- ^ Moving Picture World 1914, September Morn.
- ^ McElravy 1915, p. 1319.
- ^ The Indianapolis Star 1913.
- ^ The Miami News 1983.
- ^ a b Life 1937, Painter.
- ^ The New York Times 1915.
- ^ a b c Toledo Blade 1957.
- ^ a b The Milwaukee Journal 1933.
- ^ a b The Milwaukee Journal 1937.
- ^ Levine 2007, p. 48.
- ^ Beaver Valley Times 1957.
- ^ Schoedel 1958, p. 1.
- ^ The Montreal Gazette 1957.
- ^ Taylor 2012, p. 221.
Works cited
- "5,000 Artists Leap Back to Savagery Over Night". The Milwaukee Journal. June 16, 1921. p. 1. Retrieved September 18, 2014 – via Google News Archive.
- "A Male September Morn? No! Why, Yes!". The Milwaukee Sentinal. September 18, 1915. p. 3. Retrieved September 17, 2014 – via Google News Archive.
- "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- "Au crépuscule" (in French). Musée d'Orsay. Archived from the original on September 19, 2014. Retrieved September 19, 2014.
- "Beautiful Bathing Girl Is Victor For Art, But Policeman Doubts". Escanaba Morning Press. March 25, 1913. p. 5. Retrieved September 19, 2014 – via Newspapers.com.
- "Beautiful Shivering Girl on Trial; Must September Morn Be Clothed?". The Milwaukee Journal. March 21, 1913. p. 6. Retrieved September 17, 2014 – via Google News Archive.
- "Beautiful Shivering Girl on Trial; Must September Morn Be Clothed?". The Milwaukee Journal. March 21, 1913. p. 6. Retrieved September 17, 2014 – via Google News Archive.
- "Bared At Last: The Girl Who Was 'September Morn"". The Salt Lake Tribune. January 10, 1937. p. 84. Retrieved September 17, 2014 – via Newspapers.com.
- Brauer, Fae (2011). "'Moral Girls' and 'Filles Fatales': The Fetishisation of Innocence". Australian and New Zealand Journal of Art. 10 (1): 122–143. ISSN 1443-4318.
{{cite journal}}
: Invalid|ref=harv
(help) - Boalt, Fred L. (May 20, 1913). "That Shameless Hussy Miss Morn Comes to Town; Poses in 2nd Ave. Window Where All May See". The Seattle Star. p. 1. Retrieved September 16, 2014 – via Library of Congress.
{{cite news}}
: Invalid|ref=harv
(help) - "Censor Praises Nude Study, But Says It's Not For Wife". Chicago Daily Tribune. March 19, 1913. p. 12. Retrieved September 19, 2014 – via Newspapers.com.
- "Chabas' Original Work Never in the US". The Montreal Gazette. March 29, 1935. p. 6. Retrieved September 17, 2014 – via Google News Archive.
- "Chicago Still Squabbles over 'September Morn'". The Pittsburgh Press. September 3, 1913. p. 8. Retrieved September 18, 2014 – via Google News Archive.
- Considine, Bob (September 2, 1957). "'September Morn' Made Respectable Through Purchase By Noted Museum". Corsicana Daily Sun. p. 3. Retrieved September 19, 2014 – via Newspapers.com.
{{cite news}}
: Invalid|ref=harv
(help) - "Discreet Nude That Shocked Grandma's Day To Be Shown". Kingsport Times-News. September 1, 1957. p. 21. Retrieved September 17, 2014 – via Newspapers.com.
- "Don't be Afraid of the Policeman; Teach Children to Trust Blue Coats". The Milwaukee Journal. May 4, 1913. p. 6. Retrieved September 19, 2014 – via Google News Archive.
- "Eve-like Picture is Held Modest" (PDF). San Francisco Call. March 22, 1913. p. 5. Retrieved September 19, 2014 – via Library of Congress.
- "Famed 'September Morn' Finds Niche". Toledo Blade. August 28, 1957. p. 9. Retrieved September 17, 2014 – via Google News Archive.
- Green, Jonathon; Karolides, Nicholas, eds. (2009). Encyclopedia of Censorship. Infobase Publishing. ISBN 978-1-4381-1001-1.
{{cite book}}
: Invalid|ref=harv
(help) - Hughes, Alice (September 3, 1957). "A Woman's New York". Reading Eagle. p. 15. Retrieved September 17, 2014 – via Google News Archive.
{{cite news}}
: Invalid|ref=harv
(help) - Kendrick, Walter M. (1996). The Secret Museum: Pornography in Modern Culture. University of California Press. ISBN 978-0-520-20729-5.
{{cite book}}
: Invalid|ref=harv
(help) - Levine, Steve (2007). The Oil and the Glory: The Pursuit of Empire and Fortune on the Caspian Sea. Random House. ISBN 978-0-375-50614-7.
{{cite book}}
: Invalid|ref=harv
(help) - McElravy, Robert C. (November 13, 1915). "September Mourning". Moving Picture World. 26 (8): 1319.
{{cite journal}}
: Invalid|ref=harv
(help) - "Miss "September Morn" Now Mother of 5 Strapping Sons". The Indiana Gazette. April 18, 1933. p. 11. Retrieved September 17, 2014 – via Newspapers.com.
- "Miss September Twilight Comes to Vie with Miss September Morn". The Milwaukee Sentinel. May 28, 1913. p. 2. Retrieved September 17, 2014 – via Google News Archive.
- Monfried, Walter (December 1, 1971). "'September Morn' Gets Cold Shoulder at Last". The Milwaukee Journal. p. 9. Retrieved September 17, 2014 – via Google News Archive.
{{cite news}}
: Invalid|ref=harv
(help) - Pattison, James William (April 1913). "Public Censorship of Art". Fine Arts Journal. 28 (4): 243–246. doi:10.2307/25587172 – via JSTOR.
{{cite journal}}
: Invalid|ref=harv
(help) - "Painter of 'September Morn' Dies at 68". Life. 2 (21): 53. May 24, 1937.
- "Painting of 'September Morn' Has Now Become Respectable". The Berkshire County Eagle. August 28, 1957. p. 3. Retrieved September 17, 2014 – via Newspapers.com.
- "'Paris has Nothing on Chicago Saloons when it Comes to Art', Says This Cop". The Milwaukee Journal. March 5, 1913. p. 13. Retrieved September 18, 2014 – via Google News Archive.
- "Paul Chabas, Who Painted "September Morn", Dies In Paris". The Gazette and Daily. May 11, 1937. p. 11. Retrieved September 17, 2014 – via Newspapers.com.
- "Picture of Nude Girl is Approved". The Spokesman-Review. March 22, 1913. p. 1. Retrieved September 18, 2014 – via Google News Archive.
- "Pin-Ups Out on New Calendars". Sarasota Herald-Tribune. December 27, 1973. p. 1A. Retrieved September 19, 2014 – via Google News Archive.
- "Quaker City Stubs 'September Morn'". Beaver Valley Times. August 30, 1957. p. 22. Retrieved September 17, 2014 – via Google News Archive.
- Schoedel, Alan (August 24, 1958). "'September Morn' Bathes Without Leers in Toledo Museum". Toledo Blade. p. 1. Retrieved September 17, 2014 – via Google News Archive.
{{cite news}}
: Invalid|ref=harv
(help) - "September Morn". Oregon Daily Journal. July 6, 1913. p. 54. Retrieved September 17, 2014 – via Newspapers.com.
- "September Morn". Metropolitan Museum of Art. Archived from the original on September 16, 2014. Retrieved September 16, 2014.
- "September Morn". Moving Picture World. 19 (8): 1008. February 21, 1914.
- "'September Morn'". The Tuscaloosa News. May 14, 1937. p. 3. Retrieved September 17, 2014 – via Google News Archive.
- "'September Morn', 1913's Naughty Nude, to be Displayed Here". Toledo Blade. June 22, 1958. p. 1. Retrieved September 19, 2014 – via Google News Archive.
- "September Morn at Metropolitan". The Montreal Gazette. September 14, 1957. p. 27. Retrieved September 19, 2014 – via Google News Archive.
- "'September Morn' Barred From New Orleans Mails". The Indianapolis Star. August 10, 1913. p. 18. Retrieved September 17, 2014 – via Newspapers.com.
- "'September Morn' Can't Be Seen in Magic City". The Miami News. January 15, 1983. p. 4C. Retrieved September 19, 2014 – via Google News Archive. (reproduced from a 1913 Miami Daily Metropolis article)
- "'September Morn' Creator Coming". Oakland Tribune. June 21, 1914. p. 11. Retrieved September 17, 2014 – via Newspapers.com.
- "'September Morn' Creator Dies After Long Illness". Logansport Pharos-Tribune. May 11, 1937. p. 3. Retrieved September 17, 2014 – via Newspapers.com.
- "'September Morn' Dressed Up". The Pittsburgh Press. December 19, 1913. p. 33. Retrieved September 18, 2014 – via Google News Archive.
- "'September Morn' Echoes". The New York Times. May 2, 1915. p. 9. Retrieved September 19, 2014. (subscription required)
- "'September Morn' Here". Eugene Daily Guard. December 26, 1913. p. 2. Retrieved September 17, 2014 – via Google News Archive.
- "'September Morn' Hides in Luxembourg Gallery". The Milwaukee Journal. August 8, 1937. p. 5. Retrieved September 17, 2014 – via Google News Archive.
- "'September Morn' Is Real Trouble Maker". The Pittsburgh Press. October 22, 1913. p. 10. Retrieved September 17, 2014 – via Google News Archive.
- "'September Morn' Painting Missing". The Milwaukee Journal. May 13, 1933. p. 11. Retrieved September 17, 2014 – via Google News Archive.
- "She's the Original of 'September Morn'; Artists' Model Now an Actress and as "November Mourning" She Makes Hit". The Leavenworth Times. December 26, 1913. p. 5. Retrieved September 19, 2014 – via Newspapers.com.
- Shteir, Rachel (2004). Striptease: The Untold History of the Girlie Show. Oxford University Press. ISBN 978-0-19-802935-9.
{{cite book}}
: Invalid|ref=harv
(help) - Sterling, Charles; Salinger, Margaretta (1966). [http:www.metmuseum.org/research/metpublications/French_Paintings_A_Catalogue_of_the_Collection_of_The_Metropolitan_Museum_of_Art_Vol_2_Nineteenth# French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art]. Vol. 2. New York Graphic Society. OCLC 231879699.
{{cite book}}
: Check|url=
value (help); Invalid|ref=harv
(help) - Stratton, Clarence (October 1914). "A Note on the Paris Salon of 1914". Art and Progress. 5 (12): 420–421 – via JSTOR.
{{cite journal}}
: Invalid|ref=harv
(help) - Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7.
{{cite book}}
: Invalid|ref=harv
(help) - Tolf, Robert W. (1976). The Russian Rockefellers: The Saga of the Nobel Family and the Russian Oil Industry. Hoover Press. ISBN 978-0-8179-6583-9.
{{cite book}}
: Invalid|ref=harv
(help) - Tr.L (July 1912). Augé, Claude (ed.). "Matinée de Septembre". Larousse mensuel illustré (in French). 12 (65): 465. ISSN 0996-0120.
{{cite journal}}
: Invalid|ref=harv
(help)