September Morn (English Wikipedia)
Analysis of information sources in references of the Wikipedia article "September Morn" in English language version.
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aah.org.uk
- Brauer highlights the "voyeuristic" view of the model and her pose, arguing that, although the young woman seems to stand as if embarrassed at being "caught in compromising circumstances", her right arm underscores the model's "bud-stage" breasts while the left directs the viewer's eye to her pubic region (Brauer 2011, pp. 130–131, 136–139). She argues that the model was aged 13 when the painting was completed; the age of consent in France at the time was 16 (Brauer 2011, p. 123). She has elsewhere questioned whether works such as September Morn can continue to be exhibited "innocent of paedophilic dimension", or whether they must be recontextualised as "awkward, anomalous and aberrant" (Brauer 2001). 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. 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. Brauer, Fae (2001). Picturing Paedophilia: The Salon Nymphettes and Child Pornography of 'la Belle Époque'. 27th Annual Conference of the Association of Art Historians. Oxford, England. Archived from the original on March 4, 2016.
americanantiquarian.org
- 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved February 29, 2024.
americanheritage.com
- Carson 1961. Carson, Gerald (August 1961). "They Knew What They Liked". American Heritage. 12 (5). ISSN 0002-8738. Archived from the original on March 4, 2016.
archive.org
- Tr.L 1912, p. 465. Tr.L (July 1912). Augé, Claude (ed.). "Matinée de Septembre". Larousse Mensuel Illustré (in French). 12 (65): 465. ISSN 0996-0120.
- Shteir 2004, p. 59. Shteir, Rachel (2004). Striptease: The Untold History of the Girlie Show. Oxford University Press. ISBN 978-0-19-802935-9.
- Porter & Prince 2004, p. 452. Porter, Darwin; Prince, Danforth (2004). Frommer's France 2005. Wiley. ISBN 978-0-7645-7695-9.
- The International Studio 1912, p. 223. "Studio Talk". The International Studio. 47: 223–2251. 1912. OCLC 1624007.
- Frantz 1912, p. 107. Frantz, Henri (1912). "The Old and the New Salon in Paris". The International Studio. 47: 102–108. OCLC 1624007.
- Chase & Chase 1954, p. 64. Chase, Edna Woolman; Chase, Ilka (1954). Always in Vogue. Doubleday. OCLC 404419.
- Chase & Chase 1954, pp. 64–65. Chase, Edna Woolman; Chase, Ilka (1954). Always in Vogue. Doubleday. OCLC 404419.
- Chase & Chase 1954, p. 66. Chase, Edna Woolman; Chase, Ilka (1954). Always in Vogue. Doubleday. OCLC 404419.
- Moving Picture World 1914, September Morn. "September Morn". Moving Picture World. 19 (8): 1008. February 21, 1914.
- McElravy 1915, p. 1319. McElravy, Robert C. (November 13, 1915). "September Mourning". Moving Picture World. 26 (8): 1319.
- Variety 1913, Ideal's 'Morn'. "Ideal's 'Morn' Criticized". Variety. XXXII (3): 6. September 19, 1913. ISSN 0042-2738.
- Variety 1913, Ideal is Fined. "'Ideal' is Fined". Variety. XXXII (4): 6. September 19, 1913. ISSN 0042-2738.
- Levine 2007, p. 48. 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.
- Frantz 1912, p. 102. Frantz, Henri (1912). "The Old and the New Salon in Paris". The International Studio. 47: 102–108. OCLC 1624007.
books.google.com
- Modern sources stating that it was the original include Brauer (2011, p. 124) and Sterling & Salinger (1966, pp. 222–223), whereas modern sources describing the controversial image as a print include Taylor (2012, p. 166). Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" (The Sun 1913, Nude Maid), and in 1933 Ortiz stated that it was a print (Middletown Times Herald 1933). 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. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- 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). "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014. 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.
- The Nineteenth Century and After, p. 1207. "At the Salon and Royal Academy". The Nineteenth Century and After. London. 1912. OCLC 1716918.
- Quoted in Witchard 2009, pp. 126, 186. Witchard, Anne Veronica (2009). Thomas Burke's Dark Chinoiserie: Limehouse Nights and the Queer Spell of Chinatown. Ashgate. ISBN 978-0-7546-5864-1.
- Lathers 2001, p. 24. Lathers, Marie (2001). Bodies of Art: French Literary Realism and the Artist's Model. University of Nebraska Press. ISBN 978-0-8032-2941-9.
- Cornog & Perper 1994, pp. 98–99. Cornog, Martha; Perper, Timothy (1994). "Censorship and Sex". In Bullough, Vern; Bullough, Bonnie (eds.). Human Sexuality: An Encyclopedia. Garland reference library of social science. Vol. 685. Garland. pp. 91–105. ISBN 978-0-8240-7972-7.
- Green & Karolides 2009, p. 506. Green, Jonathon; Karolides, Nicholas, eds. (2009). Encyclopedia of Censorship. Infobase Publishing. ISBN 978-1-4381-1001-1.
- Kendrick 1996, p. 147. Kendrick, Walter M. (1996). The Secret Museum: Pornography in Modern Culture. University of California Press. ISBN 978-0-520-20729-5.
- Garvey 1988, p. 158. Garvey, Timothy J (1988). Public Sculptor: Lorado Taft and the Beautification of Chicago. University of Illinois Press. ISBN 978-0-252-01501-4.
- Taylor 2012, p. 166. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7.
- Reichenbach & Freedman 1931, pp. 104–105. Reichenbach, Harry; Freedman, David (1931). Phantom Fame: The Anatomy of Ballyhoo. Simon and Schuster. OCLC 857072.
- Adams, Keene & Koella 2012, p. 75. Adams, Katherine H; Keene, Michael L; Koella, Jennifer Campbell (2012). Seeing the American Woman, 1880–1920: The Social Impact of the Visual Media Explosion. McFarland. ISBN 978-0-7864-6661-0.
- Williams 1971, p. 296. Williams, Tennessee (1971). "Orpheus Descending". The Theatre of Tennessee Williams. Vol. III. New Directions. ISBN 978-0-8112-0419-4.
- Taylor 2012, pp. 166–167. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7.
- Life 1937, Painter. "Painter of 'September Morn' Dies at 68". Life. Vol. 2, no. 21. May 24, 1937. p. 53.
- Taylor 2012, p. 221. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7.
- Witchard 2009, pp. 126, 186; Wasserman & Rosenfeld 2014, p. 56 Witchard, Anne Veronica (2009). Thomas Burke's Dark Chinoiserie: Limehouse Nights and the Queer Spell of Chinatown. Ashgate. ISBN 978-0-7546-5864-1. Wasserman, Saul; Rosenfeld, Alvin (2014). "An Overview of the History of Child Sexual Abuse and Sigmund Freud's Contribution". In William T O'Donohue; James H Geer (eds.). The Sexual Abuse of Children : Volume I: Theory and Research. Taylor and Francis. pp. 49–72. ISBN 978-1-317-76031-3.
- Boyer 2002, p. 3. Boyer, Paul S (2002). Purity in Print: Book Censorship in America from the Gilded Age to the Computer Age. University of Wisconsin Press. ISBN 978-0-299-17583-2.
- Lunday 2013, p. 96. Lunday, Elizabeth (2013). The Modern Art Invasion: Picasso, Duchamp, and the 1913 Armory Show that Scandalized America. Lyons Press. ISBN 978-0-7627-9017-3.
doi.org
- Pattison 1913, p. 243. Pattison, James William (April 1913). "Public Censorship of Art". Fine Arts Journal. 28 (4): 243–246. doi:10.2307/25587172. JSTOR 25587172.
- Pattison 1913, p. 244. Pattison, James William (April 1913). "Public Censorship of Art". Fine Arts Journal. 28 (4): 243–246. doi:10.2307/25587172. JSTOR 25587172.
- Vallillo 1981, p. 27. Vallillo, Stephen M. (March 1981). "Broadway Revues in the Teens and Twenties: Smut and Slime?". The Drama Review. 25 (1): 25–34. doi:10.2307/1145341. ISSN 0012-5962. JSTOR 1145341. (subscription required)
fultonhistory.com
- Modern sources stating that it was the original include Brauer (2011, p. 124) and Sterling & Salinger (1966, pp. 222–223), whereas modern sources describing the controversial image as a print include Taylor (2012, p. 166). Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" (The Sun 1913, Nude Maid), and in 1933 Ortiz stated that it was a print (Middletown Times Herald 1933). 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. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- The Sun 1913, Nude Maid. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014.
ghostarchive.org
- Sources differ as to the exact length of deliberations. The San Francisco Call gives 20 minutes (San Francisco Call 1913), while the Escanaba Morning Press gives 45 (Escanaba Morning Press 1913). "Eve-like Picture is Held Modest" (PDF). San Francisco Call. March 22, 1913. p. 5. Archived (PDF) from the original on October 9, 2022. Retrieved September 19, 2014 – via Library of Congress. "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.
- Modern sources stating that it was the original include Brauer (2011, p. 124) and Sterling & Salinger (1966, pp. 222–223), whereas modern sources describing the controversial image as a print include Taylor (2012, p. 166). Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" (The Sun 1913, Nude Maid), and in 1933 Ortiz stated that it was a print (Middletown Times Herald 1933). 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. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- San Francisco Call 1913. "Eve-like Picture is Held Modest" (PDF). San Francisco Call. March 22, 1913. p. 5. Archived (PDF) from the original on October 9, 2022. Retrieved September 19, 2014 – via Library of Congress.
- The Sun 1913, Nude Maid. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014.
informit.com.au
search.informit.com.au
- Modern sources stating that it was the original include Brauer (2011, p. 124) and Sterling & Salinger (1966, pp. 222–223), whereas modern sources describing the controversial image as a print include Taylor (2012, p. 166). Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" (The Sun 1913, Nude Maid), and in 1933 Ortiz stated that it was a print (Middletown Times Herald 1933). 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. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- Brauer highlights the "voyeuristic" view of the model and her pose, arguing that, although the young woman seems to stand as if embarrassed at being "caught in compromising circumstances", her right arm underscores the model's "bud-stage" breasts while the left directs the viewer's eye to her pubic region (Brauer 2011, pp. 130–131, 136–139). She argues that the model was aged 13 when the painting was completed; the age of consent in France at the time was 16 (Brauer 2011, p. 123). She has elsewhere questioned whether works such as September Morn can continue to be exhibited "innocent of paedophilic dimension", or whether they must be recontextualised as "awkward, anomalous and aberrant" (Brauer 2001). 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. 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. Brauer, Fae (2001). Picturing Paedophilia: The Salon Nymphettes and Child Pornography of 'la Belle Époque'. 27th Annual Conference of the Association of Art Historians. Oxford, England. Archived from the original on March 4, 2016.
- Brauer 2011, p. 122. 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.
- Brauer 2011, p. 136. 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.
- Quoted in Brauer 2011, p. 123; translation by Brauer. 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.
- Brauer 2011, p. 124. 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.
- Brauer 2011, p. 128. 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.
- Brauer 2011, pp. 123–124. 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.
- Quoted in Brauer 2011, p. 124. 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.
- Brauer 2011, p. 139. 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.
- Brauer 2011, pp. 130–131, 136–139. 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.
- Brauer 2011, pp. 131, 139. 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.
jstor.org
- Pattison 1913, p. 243. Pattison, James William (April 1913). "Public Censorship of Art". Fine Arts Journal. 28 (4): 243–246. doi:10.2307/25587172. JSTOR 25587172.
- Stratton 1914, p. 421. Stratton, Clarence (October 1914). "A Note on the Paris Salon of 1914". Art and Progress. 5 (12): 420–421. JSTOR 20561266.
- Pattison 1913, p. 244. Pattison, James William (April 1913). "Public Censorship of Art". Fine Arts Journal. 28 (4): 243–246. doi:10.2307/25587172. JSTOR 25587172.
- Vallillo 1981, p. 27. Vallillo, Stephen M. (March 1981). "Broadway Revues in the Teens and Twenties: Smut and Slime?". The Drama Review. 25 (1): 25–34. doi:10.2307/1145341. ISSN 0012-5962. JSTOR 1145341. (subscription required)
- Werner 1961, pp. 219–220. Werner, Alfred (Spring 1961). "Lawrence and Pascin". The Kenyon Review. 23 (2): 217–228. JSTOR 4334113. (subscription required)
- Werner 1961, p. 219. Werner, Alfred (Spring 1961). "Lawrence and Pascin". The Kenyon Review. 23 (2): 217–228. JSTOR 4334113. (subscription required)
- Rorimer 1957, p. 1. Rorimer, James J. (Summer 1957). "Notes". The Metropolitan Museum of Art Bulletin. XVI (1): 1. JSTOR 3257718.
live.com
onedrive.live.com
- The store was located at 44 Wabash Avenue (Chicago Daily Tribune 1913). "Censor Praises Nude Study, But Says It's Not For Wife". Chicago Daily Tribune. March 19, 1913. p. 12. Archived from the original on December 6, 2017. Retrieved September 19, 2014 – via Newspapers.com.
- 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). "Censor Praises Nude Study, But Says It's Not For Wife". Chicago Daily Tribune. March 19, 1913. p. 12. Archived from the original on December 6, 2017. Retrieved September 19, 2014 – via Newspapers.com.
- Chicago Daily Tribune 1913. "Censor Praises Nude Study, But Says It's Not For Wife". Chicago Daily Tribune. March 19, 1913. p. 12. Archived from the original on December 6, 2017. Retrieved September 19, 2014 – via Newspapers.com.
loc.gov
chroniclingamerica.loc.gov
- 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). 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. "'Paris has Nothing on Chicago Saloons when it Comes to Art', Says This Cop". The Milwaukee Journal. March 5, 1913. p. 13.
- Sources differ as to the exact length of deliberations. The San Francisco Call gives 20 minutes (San Francisco Call 1913), while the Escanaba Morning Press gives 45 (Escanaba Morning Press 1913). "Eve-like Picture is Held Modest" (PDF). San Francisco Call. March 22, 1913. p. 5. Archived (PDF) from the original on October 9, 2022. Retrieved September 19, 2014 – via Library of Congress. "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.
- San Francisco Call 1913. "Eve-like Picture is Held Modest" (PDF). San Francisco Call. March 22, 1913. p. 5. Archived (PDF) from the original on October 9, 2022. Retrieved September 19, 2014 – via Library of Congress.
- Boalt 1913, p. 1. 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.
- The Sun 1913, Chabas's Picture. "Chabas's Picture Approved". The Sun. June 27, 1913. p. 9. Retrieved September 23, 2014 – via Library of Congress.
metmuseum.org
- Modern sources stating that it was the original include Brauer (2011, p. 124) and Sterling & Salinger (1966, pp. 222–223), whereas modern sources describing the controversial image as a print include Taylor (2012, p. 166). Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" (The Sun 1913, Nude Maid), and in 1933 Ortiz stated that it was a print (Middletown Times Herald 1933). 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. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- 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). "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014. 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.
- 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) "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014. "Chabas' Original Work Never in the US". The Montreal Gazette. March 29, 1935. p. 6. Retrieved September 17, 2014 – via Google News Archive.
- MET, September Morn. "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014.
- Sterling & Salinger 1966, pp. 222–223. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699.
- Sterling & Salinger 1966, p. 221. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699.
- Rosenfeld. Rosenfeld, Jason. "The Salon and The Royal Academy in the Nineteenth Century". Heilbrunn Timeline of Art History. Metropolitan Museum of Art. Archived from the original on September 25, 2014. Retrieved September 29, 2014.
minneapolisfed.org
- 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved February 29, 2024.
musee-orsay.fr
- The pose assumed by the model in September Morn is similar to the one taken by the model of Au crépuscule (At Twilight), a painting Chabas completed in c. 1905 (Musée d'Orsay, Au crépuscule), which was acquired by the Musée du Luxembourg in 1909 (Valmy-Baysse 1910, p. 10). 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 (The Milwaukee Sentinel 1913). "Au crépuscule" (in French). Musée d'Orsay. Archived from the original on September 19, 2014. Retrieved September 19, 2014. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M. "Miss September Twilight Comes to Vie with Miss September Morn". The Milwaukee Sentinel. May 28, 1913. p. 2.
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museumofhoaxes.com
- "The September Morn Hoax". Museum of Hoaxes.
news.google.com
- Other versions are phrased "There's too little morning and too much maid!" (Monfried 1971, p. 9), or include further lines such as "It ought to have been pitch dark for a girl to go wading like that" (The Tuscaloosa News 1937). The version told by Monfried (1971, p. 9) includes Comstock commenting on Jean-François Millet's The Goose Girl while leaving. Yet another quote is given by Ellis (1975, p. 92): "That is not a proper picture to be shown to boys and girls! There is nothing more sacred than the form of a woman, but it must not be denuded. I think everyone will agree with me that such pictures should not be displayed where school children passing through the streets can see them." Monfried, Walter (December 1, 1971). "'September Morn' Gets Cold Shoulder at Last". The Milwaukee Journal. p. 9. "September Morn". The Tuscaloosa News. May 14, 1937. p. 3. 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. Ellis, Edward Robb (1975). Echoes of Distant Thunder: Life in the United States, 1914–1918. Coward, McCann & Geoghegan. ISBN 978-0-698-10583-6.
- 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) "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014. "Chabas' Original Work Never in the US". The Montreal Gazette. March 29, 1935. p. 6. Retrieved September 17, 2014 – via Google News Archive.
- The critic gave several examples of such works: the paintings of the Barbizon school, the mother and child paintings of George de Forest Brush, and the nudes of William-Adolphe Bouguereau (The Montreal Gazette 1957). "September Morn at Metropolitan". The Montreal Gazette. September 14, 1957. p. 27. Retrieved September 19, 2014 – via Google News Archive.
- Daily Guard 1913. "'September Morn' Here". Eugene Daily Guard. December 26, 1913. p. 2. Retrieved September 17, 2014 – via Google News Archive.
- The Pittsburgh Press 1913, 'September Morn'. "'September Morn' Dressed Up". The Pittsburgh Press. December 19, 1913. p. 33. Retrieved September 18, 2014 – via Google News Archive.
- The Montreal Gazette 1935. "Chabas' Original Work Never in the US". The Montreal Gazette. March 29, 1935. p. 6. Retrieved September 17, 2014 – via Google News Archive.
- The Spokesman-Review 1913. "Picture of Nude Girl is Approved". The Spokesman-Review. March 22, 1913. p. 1. Retrieved September 18, 2014 – via Google News Archive.
- The Pittsburgh Press 1913, Chicago. "Chicago Still Squabbles over 'September Morn'". The Pittsburgh Press. September 3, 1913. p. 8. Retrieved September 18, 2014 – via Google News Archive.
- Sarasota Herald-Tribune 1973. "Pin-Ups Out on New Calendars". Sarasota Herald-Tribune. December 27, 1973. p. 1A. Retrieved September 19, 2014 – via Google News Archive.
- Toledo Blade 1958. "'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.
- The Pittsburgh Press 1913, Trouble Maker. "'September Morn' Is Real Trouble Maker". The Pittsburgh Press. October 22, 1913. p. 10. Retrieved September 17, 2014 – via Google News Archive.
- Toledo Blade 1957. "Famed 'September Morn' Finds Niche". Toledo Blade. August 28, 1957. p. 9. Retrieved September 17, 2014 – via Google News Archive.
- Beaver Valley Times 1957. "Quaker City Stubs 'September Morn'". Beaver Valley Times. August 30, 1957. p. 22. Retrieved September 17, 2014 – via Google News Archive.
- Hughes 1957, p. 15. Hughes, Alice (September 3, 1957). "A Woman's New York". Reading Eagle. p. 15. Retrieved September 17, 2014 – via Google News Archive.
- Schoedel 1958, p. 1. 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.
- The Montreal Gazette 1957. "September Morn at Metropolitan". The Montreal Gazette. September 14, 1957. p. 27. Retrieved September 19, 2014 – via Google News Archive.
newspapers.com
- Chabas would later go on to head the Société des Artistes Français (Kingsport Times-News 1957). "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.
- Sources differ as to the exact length of deliberations. The San Francisco Call gives 20 minutes (San Francisco Call 1913), while the Escanaba Morning Press gives 45 (Escanaba Morning Press 1913). "Eve-like Picture is Held Modest" (PDF). San Francisco Call. March 22, 1913. p. 5. Archived (PDF) from the original on October 9, 2022. Retrieved September 19, 2014 – via Library of Congress. "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.
- Comstock had spearheaded laws at the end of the 19th century which prohibited the inter-state commerce of material deemed indecent or pornographic. Though he had wide popular support, he also had numerous detractors. Comstock boasted that he had seized more than 160 tons of indecent material during his career (Healion 1964, p. 42). He was not averse to arresting art dealers he considered to be peddling reproductions of obscene works; in 1887, for instance, he had arrested Roland Knoedler of the Knoedler Gallery for selling nudes painted by artists such as William-Adolphe Bouguereau and Jules Joseph Lefebvre (Beisel 1998, p. 109). Healion, James V. (December 9, 1964). "New Caanan Crusader Fathered Beleaguered Birth Curb Laws". The Bridgeport Post. p. 42. Retrieved September 23, 2014 – via Newspapers.com. Beisel, Nicola (1998). "Censorship, Audiences, and the Victorian Nude". In Smith, Philip (ed.). The New American Cultural Sociology. Cambridge University Press. pp. 109–125. ISBN 978-0-521-58415-9.
- Modern sources stating that it was the original include Brauer (2011, p. 124) and Sterling & Salinger (1966, pp. 222–223), whereas modern sources describing the controversial image as a print include Taylor (2012, p. 166). Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" (The Sun 1913, Nude Maid), and in 1933 Ortiz stated that it was a print (Middletown Times Herald 1933). 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. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- Kingsport Times-News 1957. "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.
- Logansport Pharos-Tribune 1937. "'September Morn' Creator Dies After Long Illness". Logansport Pharos-Tribune. May 11, 1937. p. 3. Retrieved September 17, 2014 – via Newspapers.com.
- Salt Lake Tribune 1937. "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.
- The Gazette and Daily 1937. "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.
- The Indiana Gazette 1933. "Miss "September Morn" Now Mother of 5 Strapping Sons". The Indiana Gazette. April 18, 1933. p. 11. Retrieved September 17, 2014 – via Newspapers.com.
- The San Bernardino County Sun 1935. "Artist Reveals Story of 'September Morn' Untrue". The San Bernardino County Sun. March 8, 1935. p. 6 – via Newspapers.com.
- The Oregon Daily Journal 1913, 'September Morn'. "'September Morn' Is Curse To the Artist". The Oregon Daily Journal. September 29, 1913. p. 2. Retrieved September 19, 2014 – via Newspapers.com.
- The Leavenworth Times 1913. "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.
- Oakland Tribune 1914. "'September Morn' Creator Coming". Oakland Tribune. June 21, 1914. p. 11. Retrieved September 17, 2014 – via Newspapers.com.
- Middletown Times Herald 1933. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- Escanaba Morning Press 1913. "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.
- The New York Times 1913, Wearies. "Wearies Of Waiting A Comstock Arrest". The New York Times. May 15, 1913. p. 7. Retrieved September 23, 2014 – via Newspapers.com.
- Healion 1964, p. 42. Healion, James V. (December 9, 1964). "New Caanan Crusader Fathered Beleaguered Birth Curb Laws". The Bridgeport Post. p. 42. Retrieved September 23, 2014 – via Newspapers.com.
- Oregon Daily Journal 1913, September Morn. "September Morn". Oregon Daily Journal. July 6, 1913. p. 54. Retrieved September 17, 2014 – via Newspapers.com.
- Considine 1957, p. 3. 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.
- The Berkshire County Eagle 1957. "Painting of 'September Morn' Has Now Become Respectable". The Berkshire County Eagle. August 28, 1957. p. 3. Retrieved September 17, 2014 – via Newspapers.com.
- The Charlotte News 1915. "Amusements". The Charlotte News. December 8, 1915. p. 3 – via Newspapers.com.
- The Indianapolis Star 1913. "'September Morn' Barred From New Orleans Mails". The Indianapolis Star. August 10, 1913. p. 18. Retrieved September 17, 2014 – via Newspapers.com.
- The Miami News 1983. "'September Morn' Can't Be Seen in Magic City". The Miami News. January 15, 1983. p. 4C. Retrieved September 19, 2014 – via Newspapers.com. (reproduced from a 1913 Miami Daily Metropolis article)
nytimes.com
query.nytimes.com
- The New York Times 1915. "'September Morn' Echoes". The New York Times. May 2, 1915. p. 9. Retrieved September 19, 2014. (subscription required)
openlibrary.org
- The pose assumed by the model in September Morn is similar to the one taken by the model of Au crépuscule (At Twilight), a painting Chabas completed in c. 1905 (Musée d'Orsay, Au crépuscule), which was acquired by the Musée du Luxembourg in 1909 (Valmy-Baysse 1910, p. 10). 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 (The Milwaukee Sentinel 1913). "Au crépuscule" (in French). Musée d'Orsay. Archived from the original on September 19, 2014. Retrieved September 19, 2014. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M. "Miss September Twilight Comes to Vie with Miss September Morn". The Milwaukee Sentinel. May 28, 1913. p. 2.
- Valmy-Baysse 1910, p. 6. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Valmy-Baysse 1910, p. 7. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Valmy-Baysse 1910, p. 13. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Valmy-Baysse 1910, p. 11. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Valmy-Baysse 1910, pp. 4–5. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
proquest.com
- The Washington Post. "'September Morn' Given Flame Bath As College Students Get 'Religion'". The Washington Post. December 2, 1914. p. 5. Retrieved September 26, 2014. (subscription required)
time.com
content.time.com
- Some sources erroneously give 1912 (such as Time 1957); this would have been impossible, as the painting was displayed at the Salon in May 1912. "Art: Lady of the Lake". Time. Vol. 70, no. 10. September 2, 1957. ISSN 0040-781X. (subscription required)
- This is also corroborated by a 1935 Time piece (Time 1935). "Art: Twenty-five Years After". Time. Vol. 25, no. 11. March 18, 1935. ISSN 0040-781X. (subscription required)
- Time 1935. "Art: Twenty-five Years After". Time. Vol. 25, no. 11. March 18, 1935. ISSN 0040-781X. (subscription required)
- Time 1957. "Art: Lady of the Lake". Time. Vol. 70, no. 10. September 2, 1957. ISSN 0040-781X. (subscription required)
web.archive.org
- The pose assumed by the model in September Morn is similar to the one taken by the model of Au crépuscule (At Twilight), a painting Chabas completed in c. 1905 (Musée d'Orsay, Au crépuscule), which was acquired by the Musée du Luxembourg in 1909 (Valmy-Baysse 1910, p. 10). 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 (The Milwaukee Sentinel 1913). "Au crépuscule" (in French). Musée d'Orsay. Archived from the original on September 19, 2014. Retrieved September 19, 2014. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M. "Miss September Twilight Comes to Vie with Miss September Morn". The Milwaukee Sentinel. May 28, 1913. p. 2.
- The store was located at 44 Wabash Avenue (Chicago Daily Tribune 1913). "Censor Praises Nude Study, But Says It's Not For Wife". Chicago Daily Tribune. March 19, 1913. p. 12. Archived from the original on December 6, 2017. Retrieved September 19, 2014 – via Newspapers.com.
- 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). "Censor Praises Nude Study, But Says It's Not For Wife". Chicago Daily Tribune. March 19, 1913. p. 12. Archived from the original on December 6, 2017. Retrieved September 19, 2014 – via Newspapers.com.
- 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). "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014. 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.
- 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) "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014. "Chabas' Original Work Never in the US". The Montreal Gazette. March 29, 1935. p. 6. Retrieved September 17, 2014 – via Google News Archive.
- Brauer highlights the "voyeuristic" view of the model and her pose, arguing that, although the young woman seems to stand as if embarrassed at being "caught in compromising circumstances", her right arm underscores the model's "bud-stage" breasts while the left directs the viewer's eye to her pubic region (Brauer 2011, pp. 130–131, 136–139). She argues that the model was aged 13 when the painting was completed; the age of consent in France at the time was 16 (Brauer 2011, p. 123). She has elsewhere questioned whether works such as September Morn can continue to be exhibited "innocent of paedophilic dimension", or whether they must be recontextualised as "awkward, anomalous and aberrant" (Brauer 2001). 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. 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. Brauer, Fae (2001). Picturing Paedophilia: The Salon Nymphettes and Child Pornography of 'la Belle Époque'. 27th Annual Conference of the Association of Art Historians. Oxford, England. Archived from the original on March 4, 2016.
- MET, September Morn. "September Morn". Metropolitan Museum of Art. Archived from the original on July 7, 2019. Retrieved September 16, 2014.
- Rosenfeld. Rosenfeld, Jason. "The Salon and The Royal Academy in the Nineteenth Century". Heilbrunn Timeline of Art History. Metropolitan Museum of Art. Archived from the original on September 25, 2014. Retrieved September 29, 2014.
- Chicago Daily Tribune 1913. "Censor Praises Nude Study, But Says It's Not For Wife". Chicago Daily Tribune. March 19, 1913. p. 12. Archived from the original on December 6, 2017. Retrieved September 19, 2014 – via Newspapers.com.
- Carson 1961. Carson, Gerald (August 1961). "They Knew What They Liked". American Heritage. 12 (5). ISSN 0002-8738. Archived from the original on March 4, 2016.
worldcat.org
search.worldcat.org
- The pose assumed by the model in September Morn is similar to the one taken by the model of Au crépuscule (At Twilight), a painting Chabas completed in c. 1905 (Musée d'Orsay, Au crépuscule), which was acquired by the Musée du Luxembourg in 1909 (Valmy-Baysse 1910, p. 10). 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 (The Milwaukee Sentinel 1913). "Au crépuscule" (in French). Musée d'Orsay. Archived from the original on September 19, 2014. Retrieved September 19, 2014. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M. "Miss September Twilight Comes to Vie with Miss September Morn". The Milwaukee Sentinel. May 28, 1913. p. 2.
- Some sources erroneously give 1912 (such as Time 1957); this would have been impossible, as the painting was displayed at the Salon in May 1912. "Art: Lady of the Lake". Time. Vol. 70, no. 10. September 2, 1957. ISSN 0040-781X. (subscription required)
- This is also corroborated by a 1935 Time piece (Time 1935). "Art: Twenty-five Years After". Time. Vol. 25, no. 11. March 18, 1935. ISSN 0040-781X. (subscription required)
- Modern sources stating that it was the original include Brauer (2011, p. 124) and Sterling & Salinger (1966, pp. 222–223), whereas modern sources describing the controversial image as a print include Taylor (2012, p. 166). Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" (The Sun 1913, Nude Maid), and in 1933 Ortiz stated that it was a print (Middletown Times Herald 1933). 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. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699. Taylor, Norman (2012). Cinematic Perspectives on Digital Culture: Consorting with the Machine. Palgrave Macmillan. ISBN 978-0-230-29892-7. "Nude Maid Lingers Yet in Show Window" (PDF). The Sun. May 14, 1913. p. 9. Archived (PDF) from the original on October 9, 2022. Retrieved September 23, 2014. "Artist Seeks Trace of Nude". Middletown Times Herald. March 16, 1933. p. 7. Retrieved September 17, 2014 – via Newspapers.com.
- Brauer highlights the "voyeuristic" view of the model and her pose, arguing that, although the young woman seems to stand as if embarrassed at being "caught in compromising circumstances", her right arm underscores the model's "bud-stage" breasts while the left directs the viewer's eye to her pubic region (Brauer 2011, pp. 130–131, 136–139). She argues that the model was aged 13 when the painting was completed; the age of consent in France at the time was 16 (Brauer 2011, p. 123). She has elsewhere questioned whether works such as September Morn can continue to be exhibited "innocent of paedophilic dimension", or whether they must be recontextualised as "awkward, anomalous and aberrant" (Brauer 2001). 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. 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. Brauer, Fae (2001). Picturing Paedophilia: The Salon Nymphettes and Child Pornography of 'la Belle Époque'. 27th Annual Conference of the Association of Art Historians. Oxford, England. Archived from the original on March 4, 2016.
- Brauer 2011, p. 122. 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.
- Tr.L 1912, p. 465. Tr.L (July 1912). Augé, Claude (ed.). "Matinée de Septembre". Larousse Mensuel Illustré (in French). 12 (65): 465. ISSN 0996-0120.
- The Nineteenth Century and After, p. 1207. "At the Salon and Royal Academy". The Nineteenth Century and After. London. 1912. OCLC 1716918.
- Brauer 2011, p. 136. 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.
- Quoted in Brauer 2011, p. 123; translation by Brauer. 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.
- Sterling & Salinger 1966, pp. 222–223. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699.
- Valmy-Baysse 1910, p. 6. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Valmy-Baysse 1910, p. 7. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Valmy-Baysse 1910, p. 13. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Brauer 2011, p. 124. 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.
- Valmy-Baysse 1910, p. 11. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Sterling & Salinger 1966, p. 221. Sterling, Charles; Salinger, Margaretta (1966). French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2. New York Graphic Society. OCLC 231879699.
- Valmy-Baysse 1910, pp. 4–5. Valmy-Baysse, J. (1910). Paul Chabas, sa vie, son oeuvre [Paul Chabas: His Life, His Oeuvre]. Peintres d'aujour d'hui. Vol. 11. Librairie F. Juven. OCLC 27405907. OL 14052339M.
- Failing 2003, p. 175. Failing, Patricia (2003). "Nudes Under Siege". Yale Journal of Law & the Humanities. 15 (1): 173–178. OCLC 60616201.
- Brauer 2011, p. 128. 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.
- Failing 2003, p. 176. Failing, Patricia (2003). "Nudes Under Siege". Yale Journal of Law & the Humanities. 15 (1): 173–178. OCLC 60616201.
- Time 1935. "Art: Twenty-five Years After". Time. Vol. 25, no. 11. March 18, 1935. ISSN 0040-781X. (subscription required)
- The International Studio 1912, p. 223. "Studio Talk". The International Studio. 47: 223–2251. 1912. OCLC 1624007.
- Frantz 1912, p. 107. Frantz, Henri (1912). "The Old and the New Salon in Paris". The International Studio. 47: 102–108. OCLC 1624007.
- Brauer 2011, pp. 123–124. 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.
- Time 1957. "Art: Lady of the Lake". Time. Vol. 70, no. 10. September 2, 1957. ISSN 0040-781X. (subscription required)
- Chase & Chase 1954, p. 64. Chase, Edna Woolman; Chase, Ilka (1954). Always in Vogue. Doubleday. OCLC 404419.
- Chase & Chase 1954, pp. 64–65. Chase, Edna Woolman; Chase, Ilka (1954). Always in Vogue. Doubleday. OCLC 404419.
- Carson 1961. Carson, Gerald (August 1961). "They Knew What They Liked". American Heritage. 12 (5). ISSN 0002-8738. Archived from the original on March 4, 2016.
- Reichenbach & Freedman 1931, pp. 104–105. Reichenbach, Harry; Freedman, David (1931). Phantom Fame: The Anatomy of Ballyhoo. Simon and Schuster. OCLC 857072.
- Chase & Chase 1954, p. 66. Chase, Edna Woolman; Chase, Ilka (1954). Always in Vogue. Doubleday. OCLC 404419.
- Vallillo 1981, p. 27. Vallillo, Stephen M. (March 1981). "Broadway Revues in the Teens and Twenties: Smut and Slime?". The Drama Review. 25 (1): 25–34. doi:10.2307/1145341. ISSN 0012-5962. JSTOR 1145341. (subscription required)
- WorldCat, Oh You September Morn. Oh You September Morn. WorldCat. OCLC 667762496.
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