48
" Starting at the end of the 18th century, the family began to be characterised – or idealised – by more intimate relationships, while the child was increasingly treated not dispassionately as simply a means of securing property and continuing the family name (as in the past) but as an individual worthy of affection. Now, children should be cosseted, nurtured and adored by their parents, who were encouraged to take a more hands-on role in their care. In short, paternity and maternity had become deeply fashionable among the bourgeoisie, that same class who were, coincidentally, the main consumers of art.9 The Salon walls were obligingly filled with genre paintings in which, in a convenient recasting of the traditional Madonna and child theme, happy mothers cuddled contented, rosy-cheeked infants. "
― Catherine Hewitt , Renoir's Dancer: The Secret Life of Suzanne Valadon
49
" Suzanne’s pictures of children flew in the face of those idealised images of social harmony. Her youngsters were not nude, but unashamedly naked. They were not posed, but awkward, their scrawny limbs contracted into clumsy postures, ungainly, unaesthetic, but utterly natural. Self-aware but not self-conscious, Suzanne Valadon, Nude Girl Sitting, 1894, black "
― Catherine Hewitt , Renoir's Dancer: The Secret Life of Suzanne Valadon
55
" It was an exhilarating time to be involved in the art world, in any capacity. At last, individualism was encouraged, not condemned. By the 1880s, Impressionism was yesterday’s news. Artists had already gone beyond it, and were experimenting with new forms, content and techniques. Diversity was the modus vivendi. Accordingly, 1880s Paris became the birthplace of some radically different movements, including Divisionism, Symbolism, Synthesism and Nabis. Furthermore, the proliferation of alternative exhibiting bodies offered real grounds for hope for avant-garde painters and those hailing from the fringes of society. The Salon was no longer the sole and hazardous rite of passage lying between a painter and success. There were now other organisations where reputations could be forged, such as the Société des Aquarellistes Français. But by far the most notable and innovative artistic venture in 1884 was the Salon des Artistes Indépendants.
When his technically daring composition Bathers at Asnières (1884) was rejected by the jury of the 1884 Salon, former pupil of the prestigious École des Beaux-Arts Georges Seurat was spurred to retaliate. Joining forces with a number of other disgruntled painters, among them Symbolist Odilon Redon and self-taught artist Albert Dubois-Pillet, Seurat helped found the Groupe des Artistes Indépendants. With Redon acting as chairman, the group proposed to do something unprecedented: they would mount a show whose organisers were not answerable to any official institution, and where there would be no prizes and, significantly, no jury. The venture introduced a radically new concept onto the Parisian art scene: freedom. The first exhibition, the Salon des Artistes Indépendants, was held from May to July in a temporary building in the Jardin des Tuileries near the Louvre. "
― Catherine Hewitt , Renoir's Dancer: The Secret Life of Suzanne Valadon
