Editing September Morn (section)

===Chabas===
[[File:Portrait of Paul Émile Chabas.jpg|thumb|left|upright=0.85|The painter, [[Paul Émile Chabas]], c.&nbsp;1910]]

By the time he painted ''September Morn'', [[Paul Émile Chabas]] (1869–1937) already had an established reputation as an [[academic art]]ist. He regularly submitted to the [[Salon (Paris)|Paris Salon]], first participating in 1886.{{sfn|Valmy-Baysse|1910|p=6}} He won a third class medal in the Salon of 1895,{{sfn|Valmy-Baysse|1910|p=7}} and four years later won the Prix National for his painting ''[[Joyeux ébats]]'',{{sfn|Kingsport Times-News 1957}} which earned him a gold medal at the 1900 [[Exposition Universelle (1900)|Exposition Universelle]] and was acquired by the [[Musée des Beaux-Arts de Nantes]].{{sfn|Valmy-Baysse|1910|p=13}}{{sfn|Brauer|2011|p=124}} In subsequent years Chabas spent the winters working in Paris, while he passed his summers painting young women along the shores of rivers, lakes, and seas.{{sfn|Valmy-Baysse|1910|p=11}} In 1902 he was made a Chevalier in the [[Legion of Honour]].{{efn|Chabas would later go on to head the [[Société des Artistes Français]] {{harv|Kingsport Times-News 1957}}.}}{{sfn|Kingsport Times-News 1957}}{{sfn|Logansport Pharos-Tribune 1937}}

Chabas studied under artists such as [[Tony Robert-Fleury]], [[William-Adolphe Bouguereau]], and [[Albert Maignan]].{{sfn|Sterling|Salinger|1966|p=221}} Although his earlier works were generally portraits, most of the painter's later production consisted of nude girls and young women.{{sfn|Tr.L|1912|p=465}}{{sfn|Logansport Pharos-Tribune 1937}}{{Sfn|Stratton|1914|p=421}} The lakes and rivers of France were common settings for his paintings, which gave prominence to the interaction of light with the models and their surroundings.{{sfn|Valmy-Baysse|1910|pp=4–5}} ''September Morn'' is typical of his style.{{sfn|Sterling|Salinger|1966|pp=222–223}}

J.&nbsp;Valmy-Baysse, in a 1910 overview of the artist, attributes Chabas's style to the painter's time at the family summer home along the [[Erdre]]; he identifies the "grace of adolescence, its undefinable charm, [and] its chaste nudity" of the models with Chabas's reminiscences of his youth.{{efn|Original: "''Toute la gracilité de l'adolescence, son charme indéfinissable, sa nudité chaste...''"}}{{sfn|Valmy-Baysse|1910|pp=4–5}} The art historian [[Bram Dijkstra]] has argued otherwise, stating that "no artist was more assiduous in exploiting the prurient possibilities of the woman-child" than Chabas, whom he considers to have "emphasized analogies of nude little girls and the familiar poses of vanity or physical arousal given to adult women".<ref>Quoted in {{harvnb|Witchard|2009|pp=126, 186}}.</ref>