Editing Suzanne Valadon (section)

==Artist==
[[File:Joy of Life MET DT356454.jpg|thumb|300px|''[[Joy of Life (Suzanne Valadon)|Joy of Life]]'' (1911), by Suzanne Valadon, [[Metropolitan Museum of Art]]]]
Valadon was an acclaimed painter of her time, well-respected and championed by contemporaries such as Edgar Degas and Pierre-Auguste Renoir. She was admitted to professional associations and her works were admitted to juried exhibitions. She lived a bohemian life with rebellious vision.<ref name="auto">{{Cite web|author=Jacqui Palumbo|title=This rebellious female painter of bold nude portraits has been overlooked for a century|url=https://www.cnn.com/style/article/suzanne-valadon-nudes-art-history/index.html|access-date=2021-02-09|website=CNN|date=8 February 2021 |language=en}}</ref>

Valadon's earliest surviving signed and dated work is a [[self-portrait]] from 1883, drawn in [[Charcoal (art)|charcoal]] and [[pastel]].{{sfn |Giraudon |2003}} She produced mostly drawings between 1883 and 1893, and began painting in 1892. Her first models were family members, especially her son, mother, and niece.{{sfn |Warnod |1981 |pp=48, 57}}

Valadon began painting full-time in 1896.{{sfn |Giraudon |2003}} She painted [[still lifes]], [[portraits]], flowers, and [[landscape art|landscape]]s that are noted for their strong composition and vibrant colors. She was, however, best known for her candid female nudes.{{sfn |Burns |1993 |pp=25–46}} Her work attracted attention partly because, by painting unidealized nudes, she upset the social norms of the time that had been created by male artists.<ref name="Betterton">{{cite journal|last=Betterton|first=Rosemary|title=How Do Women Look? The Female Nude in the Work of Suzanne Valadon|journal=Feminist Review|date=Spring 1985|volume=19|pages=3–24 [4]|doi=10.1057/fr.1985.2|s2cid=144064933}}</ref>

Her earliest known female nude was executed in 1892.{{sfn |Rose |1999 |p=97}} In 1895, the art dealer [[Paul Durand-Ruel]] exhibited a group of twelve [[etching]]s by Valadon that show women in various stages of their toilettes.{{sfn |Giraudon |2003}} Later, she regularly showed at Galerie [[Bernheim-Jeune]] in Paris.<ref name=Brooklyn>{{cite web|title=Suzanne Valadon|url=https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/suzanne_valadon.php|work=Brooklyn Museum of Art|access-date=20 December 2012}}</ref> Valadon was the first woman painter accepted as an exhibitor in the Salon de la Nationale in 1894,<ref name="Sowerwine 2018">{{cite book |last=Sowerwine |first=Charles |title=France Since 1870: Culture, Politics and Society |url={{GBurl |id=mCVHEAAAQBAJ}} |publisher=Palgrave |publication-place=London |edition=3rd |year=2018 |orig-year=2001 |isbn=978-1-137-40611-8 |oclc=1051356006 |page=[{{GBurl |id=mCVHEAAAQBAJ |pg=PA94}} 94]–[{{GBurl |id=mCVHEAAAQBAJ |pg=PA95}} 95] |via=Google Books partial preview}}</ref> which is notable since competition for acceptance was fierce.

She exhibited in the Salon d'Automne from 1909, in the Salon des Independants from 1911, and in the Salon des Femmes Artistes Modernes from 1933 to 1938.{{sfn |Gaze |1997 |p=1384}} Notably, [[Degas]] was the first person to purchase drawings from her,{{sfn |Warnod |1981 |p=51}} and he introduced her to other collectors, including [[Paul Durand-Ruel]] and [[Ambroise Vollard]]. Degas also taught her the skill of soft-ground etching.{{sfn |Warnod |1981 |p=55}}

[[File:Le lancement du filet.jpg|thumb|left|''[[Casting the Net]]'' (1914), by Suzanne Valadon, Museum of Fine Arts Nancy]]
After her 1895 marriage to the well-to-do banker Paul Mousis, Valadon became a full-time painter the following year.{{sfn |Giraudon |2003}} She made a shift from drawing to painting in 1909.{{sfn |Marchesseau |1996 |p=17}} Her first large oils for the Salon related to sexual pleasures and they were some of the first examples in modern painting with a man being an object of desire by a woman similar to that idealized treatment of women by male artists. These notable Salon paintings include ''[[Adam and Eve (Valadon)|Adam and Eve]]'' (''Adam et Eve'') (1909), ''[[Joy of Life (Suzanne Valadon)|Joy of Life]]'' (''La Joie de vivre'') (1911), and ''[[Casting the Net]]'' (''Lancement du filet'') (1914).{{sfn |Marchesseau |1996 |pp=18-19}} In her lifetime, Valadon produced approximately 273 drawings, 478 paintings, and 31 etchings, excluding pieces given away or destroyed.{{sfn |Hewitt |2018 |p=388}}

Valadon was well known during her lifetime, especially toward the end of her career, in the 1920s more specifically, as she helped to transform the female nude that depicted expression through a woman's experience.{{sfn |Mathews |1991 |p=}}{{page needed|date=August 2021}}<ref name= NMWA >{{cite web|title=Suzanne Valadon|url=https://nmwa.org/art/artists/suzanne-valadon/|work=National Museum of Women in the Arts|access-date=17 March 2023}}</ref> Her works are in the collection of the [[Centre Georges Pompidou]] in Paris, the [[Museum of Grenoble]], and the [[Metropolitan Museum of Art]] in New York, among others.

Valadon's painting of an acrobat, L' Acrobate ou La Roue, sold in 2017 for £75,000 by Christie's Auction House.<ref>{{cite web|title=Suzanne Valadon|url=https://www.christies.com/en/lot/lot-6088344|work=L' Acrobate ou La Roue |access-date=7 Feb 2023}}</ref>
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===Style===
[[File:La Poupée abandonnée, par Suzanne Valadon.jpg|thumb|upright|''[[The Abandoned Doll]]'' (1921), by Suzanne Valadon, [[National Museum of Women in the Arts]]]]
Valadon was not confined to a specific style, yet both Symbolist and Post-Impressionist aesthetics are clearly demonstrated within her work.<ref>{{Cite journal|last=Dolan|first=Threse|year=2001|title=Passionate Discontent: Creativity, Gender and French Symbolist Art|journal=CAA Reviews|doi=10.3202/caa.reviews.2001.83|doi-access=free}}</ref> She worked primarily with oil paint, oil pencils, pastels, and red chalk; she did not use ink or watercolor because these mediums were too fluid for her preference.{{sfn |Marchesseau |1996 |p=16}} Valadon's paintings feature rich colors and bold, open brushwork often featuring firm black lines to define and outline her figures.{{sfn |Marchesseau |1996 |p=9}}

Valadon's self-portraits, portraits, nudes, landscapes, and still lifes remain detached from trends and contemporaneous aspects of academic art.{{sfn |Marchesseau |1996 |pp=9, 11}} The subjects of Valadon's paintings often reinvent the old master themes: women bathing, reclining nudes, and interior scenes. She preferred to paint working-class models. Art historian Patricia Mathews suggests that Valadon's working-class status and experience as a model influenced her intimate, familiar observation of these women and their bodies. In this respect she differed from [[Berthe Morisot]] and [[Mary Cassatt]], who painted mostly women, but "remained well within the bounds of propriety in their subject matter" because of their upper-middle-class status in French society.{{sfn |Mathews |1991 |p=}}{{page needed|date=August 2021}} Valadon's marginalized status allowed her to enter the contemporary male dominated domain of art through modeling and her lack of formal academic training may have made her less influenced by academic conventions.{{sfn |Gaze |1997 |pp=1385–1386}}  She has been noted for that difference in her paintings of the nude women.{{sfn |Mathews |1991 |p=418}} She resisted typical depictions of women, emphasizing class trappings and their sexual attractiveness, through her realistic depiction of unidealised and self-possessed women who are not overly sexualised.{{sfn |Mathews |1991 |pp=416, 419, 423}} She also painted many nude self-portraits across the span of her career, the later of which displayed her aging body realistically.

Valadon emphasized the importance of the composition of her portraits over techniques such as painting expressive eyes.{{sfn |Marchesseau |1996 |p=16}} Her later works, such as ''[[The Blue Room (Valadon)|Blue Room]]'' (1923), are brighter in color and show a new emphasis on decorative backgrounds and patterned materials.<ref>{{cite web|title=Suzanne Valadon|url=http://www.moma.org/collection/artist.php?artist_id=6055|work=Museum of Modern Art|access-date=7 March 2013}}</ref>