Editing September Morn

{{short description|1911 painting by Paul Chabas}}
{{about|the painting}}
{{featured article}}
{{Use mdy dates|date=December 2014}}
{{Infobox artwork
| title              = September Morn
| image_file         = Paul Chabas September Morn The Metropolitan Museum of Art.jpg
| image_size         = 350px
| alt                = A nude woman standing on a beach
| other_language_1   = French
| other_title_1      = Matinée de Septembre
| medium             = [[Oil painting|Oil on canvas]]
| artist             = [[Paul Émile Chabas]]
| year               = {{Start date|1911}}
| catalogue          =
| height_metric      = 163.8
| width_metric       = 216.5
| condition          =
| city               = [[New York City|New York]]
| museum             = [[Metropolitan Museum of Art]]
| coordinates        =
| owner              =
| accession          = 57.89
| url                =
}}
'''''Matinée de Septembre''''' (English: '''''September Morn''''') is a [[oil painting]] on canvas completed in 1911 by the French artist [[Paul Émile Chabas]]. Painted over several summers, it depicts a nude girl or young woman standing in the shallow water of a lake, prominently lit by the morning sun. She is leaning slightly forward in an ambiguous posture, which has been read variously as a straightforward portrayal of protecting her modesty, huddling against the cold, or sponge bathing. It has also been considered a disingenuous pose permitting the "fetishisation of innocence".{{sfn|Brauer|2011|p=122}}

''September Morn'' was first exhibited at the [[Paris Salon]] of 1912, and although the identity of its first owner is unclear, it is certain that {{ill|Leon Mantashev|ru|Манташев, Левон Александрович}} acquired the painting by the end of 1913. It was taken to Russia, and in the aftermath of the [[October Revolution]] of 1917 was feared lost. It resurfaced in 1935 in the collection of [[Calouste Gulbenkian]], and after his death in 1955  was sold to a Philadelphia broker, who donated it anonymously to the [[Metropolitan Museum of Art]] (the Met) in 1957. {{As of|2014}} it is not on display.

From 1913 on, reproductions of the painting caused controversy in the United States. An art dealer in [[Chicago]] was charged with indecency and another in New York was targeted by anti-vice crusader [[Anthony Comstock]], both after displaying ''September Morn''. Over the next few years the work was reproduced in a variety of forms, including on pins and calendars, while censorship and art were  debated in newspapers. Chabas' painting inspired songs, stage shows and films; eventually some 7&nbsp;million reproductions were sold, though Chabas&nbsp;– who had not copyrighted ''September Morn''&nbsp;– did not receive any royalties.

Although several women claimed to be the model for ''September Morn'', Chabas never revealed her identity. He described the work as "all I know of painting",{{sfn|Monfried|1971|p=9}} and responded positively to statements that it was his masterpiece. Later writers, however, have described the painting as [[kitsch]], valuable only as a historic artifact.
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==Description==
[[File:1961 reproduction of September Morn.jpg|thumb|A 1961 reproduction of the painting, showing the dominance of grays]]
''September Morn'' depicts, from an oblique point of view, a naked blonde girl or young woman standing ankle-deep in the water near the shoreline of a tranquil lake surrounded by hills. The figure is backlit by the morning sun, but fully visible, if a little darker than her surroundings.{{sfn|Tr.L|1912|p=465}}{{sfn|The Nineteenth Century and After|p=1207}} Her arms are folded about her body, her right arm passing below her breasts as she grasps her left elbow, while her left arm conceals her pubic area.{{efn|The pose assumed by the model in ''September Morn'' is similar to the one taken by the model of ''[[:File:Au crépuscule, Chabas (colour reproduction).jpg|Au crépuscule]]'' (''At Twilight''), a painting Chabas completed in {{circa}}&nbsp;1905 {{harv|Musée d'Orsay, Au crépuscule}}, which was acquired by the [[Musée du Luxembourg]] in 1909 {{harv|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 {{harv|The Milwaukee Sentinel 1913}}.}}{{sfn|Brauer|2011|p=136}} This pose has been variously interpreted as the subject protecting herself from the cold,{{sfn|Tr.L|1912|p=465}} covering her modesty,{{sfn|San Francisco Call 1913}} or [[sponge bath]]ing,{{Sfn|Shteir|2004|p=59}} or as the artist's "fetishisation of innocence".{{sfn|Brauer|2011|p=122}}

Reviews in 1912 noted that the painting was dominated by grays: those of her shaded body, the blue-grays of the September water, the green-grays of the sky, and the pink-grays of the hills behind her.{{sfn|Tr.L|1912|p=465}}{{sfn|Pattison|1913|p=243}} The art critic François Thiébault-Sisson described this as evoking the morning, the young subject preparing to bathe while "light grey vapours are still floating over the lake".<ref name="Sisson"/> This [[oil painting]] on canvas measures {{convert|163.8|by|216.5|cm}},{{sfn|MET, September Morn}} and Chabas's signature is located in the lower left.{{sfn|Sterling|Salinger|1966|pp=222–223}}

==Background==

===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>

===Nudity and art===
{{main article|Nude (art)|Depictions of nudity#Nudity in art}}
Female nudes were the dominant subject of painting in French Salons at the end of the 19th century.{{sfn|Rosenfeld}} Female models had become more common than male ones beginning in the early 19th century, first serving allegorical roles or as [[muse]]s, but eventually becoming individuals "who could be classified and whose history could be written".{{sfn|Lathers|2001|p=24}} In academic art&nbsp;– such as that of Chabas&nbsp;– the models were not portrayed as they were, but as idealized nudes, based on classical ideals; the body hair of women models, for instance, would not be shown, and the pubic area was rendered smoothly.{{sfn|Failing|2003|p=175}} The hostess [[Suzanne Delvé|Suzanne Delve]], who later claimed to have stood for ''September Morn'', said that models were willing to provide "service to art" by posing nude for such works.{{sfn|Salt Lake Tribune 1937}}

Not all forms of nude imagery were acceptable in France. The end of the 19th century had seen the introduction of various laws against pornography, images of adults and [[child pornography|children]] meant to "provoke, incite, or stimulate debauchery".{{sfn|Brauer|2011|p=128}} Works targeted were initially those meant for wide distribution (and thus, the lower class).{{sfn|Failing|2003|p=176}} However, the Australian art historian Fae Brauer writes that the line between art and pornography was blurred by the early 1910s; even tighter laws, introduced in 1908, had resulted in censorship of modernist works. For instance, three paintings by [[Kees van Dongen]] (including two of his daughter) were rejected from the [[Salon d'Automne]] between 1911 and 1913 on grounds of indecency.{{sfn|Brauer|2011|p=128}}

The United States had, since colonial times, generally been more puritan in terms of art than Europe. In the mid- and late-19th century the country's government implemented [[United States obscenity law|laws against obscenity]], such as the [[Tariff of 1842]] which banned the importing of foreign works of art deemed obscene. By the end of the 19th century, an uneasy understanding had been reached: museums could hold works depicting nudity, but commercial works (including photographs of artwork) could be&nbsp;– and were&nbsp;– confiscated.{{sfn|Cornog|Perper|1994|pp=98–99}}{{sfn|Beisel|1998|p=109}} Tensions remained over the issue of whether nudes represented European-style sophistication (a trait important to the upper-class) or encouraged behaviors which threatened families and encouraged "impure imaginations".{{sfn|Beisel|1998|pp=112, 119}}

==Creation; identity of model==
Chabas began work on ''September Morn'' in mid-1910 at [[Talloires]] on the shores of [[Lake Annecy]] in [[Haute-Savoie]], some {{convert|500|km|round=each}} south-east of Paris.{{sfn|Monfried|1971|p=9}}{{sfn|The Gazette and Daily 1937}}{{sfn|Porter|Prince|2004|p=452}} The model, whom he never identified but referred to as "Marthe", was well known to his family. Owing to the financial situation of the sixteen-year-old's family, "Marthe" had to work to support her mother.{{sfn|The Indiana Gazette 1933}} 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 course of two summers he worked on the painting, half an hour every morning. The work was completed on a September morning in 1911,{{efn|Some sources erroneously give 1912 (such as {{harvnb|Time 1957}}); this would have been impossible, as the painting was displayed at the Salon in May 1912.}} giving the painting its name.{{sfn|Monfried|1971|p=9}} In 1935, responding to claims that "Marthe" was living in poverty, Chabas explained that she had continued posing for him until she was 28, when she married a rich industrialist, and that she was now aged 41, plump, and had three children.{{sfn|The San Bernardino County Sun 1935}}{{sfn|Time 1935}}

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]], said that she had been paid $1,000{{efn|${{Inflation|US|1000|1911|fmt=c}} today.{{Inflation-fn|US}}}} and posed in the artist's studio.{{sfn|Daily Guard 1913}} The Paris-based artist Jules Pages, meanwhile, stated that the woman depicted in ''September Morn'' had been a  25-year-old of good character who earned her living as an artist's model, but had gone into hiding after the controversy over the painting.{{sfn|The Oregon Daily Journal 1913, 'September Morn'}} Other claimants included a Swedish model named Gloria{{sfn|The Milwaukee Journal 1921}} and a [[Variety show|variety]] actress named Irene Shannon;{{sfn|The Pittsburgh Press 1913, 'September Morn'}} the latter made the claim in the lead-up to a [[vaudeville]] skit called "November Mourning".{{sfn|The Leavenworth Times 1913}}

{{multiple image
| footer    = Suzanne Delve (left) and Irene Shannon both claimed to be the model for ''September Morn''.
| align     = right

| image1    = Suzanne Delve, c. 1937.jpg
| alt1      = Suzanne Delve
| width1     = 199
| image2    = Irene Shannon in November Mourning.jpg
| alt2      = Irene Shannon
| width2     = 200
}}
In 1937, twenty-four years after ''September Morn'' caused controversy in the United States, the Parisian hostess Suzanne Delve declared that she had been the model. In her account, Chabas&nbsp;– who had known her since she was an infant&nbsp;– had her pose nude in his studio and later painted Lake Annecy in her absence. Delve described her nervousness at the first session, her mother chatting to her to distract her mind while Chabas's 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]] (the Met) in their 1966 catalogue of French holdings, including ''September Morn''. According to this telling, Chabas completed the painting over three summers at Lake Annecy, though 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==

===Paris Salon and first sale===
Chabas first exhibited ''September Morn'' in the Paris Salon of April 14 to June 30, 1912.{{sfn|MET, September Morn}} Because he did not plan to sell it, he gave a price of 50,000 francs ($10,000{{efn|${{Inflation|US|10000|1913|fmt=c}} today.{{Inflation-fn|US}}}})&nbsp;– more than he expected anybody to pay.{{sfn|The San Bernardino County Sun 1935}}{{sfn|Oakland Tribune 1914}} For the painting, and his ''Portrait of Mme. Aston Knight'', Chabas won a Medal of Honor, receiving 220 of 359 possible votes.{{sfn|The International Studio 1912|p=223}} At the Salon, the painting was uncontroversial,{{sfn|Green|Karolides|2009|p=506}}{{sfn|Pattison|1913|p=244}} and it was soon reprinted in American publications such as ''[[Town & Country (magazine)|Town & Country]]''{{sfn|Green|Karolides|2009|p=506}} and ''[[The Studio (magazine)|The International Studio]]''.{{sfn|Frantz|1912|p=107}}

Sources are unclear as to the painting's provenance after the Salon. According to the Met, the New York-based Philip (or Philippe) Ortiz, manager of the New York Branch of Braun and Company, purchased it in late 1912.{{sfn|MET, September Morn}}{{sfn|The Sun 1913, Nude Maid}} According to a 1933 report in the ''[[Times Herald-Record|Middletown Times Herald]]'', he paid 12,000 francs ($2,400{{efn|${{Inflation|US|2400|1913|fmt=c}}.{{Inflation-fn|US}}}}) for the work, but never brought the painting back to the United States.{{sfn|Middletown Times Herald 1933}} However, Brauer suggests that Ortiz sent it to his gallery in New York, where it caused [[#New York|a controversy]].{{efn|This is also corroborated by a 1935 ''Time'' piece {{harv|Time 1935}}.}}{{sfn|Brauer|2011|pp=123–124}} According to ''[[Time (magazine)|Time]]'', the painting was acquired by {{ill|Leon Mantashev|ru|Манташев, Левон Александрович}} {{circa}}&nbsp;1913, after the painting was returned to Chabas.{{sfn|Time 1957}}

A 1935 article in the ''[[Montreal Gazette]]'', meanwhile, stated that the original ''September Morn'' had yet to go to the United States, and that Chabas had sold it directly to Mantashev.{{sfn|The Montreal Gazette 1935}} According to Chabas, this was after an American approached him to purchase the painting, but was unwilling to pay the asking price.{{sfn|Oakland Tribune 1914}} In her memoirs, ''[[Vogue (magazine)|Vogue]]'' editor [[Edna Woolman Chase]] recounted how Ortiz had arranged for numerous reproductions to be made and sent to New York, and that&nbsp;– although he had been interested in acquiring the original&nbsp;– he had been unable to do so.{{Sfn|Chase|Chase|1954|p=64}} Although it is possible that the original did not cross the Atlantic by 1913, it is clear that reproductions did.{{sfn|The Montreal Gazette 1935}}

===Controversy and popularity===

====Chicago====
{{multiple image
| footer    = Newspaper reproductions of the painting, censored with clothing
| align     = right

| image1    = 'Miss Morn' of Chicago, 1913.jpg
| alt1      = In ''[[The Seattle Star]]''
| width1     = 126

| image2    =September Morn in Dress.jpg
| alt2      = In ''[[The Leavenworth Times]]''
| width2     = 150
}}
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.{{efn|The store was located at 44 Wabash Avenue {{harv|Chicago Daily Tribune 1913}}.}}{{sfn|Green|Karolides|2009|p=506}} A passing police officer noticed the print and on grounds that it was indecent, insisted it be taken down.{{efn|Sources disagree as to the name of this policeman. {{harvtxt|Boalt|1913|p=1}} gives "Jerry Sullivan", while ''The Milwaukee Journal'' gives "Fred Rirsch" {{harv|The Milwaukee Journal 1913, Paris}}.}} The mayor of the city, [[Carter Harrison IV]], agreed with the policeman's decision, and deemed that the image could be sold, but should not be displayed in public as children could see it.{{sfn|Pattison|1913|p=244}} Fred Jackson, the owner, was charged with indecency,{{sfn|Kendrick|1996|p=147}}{{sfn|The Milwaukee Journal 1913, Beautiful}} and at his request the case was brought to trial on March 18.{{sfn|Chicago Daily Tribune 1913}}

In front of a jury, the city's art censor Jeremiah O'Connor testified that ''September Morn'' was lewd and should not be displayed in public, but rather only in a museum exhibition.{{efn|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" {{harv|Chicago Daily Tribune 1913}}.}} W.&nbsp;W.&nbsp;Hallam of the Chicago Vice Committee agreed, arguing that, as the woman was committing the illegal act of bathing in public, ''September Morn'' had to be banned.{{sfn|Green|Karolides|2009|p=506}}{{sfn|The Spokesman-Review 1913}} Other witnesses for the prosecution included censors, educators, and clergy, such as the superintendent [[Ella Flagg Young]] and the head of the [[Juvenile Protective Association]] Gertrude Howe Britton.{{sfn|The Milwaukee Journal 1913, Beautiful}}{{sfn|The Spokesman-Review 1913}}{{sfn|The Milwaukee Journal 1913, Don't be Afraid}}

Jackson, acting as his own lawyer, highlighted the hypocrisy of censoring the painting while a nude statue of [[Diana (mythology)|Diana]] stood in front of the [[Montgomery Ward Company Complex|Montgomery Ward Building]]. He called upon painters, poets, and sculptors as his witnesses, including the artist Oliver Grover and the art critic Walter Smith.{{efn|''The Milwaukee Journal'' reprinted one poem in defense of the painting, as follows {{harv|The Milwaukee Journal 1913, Beautiful}}:
<poem>
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.
</poem>
}}{{sfn|The Milwaukee Journal 1913, Beautiful}}{{sfn|The Spokesman-Review 1913}} 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."{{sfn|San Francisco Call 1913}}

After less than an hour of deliberations,{{efn|Sources differ as to the exact length of deliberations. The ''San Francisco Call'' gives 20 minutes {{harv|San Francisco Call 1913}}, while the ''[[Escanaba Morning Press]]'' gives 45 {{harv|Escanaba Morning Press 1913}}.}} the jury found for Jackson, allowing him to reinstate the image in his display;{{sfn|San Francisco Call 1913}}{{sfn|The Spokesman-Review 1913}}{{Sfn|Boalt|1913|p=1}} Jackson was so pleased that he promised a free copy of ''September Morn'' to each juror.{{sfn|Escanaba Morning Press 1913}} Ten days after the trial Mayor Harrison went to the city council and proposed stricter obscenity laws. The city government agreed, and imposed a $25–100{{efn|${{Inflation|US|25|1913|fmt=c}}–${{Inflation|US|100|1913|fmt=c}} today.{{Inflation-fn|US}}}} fine for displaying nude art along public roads and in places frequented by children.{{Sfn|Boalt|1913|p=1}}{{sfn|Garvey|1988|p=158}} 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".{{sfn|The Pittsburgh Press 1913, Chicago}}

====New York====
[[File:Anthony Comstock.jpg|thumb|Anti-vice crusader [[Anthony Comstock]]; his reaction to the painting promoted further controversy.]]
Further controversy arose in New York in May 1913, 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",{{efn|Comstock had spearheaded [[Comstock laws|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 {{harv|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|Knoedler Gallery]] for selling nudes painted by artists such as [[William-Adolphe Bouguereau]] and [[Jules Joseph Lefebvre]] {{harv|Beisel|1998|p=109}}.}} saw ''September Morn''&nbsp;– sources differ as to whether it was the original or a print{{efn|Modern sources stating that it was the original include {{harvtxt|Brauer|2011|p=124}} and {{harvtxt|Sterling|Salinger|1966|pp=222–223}}, whereas modern sources describing the controversial image as a print include {{harvtxt|Taylor|2012|p=166}}. Contemporary reports are less ambiguous. One describes the controversial image as "grac[ing] a frame less than a foot high" {{harv|The Sun 1913, Nude Maid}}, and in 1933 Ortiz stated that it was a print {{harv|Middletown Times Herald 1933}}.}} &nbsp;– on display in the window of Braun and Company, an art dealership on West 46th Street.{{sfn|The Sun 1913, Nude Maid}}{{sfn|The Sun 1913, Chabas's Picture}} Rushing inside, he raged "There's too little morn and too much maid! Take it out!".{{efn|Other versions are phrased "There's too little morning and too much maid!" {{harv|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" {{harv|The Tuscaloosa News 1937}}. The version told by {{harvtxt|Monfried|1971|p=9}} includes Comstock commenting on [[Jean-François Millet]]'s ''[[:File:Jean-François Millet - The Goose Girl - Walters 37153.jpg|The Goose Girl]]'' while leaving. Yet another quote is given by {{harvtxt|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."}}{{sfn|Monfried|1971|p=9}}{{Sfn|Shteir|2004|p=59}}{{sfn|Kendrick|1996|p=147}} A clerk, James Kelly, removed the work, but Ortiz, the gallery's manager, reinstated it in the window after returning from his lunch break.{{sfn|Monfried|1971|p=9}}{{sfn|The Sun 1913, Nude Maid}}

Comstock threatened Ortiz with legal action, and the manager&nbsp;– unaware that Comstock could not arrest him, and fearful that he could cause trouble for the gallery&nbsp;– was initially frightened. He consulted with [[Arthur Brisbane]] of the ''[[New York Journal-American|New York Evening Journal]]'', who told him he had nothing to fear, and sent some reporters to cover the story.{{Sfn|Chase|Chase|1954|pp=64–65}} The following day, the controversy was highly covered in the press, who hailed Ortiz as "one art expert with the courage to stand up against Comstock and his dictatorship". Following Comstock's visit large crowds blocked the street outside Braun and Company, ogling ''September Morn''. The gallery owner refused to sell his large print of ''September Morn'', so that it could remain in his window.{{sfn|The Sun 1913, Nude Maid}}{{sfn|Taylor|2012|p=166}}

After two weeks, when the dealership had sold every print it had, Ortiz removed the display.{{sfn|The Sun 1913, Chabas's Picture}} In a letter to the editor of ''[[The New York Times]]'', he accused Comstock of causing the controversy to earn greater publicity for himself, and stated that he wearied of crowds outside his shop, who blocked paying customers from entering it.{{sfn|The New York Times 1913, Wearies}} Ultimately, Comstock did not pursue legal action. The historian Walter M. Kendrick attributes this apparent leniency to ''September Morn''{{'s}} status as a work of art,{{sfn|Kendrick|1996|p=147}} whereas Gerald Carson, writing in ''[[American Heritage (magazine)|American Heritage]]'', attributes it to a knowledge that no action could be taken against the work.{{sfn|Carson|1961}}

The controversy promoted polemics regarding ''September Morn'' and censorship,{{Sfn|Shteir|2004|p=59}} and multiple [[editorial cartoon]]s; one depicted a young woman bathing, only her head showing, with a caption attributed to Comstock reading "Don't you suppose I can imagine what is UNDER<!--as original--> the water?".{{sfn|Healion|1964|p=42}} Comstock called the work "demoralizing in the extreme and especially calculated to excite immodesty in the young", arguing that it must be suppressed in the [[Think of the children|interest of the children]].{{sfn|Oregon Daily Journal 1913, September Morn}} He emphasized that "the law is the law&nbsp;... the picture will have to come out of the window".{{sfn|The Sun 1913, Nude Maid}} Reverend Sydney Ussher of [[St. Bartholomew's Episcopal Church (Manhattan)|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 United States, owing to the people's relative lack of appreciation for art.{{sfn|Oregon Daily Journal 1913, September Morn}}

[[File:Inez milholland.JPG|thumb|Suffragist [[Inez Milholland]] defended ''September Morn'' as "exquisite and delicate, depicting perfect youth and innocence".]]
Others expressed positive views of the painting itself. The suffragist [[Inez Milholland]] defended ''September Morn'', 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 work would be censored while more titillating film posters were left untouched.{{sfn|Oregon Daily Journal 1913, September Morn}} The social activist [[Rose Pastor Stokes]] wrote 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 ''September Morn'', but on a failed education system.{{sfn|Oregon Daily Journal 1913, September Morn}} The artist [[James Montgomery Flagg]] proclaimed "only a diseased mind can find anything immoral in ''September Morn''".{{sfn|Oregon Daily Journal 1913, September Morn}}

In his 1931 autobiography,{{sfn|Reichenbach|Freedman|1931|pp=104–105}} the [[public relations]] pioneer [[Harry Reichenbach]] claimed responsibility for the controversy surrounding ''September Morn''&nbsp;– and the work's resulting popularity. He stated that Braun and Company had acquired some 2,000 reproductions of the painting which they could not sell, and then hired him for $45{{efn|${{Inflation|US|45|1913|fmt=c}} today.{{Inflation-fn|US}}}} so that he could unload the stock. They then paid for a large [[lithograph]] reproduction to be made and put on display.{{sfn|Considine|1957|p=3}} Reichenbach, he stated, 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 some young children, whom Reichenbach had hired for fifty cents each, lusted over the display. The public relations man then worked towards maintaining interest in the work, prints of which had already increased in price&nbsp;– from 10 cents to a dollar.{{sfn|Considine|1957|p=3}}{{sfn|Ellis|1975|pp=91–92}} Reichenbach's claim that his actions "brought the picture into the newspapers and into fame" has been questioned, particularly given that the Chicago court case had happened months earlier, and contemporary news accounts do not mention him.<ref>{{cite web|url=http://www.museumofhoaxes.com/hoax/archive/permalink/the_september_morn_hoax/|title=The September Morn Hoax|work=Museum of Hoaxes}}</ref>

====Widespread reproduction and imitation====
A 1937 ''[[The Salt Lake Tribune|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".{{sfn|Salt Lake Tribune 1937}} Ortiz required these newspapers to pay a charge and mention his copyright, otherwise face a penalty of $500 to $1000;{{efn|${{Inflation|US|500|1913|fmt=c}} to ${{Inflation|US|1000|1913|fmt=c}} today.{{Inflation-fn|US}}}} Chase recalled that ''Vogue'' had been one of those charged.{{Sfn|Chase|Chase|1954|p=66}} These newspaper reproductions, 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: "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."{{sfn|Boalt|1913|p=1}}

Lithograph copies of ''September Morn'' were mass-produced for popular sale, extending the [[succès de scandale|success that followed the scandal]], and were widely hung in private homes.{{sfn|Carson|1961}} Reproductions were featured on a variety of products, including cigar bands, postcards, bottle openers, statuettes, [[watch fob]]s, and candy boxes;{{Sfn|Shteir|2004|p=59}}{{sfn|Carson|1961}} the model was also popular as a tattoo.{{sfn|Ellis|1975|p=92}} ''September Morn'' was the first [[nude calendar|nude used for calendars]],{{sfn|Sarasota Herald-Tribune 1973}} and by the late 1950s it had featured on millions.{{sfn|The Berkshire County Eagle 1957}} A couplet referring to Chabas's work, "Please don't think I'm bad or bold, but where its deep it's awful<!--Shteir gives two "w"s, but everywhere else (including some old memorabilia) it's one--> cold", was widely circulated.{{Sfn|Shteir|2004|p=59}}

<gallery mode="packed-hover" heights="235px" caption="Media and merchandise">
'September Morn' Pins.jpg|''September Morn'' pins
September Morn postcard.jpg|Postcard after ''September Morn''
You needn't wait for September Morn to show up.jpg|Postcard by [[Bernhardt Wall]] after ''September Morn''
Oh, You September Morn title sheet.jpg|Title page to "[[:File:Oh, You September Morn.pdf|Oh, You September Morn]]", a song from the musical ''September Morn''
Scene from September Mourn.jpg|A scene from ''September Mourning'', a 1915 [[L-KO Kompany|L-KO]] film inspired by the painting
</gallery>
Allusions to the painting were common in vaudeville acts,{{sfn|Considine|1957|p=3}} becoming stock gags in the [[Orpheum Circuit]].{{sfn|Time 1957}} Stage imitations of the painting were also created. In 1913, for instance, [[Florenz Ziegfeld Jr.]] cast [[Ann Pennington (actress)|Ann Pennington]] as the model as part of his ''[[Ziegfeld Follies|Follies]]''. In this successful version of ''September Morn'', the subject bore a sheer cape, with leaves placed strategically over her body, and stood on a stage made-up as water.{{Sfn|Shteir|2004|p=59}}{{sfn|Vallillo|1981|p=27}}{{sfn|Adams|Keene|Koella|2012|p=75}} A [[burlesque]] act, deeming itself the "September Morning Glories", was also created,{{sfn|Toledo Blade 1958}} as was a three-act [[Musical theatre|musical]] based on the painting. The latter&nbsp;– featuring a fifty-strong [[chorus line]]&nbsp;– was put on by Arthur Gillespie and Frank Tannehill Jr. and debuted at the [[La Salle Theater (Chicago)|La Salle Theater]] in Chicago.{{sfn|Brauer|2011|p=124}}{{sfn|The Charlotte News 1915}} In Milwaukee, a man wearing "little or no clothing" passed himself off as "September Morn" at the 1915 [[Wisconsin State Fair]]; he was brought to trial and fined $25.{{efn|${{Inflation|US|25|1913|fmt=c}} today.{{Inflation-fn|US}}}}{{Sfn|The Milwaukee Sentinel 1915}} Theatrical references to the painting continued into the 1950s. For instance, in [[Tennessee Williams]]'s 1957 play ''[[Orpheus Descending]]'', the character Val sees it hanging in his room and mentions he "might keep turning the light on to take another look at it".{{sfn|Williams|1971|p=296}}

''September Morn'' also inspired several films. A two-reel production by [[Pathé]], titled ''[[September Morn (film)|September Morn]]'', was released in February 1914 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 his lover's approval; ultimately, he ends up with a fully clothed nude and the text "Votes for Women" inked on his arm.{{sfn|Taylor|2012|pp=166–167}}{{sfn|Moving Picture World 1914, September Morn}} Meanwhile, ''September Mourning'', a November 1915 release produced by [[L-KO Kompany|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.{{sfn|Taylor|2012|pp=166–167}} Robert McElravy, reviewing for ''Moving Picture World'', found the film funny, but considered it to lack plot.{{sfn|McElravy|1915|p=1319}} A third film, [[Lois Weber]]'s ''[[The Hypocrites (1915 film)|Hypocrites]]'', portrayed "The Naked Truth" (an uncredited Margaret Edwards) in a manner similar to Chabas's model.{{sfn|Taylor|2012|pp=166–167}} Allusions in popular media continued until at least the 1960s. ''September Morn'' was alluded to by a 1964 episode of ''[[The Dick Van Dyke Show]]'', "October Eve", where a nude painting of one of the main characters is discovered for sale in an art gallery.<ref>DVD commentary on the "October Eve" episode by Dick Van Dyke and Carl Reiner, ''Dick Van Dyke Show: Complete Remastered Series'' DVD Set, Image Entertainment, 2015.</ref>

{{Quote box
 |quote  = <poem>
:I want that girl they call September Morn;
:I'd like to meet her, I'd like to meet her!
:Dress'd up like the day that she was born,
:There's no one sweeter! there's no one sweeter!
:Nothing 'round her but a cloud of mist.
:She's a vision that I can't resist.
:In my heart she's posing night and day,
:I can't forget her, I can't forget her!
:I want that girl they call September Morn;
:I'd like to meet her. I'd like to meet her,
:If you find her won't you please remind her that I'm oh, so lonely, lonely,
:Oh so lonely! And I'm waiting for her only.
:For that girl they call September Morn.
</poem>
 |source =&nbsp;—Chorus to "[[:File:September Morn (I'd Like to Meet Her).pdf|September Morn (I'd Like to Meet Her)]]", by [[Stanley Murphy]]
}}
Several songs inspired by ''September Morn'' were likewise released. Musicians Frank Black and Bobby Heath penned a song, "September Morn", based on the painting,{{sfn|Considine|1957|p=3}} and [[Aubrey Stauffer]] of Chicago published [[sheet music]] (for voice and piano) of "[[:File:Oh, You September Morn.pdf|Oh, You September Morn]]", from Gillespie and Tannehill's musical.{{sfn|WorldCat, Oh You September Morn}} At [[Tin Pan Alley]], Henry I. Marshall composed two works, a [[waltz]] for piano titled "[[:File:Matin de Septembre (September Morn).pdf|Matin de Septembre (September Morn)]]", and a piece for voice and piano titled "[[:File:September Morn (I'd Like to Meet Her).pdf|September Morn (I'd Like to Meet Her)]]", the latter featuring lyrics by [[Stanley Murphy]]. Both were published through Jerome H. Remick&nbsp;{{&}}&nbsp;Co. in 1913.{{sfn|Carson|1961}}{{sfn|WorldCat, Matin de Septembre}}{{sfn|WorldCat, September Morn}}

''September Morn'' also inspired an eponymous lime and [[grenadine]] cocktail, described in 1917 as having gin, {{sfn|Bullock|1917}} and later in 1930 with rum and egg white. {{sfn|Craddock|1930}}

As interest grew, purity societies attempted to ban reproductions of ''September Morn'',{{Sfn|Shteir|2004|p=59}} and people in possession of them ran the risk of confiscation and fines.{{sfn|Brauer|2011|p=124}} Postcards bearing the painting were banned from the postal system.{{Sfn|Shteir|2004|p=59}} Harold Marx, a [[New Orleans]] art dealer who displayed a reproduction, was arrested a month after being told to take the painting down;{{sfn|Green|Karolides|2009|p=506}}{{sfn|The Indianapolis Star 1913}} displays of reproductions were also forcibly removed in [[Miami]] and [[Atlanta]].{{sfn|The Miami News 1983}} In Chicago, a man was charged with disorderly conduct after bringing home a reproduction.{{sfn|The Pittsburgh Press 1913, Trouble Maker}} Irene Deal, who dressed in a [[union suit]] and posed as "Miss September Morn" <!--in the [[Allegheny River]]-->in [[Harrisburg, Pennsylvania]], as a publicity stunt, was controversially fined $50{{efn|${{Inflation|US|50|1913|fmt=c}} today.{{Inflation-fn|US}}}} for disorderly conduct.{{sfn|Variety 1913, Ideal's 'Morn'}}{{sfn|Variety 1913, Ideal is Fined}} In 1914, students at the [[College of Wooster]] in [[Wooster, Ohio]], burned a copy of the painting for being against their religious beliefs.{{sfn|The Washington Post}}

Ultimately some 7&nbsp;million reproductions of ''September Morn'', prints of which remained popular as late as the 1960s, were sold.{{sfn|Werner|1961|pp=219–220}} Reichenbach characterized this popularity as a "laugh on the overzealous guardians of virtue" in which the entire American populace participated.{{sfn|Reichenbach|Freedman|1931|pp=104–105}} Inspired by the commercial success of ''September Morn'', displays of images of nude women became more common; a ''New York Times'' reader wrote in 1915 that they had become "increasingly vulgar and suggestive".{{sfn|The New York Times 1915}}

In 1937 ''[[Life (magazine)|Life]]'' deemed ''September Morn'' "one of the most familiar paintings in the world",{{sfn|Life 1937, Painter}} and a retrospective ''[[Toledo Blade]]'' article characterized the model as having become America's number one [[pin-up girl]].{{sfn|Toledo Blade 1958}} Writing in 1957, Considine declared ''September Morn'' to be "the most controversial painting in the history of [the United States]",{{sfn|Considine|1957|p=3}} and the ''[[New York Post]]'' declared it "the most famous nude till the [[Marilyn Monroe]] calendar".<ref>Quoted in {{harvnb|Brauer|2011|p=124}}.</ref> Carson wrote in 1961 that ''September Morn'' had caused "the most heated controversy over nudity, art, and morals" in the United States since [[Hiram Powers]]' statue ''[[The Greek Slave]]'' in the 1840s.{{sfn|Carson|1961}}

===Russia and Paris===
The oil baron {{ill|Leon Mantashev|ru|Манташев, Левон Александрович}}{{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 the original ''September Morn'' in {{circa}}&nbsp;1913, for a price of $10,000{{efn|${{Inflation|US|30000|1913|fmt=c}} today.{{Inflation-fn|US}}}} and brought it with him to Russia.{{sfn|Monfried|1971|p=9}} After the outbreak of the [[October Revolution]] the painting was feared destroyed.{{sfn|Toledo Blade 1957}} Following Mantashev's escape from Russia, pieces of his sizeable collection that were 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}} By 1933 Chabas was seeking information regarding his work's fate, which ''[[The Milwaukee Journal]]'' suggested was "hanging in some crowded Russian room, its owner perhaps completely ignorant of its world fame".{{sfn|The Milwaukee Journal 1933}} At the time several American galleries had copies purported to be the original.{{sfn|The Montreal Gazette 1935}}

The painting, however, was safe: Mantashev had smuggled it out of the country,{{Sfn|The Milwaukee Journal 1937}} reportedly "rip[ping] it out of its frame" when the revolution broke out.{{sfn|The Montreal Gazette 1935}} In the early 1930s,{{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}}}} in desperate need of funds, he sold ''September Morn'' to the [[Armenians|Armenian]] art collector and philanthropist [[Calouste Gulbenkian]] for $30,000;{{efn|${{Inflation|US|30000|1933|fmt=c}} today.{{Inflation-fn|US}}}}{{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}} There it hung with works by artists such as [[Claude Monet]] and [[Paul Cézanne]].{{sfn|Carson|1961}} By 1937 ''September Morn'' was on display in the [[Musée du Luxembourg]], hung between works by [[Jean-François Raffaëlli]] and [[Eugène Carrière]].{{Sfn|The Milwaukee Journal 1937}} The curator [[John Walker (curator)|John Walker]], who between 1947 and 1955 would try to acquire the Gulbenkian Collection for the [[National Gallery of Art]], described it as 'Gulbenkian's only lapse in taste.'{{sfn|Horizon 1970, How I Didn't Get}} After Gulbenkian's death in 1955, the painting was acquired by Wildenstein and Company of New York.{{sfn|Sterling|Salinger|1966|pp=222–223}}

===Acquisition by the Metropolitan Museum of Art===
''September Morn'' was purchased by the [[Philadelphia]] broker and sportsman William Coxe Wright for $22,000{{efn|${{Inflation|US|22000|1957|fmt=c}} today.{{Inflation-fn|US}}}} in 1957.{{sfn|MET, September Morn}}{{sfn|Monfried|1971|p=9}} 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".{{sfn|Beaver Valley Times 1957}} Eventually he anonymously donated the work&nbsp;– valued at an estimated $30,000{{efn|${{Inflation|US|30000|1957|fmt=c}} today.{{Inflation-fn|US}}}}&nbsp;– to the Met in New York City.{{sfn|Monfried|1971|p=9}} 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".{{sfn|Toledo Blade 1957}}

[[File:September Morn on display in Toledo, 1958.jpg|thumb|''September Morn'' on display in the [[Toledo Museum of Art]], 1958]]
After acquisition, in September 1957 the painting was displayed near the Met's front entrance, taking a place previously occupied by the [[Pérussis Altarpiece]].{{sfn|Toledo Blade 1957}} This position of honor was held for several weeks.{{sfn|Werner|1961|p=219}} Hughes reported a "veritable pilgrimage" of visitors came to see the painting, which she considered to add a "fresh, popular appeal" to the Met which drew museum-goers who would never have come otherwise.{{sfn|Hughes|1957|p=15}} By then, the earlier scandal of the model's nudity had lessened;{{sfn|Hughes|1957|p=15}} discussing an exhibit of the painting in [[Toledo, Ohio]], 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}} Six years later it was again exhibited at 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 removed ''September Morn'' from display and placed it in 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}}, the Met's website lists the painting as not on display,{{sfn|MET, September Morn}} though it had been hung in the museum around 2011.{{sfn|Brauer|2011|p=139}}

==Reception==
In 1913, Chabas stated that he was "pained and humiliated" by the controversy over ''September Morn'',{{sfn|The Oregon Daily Journal 1913, 'September Morn'}} though he later expressed more positive views. He described the work as "all I know of painting", and responded positively to statements that it was his masterpiece.{{sfn|Monfried|1971|p=9}} In a 1914 interview, he explained that he had not meant to sell the painting, as it "was [his] wife's favorite picture".{{sfn|Oakland Tribune 1914}} 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;{{sfn|Monfried|1971|p=9}} 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."{{sfn|The Gazette and Daily 1937}} However, not having copyrighted the work, he did not receive any royalties from the marketing frenzy in the United States; he recalled, "Nobody was thoughtful enough even to send me a box of cigars."{{sfn|Monfried|1971|p=9}}{{sfn|Hughes|1957|p=15}}

Reviewing the painting after the Salon, Tr.L. in the {{Interlanguage link multi|Larousse mensuel illustré|fr|3=Larousse mensuel illustré|lt=''Larousse Mensuel illustré''}} praised Chabas's technique as drawing "of a rare purity", and modeling "of a remarkable delicacy".{{efn|Original: "''le dessin ... d'une rare pureté, et le modelé d'une finesse remarquable''"}}{{sfn|Tr.L|1912|p=465}} Henri Frantz, reviewing the Paris Salon for ''The International Studio'', described ''September Morn'' as "one of the [Salon]'s most remarkable figure subjects", highlighting the nude's "graceful form".{{sfn|Frantz|1912|p=102}} In ''[[Le Temps (Paris)|Le Temps]]'', François Thiébault-Sisson found that, despite an "excessively translucent technique", the painting had "indisputable charm" and included "superior, very artistic, and delicately composed" imagery.<ref name="Sisson">Quoted in {{harvnb|Brauer|2011|p=123}}; translation by Brauer.</ref> 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".{{sfn|Oregon Daily Journal 1913, September Morn}}

Later reviews were less positive. The director of the Met, [[James Rorimer]], wrote in 1957 that ''September Morn'' stood at "different ends of a wide spectrum" than the works of [[Old Master]]s and "modern giants", but was important in helping viewers "realize the full benefit of our heritage" in their explorations of past and present art.{{Sfn|Rorimer|1957|p=1}} That year, 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".{{efn|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]] {{harv|The Montreal Gazette 1957}}.}}{{sfn|The Montreal Gazette 1957}}

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 was 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".{{sfn|Toledo Blade 1958}} Three years later, in an article in ''[[The Kenyon Review]]'', Alfred Werner described ''September Morn'' as a "classic of [[kitsch]]" and "the 'idealized' nude at its worst": "without a wrinkle of the skin, without any breathing of the flesh&nbsp;... pink, soft, spineless".{{sfn|Werner|1961|pp=219–220}} This classification of kitsch has been applied by several further writers, including Kendrick{{sfn|Kendrick|1996|p=147}} and the film scholar Norman Taylor.{{sfn|Taylor|2012|p=221}}

Several writers have included ''September Morn'' in lists of works depicting children with erotic or pornographic subtexts.<ref>{{harvnb|Witchard|2009|pp=126, 186}}; {{harvnb|Wasserman|Rosenfeld|2014|p=56}}</ref> Brauer argues that although the nude "seems to embody the moral purity at puberty", this innocence is actually a fetishistic mechanism which both allowed the work to pass the censors and be eroticised.{{efn|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 {{harv|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 {{harv|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" {{harv|Brauer|2001}}.}}{{sfn|Brauer|2011|pp=130–131, 136–139}} She concludes that the painting is "paedophilically provocative", and that Chabas was protected from censure by his status as an established artist and father.{{sfn|Brauer|2011|pp=131, 139}} Such views have not been universally held. For instance, the historian [[Paul S. Boyer]] describes ''September Morn'' as "charmingly innocent",{{sfn|Boyer|2002|p=3}} and the art writer Elizabeth Lunday finds the painting to be "offensive only on the grounds of blandness".{{sfn|Lunday|2013|p=96}}

==Explanatory notes==
{{notelist|40em}}

==References==
{{reflist|25em}}

==Works cited==
{{refbegin|40em}}
* {{Cite news
 |title=5,000 Artists Leap Back to Savagery Over Night
 |page=1
 |date=June 16, 1921
 |ref={{SfnRef|The Milwaukee Journal 1921}}
 |work=The Milwaukee Journal
}}
* {{Cite news
 |title=A Male September Morn? No! Why, Yes!
 |work=The Milwaukee Sentinel
 |date=September 18, 1915
 |page=3
 |ref={{sfnRef|The Milwaukee Sentinel 1915}}
}}
* {{Cite book
 |title=Seeing the American Woman, 1880–1920: The Social Impact of the Visual Media Explosion
 |last1=Adams
 |first1=Katherine H
 |last2=Keene
 |first2=Michael L
 |last3=Koella
 |first3=Jennifer Campbell
 |url=https://books.google.com/books?id=w0rttS5YVjsC
 |publisher=McFarland
 |year=2012
 |isbn=978-0-7864-6661-0
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1037703/september_mornthe_musical_1915/?
 |title=Amusements
 |date=December 8, 1915
 |page=3
 |work=The Charlotte News
 |ref={{sfnRef|The Charlotte News 1915}}
 |via = [[Ancestry.com|Newspapers.com]]
}} {{Open access}}
* {{Cite magazine
 |title=Art: Lady of the Lake
 |url=http://content.time.com/time/magazine/article/0,9171,809833,00.html
 |magazine=Time
 |issn=0040-781X
 |date=September 2, 1957
 |issue=10
 |volume=70
 |ref={{SfnRef|Time 1957}}
}} {{subscription required}}
* {{Cite magazine
 |title=Art: Twenty-five Years After
 |url=http://content.time.com/time/magazine/article/0,9171,748562,00.html
 |magazine=Time
 |issn=0040-781X
 |date=March 18, 1935
 |issue=11
 |volume=25
 |ref={{SfnRef|Time 1935}}
}} {{subscription required}}
* {{cite news
 |url=https://www.newspapers.com/clip/1037729/chabas_dispels_september_morn_rumors/?
 |title=Artist Reveals Story of 'September Morn' Untrue
 |date=March 8, 1935
 |page=6
 |work=The San Bernardino County Sun
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|The San Bernardino County Sun 1935}}
}} {{Open access}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024672/chabas_asks_help_to_locate_missing/?
 |title=Artist Seeks Trace of Nude
 |date=March 16, 1933
 |page=7
 |work=Middletown Times Herald
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|Middletown Times Herald 1933}}
}} {{Open access}}
* {{Cite journal
 |title=At the Salon and Royal Academy
 |journal=[[The Nineteenth Century (periodical)|The Nineteenth Century and After]]
 |url=https://books.google.com/books?id=PZk6AQAAMAAJ
 |location=London
 |oclc=1716918
 |date=1912
 |ref={{sfnRef|The Nineteenth Century and After}}
}}
* {{Cite web
 |title=Au crépuscule
 |language=fr
 |access-date=September 19, 2014
 |archive-url=https://web.archive.org/web/20140919114346/http://www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html?no_cache=1&nnumid=078065&cHash=47a09abe95
 |url=http://www.musee-orsay.fr/fr/collections/catalogue-des-oeuvres/notice.html?no_cache=1&nnumid=078065&cHash=47a09abe95
 |archive-date=September 19, 2014
 |publisher=Musée d'Orsay
 |ref={{SfnRef|Musée d'Orsay, Au crépuscule}}
}}
* {{cite news|url=https://www.newspapers.com/clip/1035574/some_testimony_in_the_september_morn/?
 |title=Beautiful Bathing Girl Is Victor For Art, But Policeman Doubts
 |date=March 25, 1913
 |page=5
 |work=Escanaba Morning Press
 |access-date=September 19, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|Escanaba Morning Press 1913}}
}} {{Open access}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024495/september_morn_model_reveals_her/?
 |title=Bared At Last: The Girl Who Was 'September Morn'
 |date=January 10, 1937
 |page=84
 |work=The Salt Lake Tribune
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|Salt Lake Tribune 1937}}
}} {{Open access}}
* {{Cite news
 |title=Beautiful Shivering Girl on Trial; Must September Morn Be Clothed?
 |work=The Milwaukee Journal
 |date=March 21, 1913
 |page=6
 |ref={{sfnRef|The Milwaukee Journal 1913, Beautiful}}
}}
* {{Cite book
 |title=The New American Cultural Sociology
 |editor1-last=Smith
 |editor1-first=Philip
 |chapter=Censorship, Audiences, and the Victorian Nude
 |last=Beisel
 |year=1998
 |first=Nicola
 |pages=109–125
 |publisher=Cambridge University Press
 |isbn=978-0-521-58415-9
}}
* {{cite conference
 |url=http://www.aah.org.uk/page/3041
 |title=Picturing Paedophilia: The Salon Nymphettes and Child Pornography of 'la Belle Époque'
 |first=Fae
 |last=Brauer
 |year=2001
 |conference=27th Annual Conference of the Association of Art Historians
 |conference-url=http://www.aah.org.uk/page/3041
 |location=Oxford, England
 |archive-url=https://web.archive.org/web/20160304025513/http://www.aah.org.uk/page/3041
 |archive-date=March 4, 2016
 |url-status=dead
}}
* {{Cite journal
 |last= Brauer
 |first = Fae
 |title = 'Moral Girls' and 'Filles Fatales': The Fetishisation of Innocence
 |journal = Australian and New Zealand Journal of Art
 |date = 2011
 |volume = 10
 |issue = 1
 |pages= 122–143
 |url = http://search.informit.com.au/documentSummary;dn=130183865604930;res=IELLCC
 |issn = 1443-4318
}}
* {{Cite news
 |title=That Shameless Hussy Miss Morn Comes to Town; Poses in 2nd Ave. Window Where All May See
 |page=1
 |last=Boalt
 |first=Fred L.
 |url=http://chroniclingamerica.loc.gov/lccn/sn87093407/1913-05-20/ed-1/seq-1/
 |date=May 20, 1913
 |work=The Seattle Star
 |access-date=September 16, 2014
 |via=[[Library of Congress]]
}}
* {{Cite book
 |title=Purity in Print: Book Censorship in America from the Gilded Age to the Computer Age
 |last1=Boyer
 |first1=Paul S
 |url=https://books.google.com/books?id=DO9rCaSW2HkC
 |publisher=University of Wisconsin Press
 |year=2002
 |isbn=978-0-299-17583-2
}}
* {{cite book
|last1=Bullock
|first1=Tom
|title=The Ideal Bartender
|date=1917
|publisher=Echo Point Books and Media
|isbn=978-1626541603
}}
* {{Cite journal
 |last=Carson
 |first=Gerald
 |archive-url=https://web.archive.org/web/20160304085334/http://www.americanheritage.com/content/they-knew-what-they-liked?page=show
 |archive-date=March 4, 2016
 |title=They Knew What They Liked
 |journal=American Heritage
 |date=August 1961
 |volume=12
 |issue=5
 |url=http://www.americanheritage.com/content/they-knew-what-they-liked?page=show
 |issn=0002-8738
 |url-status=dead
}}
* {{cite news
 |url=https://onedrive.live.com/?authkey=%21APk1A6d9JKk9mwg&cid=3A599D9C0D4AF47E&id=3A599D9C0D4AF47E%211708&parId=3A599D9C0D4AF47E%21157&o=OneUp
 |title=Censor Praises Nude Study, But Says It's Not For Wife
 |date=March 19, 1913
 |page=12
 |work=Chicago Daily Tribune
 |access-date=September 19, 2014
 |via=[[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|Chicago Daily Tribune 1913}}
 |archive-url=https://web.archive.org/web/20171206074521/https://onedrive.live.com/?authkey=%21APk1A6d9JKk9mwg&cid=3A599D9C0D4AF47E&id=3A599D9C0D4AF47E%211708&parId=3A599D9C0D4AF47E%21157&o=OneUp
 |archive-date=December 6, 2017
 |url-status=dead
 }} {{Open access}}
* {{Cite news
 |title=Chabas' Original Work Never in the US
 |url=https://news.google.com/newspapers?nid=1946&dat=19350329&id=LpAuAAAAIBAJ&pg=2423,3894213
 |work=The Montreal Gazette
 |date=March 29, 1935
 |access-date=September 17, 2014
 |page=6
 |ref={{sfnRef|The Montreal Gazette 1935}}
 |via=[[Google News Archive]]
}}
* {{Cite news
 |title=Chabas's Picture Approved
 |url=http://chroniclingamerica.loc.gov/lccn/sn83030272/1913-06-27/ed-1/seq-9/
 |work=The Sun
 |date=June 27, 1913
 |access-date=September 23, 2014
 |page=9
 |ref={{sfnRef|The Sun 1913, Chabas's Picture}}
 |via=[[Library of Congress]]
}}
* {{Cite book
 |title=Always in Vogue
 |last1=Chase
 |first1=Edna Woolman
 |author-link1=Edna Woolman Chase
 |last2=Chase
 |first2=Ilka
 |author-link2=Ilka Chase
 |url=https://archive.org/details/alwaysinvogue00chas
 |publisher=Doubleday
 |year=1954
 |oclc=404419
}}
* {{Cite news
 |title=Chicago Still Squabbles over 'September Morn'
 |page=8
 |url=https://news.google.com/newspapers?nid=1144&dat=19130903&id=TLocAAAAIBAJ&pg=3549,417010
 |date=September 3, 1913
 |ref={{SfnRef|The Pittsburgh Press 1913, Chicago}}
 |work=The Pittsburgh Press
 |access-date=September 18, 2014
 |via=[[Google News Archive]]
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1034156/how_reichenbach_manipulated_the_media/?
 |title='September Morn' Made Respectable Through Purchase By Noted Museum
 |last=Considine
 |first=Bob
 |date=September 2, 1957
 |page=3
 |work=Corsicana Daily Sun
 |access-date=September 19, 2014
 |via = [[Ancestry.com|Newspapers.com]]
}} {{Open access}}
* {{Cite book
 |chapter=Censorship and Sex
 |title=Human Sexuality: An Encyclopedia
 |last1=Cornog
 |first1=Martha
 |last2=Perper
 |first2=Timothy
 |pages=91–105
 |editor1-last=Bullough
 |editor1-first=Vern
 |editor2-last=Bullough
 |editor2-first=Bonnie
 |url=https://books.google.com/books?id=-cqlAgAAQBAJ
 |publisher=Garland
 |series=Garland reference library of social science
 |volume=685
 |year=1994
 |isbn=978-0-8240-7972-7
}}
* {{cite book
|last1=Craddock
|first1=Harry
|title=The Savoy Cocktail Book
|date=1930
|publisher=Echo Point Books & Media, LLC.
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}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024760/more_background_on_chabas_and_the/?
 |title=Discreet Nude That Shocked Grandma's Day To Be Shown
 |date=September 1, 1957
 |page=21
 |work=Kingsport Times-News
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|Kingsport Times-News 1957}}
}} {{Open access}}
* {{Cite news
 |title=Don't be Afraid of the Policeman; Teach Children to Trust Blue Coats
 |work=The Milwaukee Journal
 |date=May 4, 1913
 |page=6
 |ref={{sfnRef|The Milwaukee Journal 1913, Don't be Afraid}}
}}
* {{Cite book
 |title=Echoes of Distant Thunder: Life in the United States, 1914–1918
 |last1=Ellis
 |first1=Edward Robb
 |publisher=Coward, McCann & Geoghegan
 |year=1975
 |isbn=978-0-698-10583-6
}}
* {{Cite news
 |title=Eve-like Picture is Held Modest
 |page=5
 |url=http://chroniclingamerica.loc.gov/lccn/sn85066387/1913-03-22/ed-1/seq-5.pdf |archive-url=https://ghostarchive.org/archive/20221009/http://chroniclingamerica.loc.gov/lccn/sn85066387/1913-03-22/ed-1/seq-5.pdf |archive-date=2022-10-09 |url-status=live
 |date=March 22, 1913
 |ref={{sfnRef|San Francisco Call 1913}}
 |work=San Francisco Call
 |access-date=September 19, 2014
 |via=[[Library of Congress]]
}}
* {{Cite journal
 |title=Nudes Under Siege
 |url=http://digitalcommons.law.yale.edu/cgi/viewcontent.cgi?article=1268&context=yjlh
 |journal=Yale Journal of Law & the Humanities
 |oclc=60616201
 |date=2003
 |issue=1
 |volume=15
 |pages=173–178
 |last=Failing
 |first=Patricia
}}
* {{Cite news
 |title=Famed 'September Morn' Finds Niche
 |url=https://news.google.com/newspapers?nid=1350&dat=19570828&id=jfxOAAAAIBAJ&pg=7291,4134593
 |work=Toledo Blade
 |date=August 28, 1957
 |access-date=September 17, 2014
 |page=9
 |ref={{sfnRef|Toledo Blade 1957}}
 |via=[[Google News Archive]]
}}
* {{Cite journal
 |last=Frantz
 |first=Henri
 |title = The Old and the New Salon in Paris
 |journal = The International Studio
 |date = 1912
 |volume=47
 |pages = 102–108
 |url = https://archive.org/details/internationalstu47newy
 |oclc =1624007
}}
* {{Cite book
 |title=Public Sculptor: Lorado Taft and the Beautification of Chicago
 |last=Garvey
 |first=Timothy J
 |url=https://books.google.com/books?id=bunHURgi7FcC
 |publisher=University of Illinois Press
 |year=1988
 |isbn=978-0-252-01501-4
}}
* {{Cite book
 |title=Encyclopedia of Censorship
 |editor1-last=Green
 |editor1-first=Jonathon
 |editor2-last=Karolides
 |editor2-first=Nicholas
 |url=https://books.google.com/books?id=bunHURgi7FcC
 |publisher=Infobase Publishing
 |year=2009
 |isbn=978-1-4381-1001-1
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1055284/comstock_birth_control_1964/
 |title=New Caanan Crusader Fathered Beleaguered Birth Curb Laws
 |last=Healion
 |first=James V.
 |page=42
 |date=December 9, 1964
 |work=The Bridgeport Post
 |access-date=September 23, 2014
 |via = [[Ancestry.com|Newspapers.com]]
}} {{Open access}}
* {{Cite news
 |title=A Woman's New York
 |last=Hughes
 |first=Alice
 |url=https://news.google.com/newspapers?nid=1955&dat=19570903&id=aQcrAAAAIBAJ&pg=6544,1072234
 |work=Reading Eagle
 |date=September 3, 1957
 |access-date=September 17, 2014
 |page=15
 |via=[[Google News Archive]]
}}
* {{Cite journal
 |title = 'Ideal' is Fined
 |journal = Variety
 |date = September 19, 1913
 |volume = XXXII
 |issue = 4
 |page = 6
 |url = https://archive.org/stream/variety32-1913-09#page/n113/mode/1up
 |issn = 0042-2738
 |ref= {{sfnRef|Variety 1913, Ideal is Fined}}
}}
* {{Cite journal
 |title = Ideal's 'Morn' Criticized
 |journal = Variety
 |date = September 19, 1913
 |volume = XXXII
 |issue = 3
 |page = 6
 |url = https://archive.org/stream/variety32-1913-09#page/n73/mode/1up
 |issn = 0042-2738
 |ref= {{sfnRef|Variety 1913, Ideal's 'Morn'}}
}}
* {{Cite book
 |last=Kendrick
 |first=Walter M.
 |year=1996
 |url=https://books.google.com/books?id=ipi0lLipNgAC
 |title=The Secret Museum: Pornography in Modern Culture
 |publisher=University of California Press
 |isbn=978-0-520-20729-5
}}
* {{Cite book
 |last=Lathers
 |first= Marie
 |title=Bodies of Art: French Literary Realism and the Artist's Model
 |year=2001
 |publisher=University of Nebraska Press
 |url=https://books.google.com/books?id=vB3pJgkLEXUC
 |isbn=978-0-8032-2941-9
}}
* {{Cite book
 |last=Levine
 |first= Steve
 |title=The Oil and the Glory: The Pursuit of Empire and Fortune on the Caspian Sea
 |year=2007
 |publisher=Random House
 |url=https://archive.org/details/unset0000unse_w0b1
 |url-access=registration
 |isbn=978-0-375-50614-7
}}
* {{Cite book
 |title=The Modern Art Invasion: Picasso, Duchamp, and the 1913 Armory Show that Scandalized America
 |last1=Lunday
 |first1=Elizabeth
 |url=https://books.google.com/books?id=g3RBBAAAQBAJ
 |publisher=Lyons Press
 |year=2013
 |isbn=978-0-7627-9017-3
}}
* {{Cite book
 |title=Matin de Septembre
 |publisher=[[WorldCat]]
 |ref={{sfnRef|WorldCat, Matin de Septembre}}
 |oclc=82406310
 }}
* {{Cite journal
 |last= McElravy
 |first = Robert C.
 |title = September Mourning
 |journal = Moving Picture World
 |date = November 13, 1915
 |volume = 26
 |issue = 8
 |page= 1319
 |url = https://archive.org/details/movinwor26chal
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024742/chabas_keeps_models_identity_secret/?
 |title=Miss "September Morn" Now Mother of 5 Strapping Sons
 |date=April 18, 1933
 |page=11
 |work=The Indiana Gazette
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|The Indiana Gazette 1933}}
}} {{Open access}}
* {{Cite news
 |title=Miss September Twilight Comes to Vie with Miss September Morn
 |work=The Milwaukee Sentinel
 |date=May 28, 1913
 |page=2
 |ref={{sfnRef|The Milwaukee Sentinel 1913}}
}}
* {{Cite news
 |title='September Morn' Gets Cold Shoulder at Last
 |work=The Milwaukee Journal
 |date=December 1, 1971
 |page=9
 |last=Monfried
 |first=Walter
}}
* {{Cite news
 |title=Nude Maid Lingers Yet in Show Window
 |url=http://fultonhistory.com/newspaper%209/New%20York%20NY%20Sun/New%20York%20NY%20Sun%201913%20%20Grayscale/New%20York%20NY%20Sun%201913%20%20Grayscale%20-%203407.pdf |archive-url=https://ghostarchive.org/archive/20221009/http://fultonhistory.com/newspaper%209/New%20York%20NY%20Sun/New%20York%20NY%20Sun%201913%20%20Grayscale/New%20York%20NY%20Sun%201913%20%20Grayscale%20-%203407.pdf |archive-date=2022-10-09 |url-status=live
 |work=The Sun
 |date=May 14, 1913
 |access-date=September 23, 2014
 |page=9
 |ref={{sfnRef|The Sun 1913, Nude Maid}}
}}<!--Archived as [[:File:Nude Maid Lingers Yet in Show Window (September Morn article).jpg]]-->
* {{Cite book
 |title=Oh You September Morn
 |publisher=[[WorldCat]]
 |ref={{sfnRef|WorldCat, Oh You September Morn}}
 |oclc=667762496
 }}
* {{Cite journal
 |title=Public Censorship of Art
 |journal=Fine Arts Journal
 |last=Pattison
 |first=James William
 |volume=28
 |issue=4
 |jstor=25587172
 |pages=243–246
 |doi=10.2307/25587172
 |date=April 1913
 }}
* {{Cite magazine
 |title=Painter of 'September Morn' Dies at 68
 |magazine=Life
 |volume=2
 |issue=21
 |url=https://books.google.com/books?id=1kQEAAAAMBAJ
 |page=53
 |date=May 24, 1937
 |ref={{SfnRef|Life 1937, Painter}}
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024719/united_press_reporter_finds_september/?
 |title=Painting of 'September Morn' Has Now Become Respectable
 |date=August 28, 1957
 |page=3
 |work=The Berkshire County Eagle
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{sfnRef|The Berkshire County Eagle 1957}}
}} {{Open access}}
* {{Cite news
 |title='Paris has Nothing on Chicago Saloons when it Comes to Art', Says This Cop
 |work=The Milwaukee Journal
 |date=March 5, 1913
 |page=13
 |ref={{sfnRef|The Milwaukee Journal 1913, Paris}}
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024532/paul_chabas_dies_in_paris_1937/?
 |title=Paul Chabas, Who Painted "September Morn", Dies In Paris
 |date=May 11, 1937
 |page=11
 |work=The Gazette and Daily
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{sfnRef|The Gazette and Daily 1937}}
}} {{Open access}}
* {{Cite news
 |title=Picture of Nude Girl is Approved
 |url=https://news.google.com/newspapers?nid=1314&dat=19130322&id=mNlVAAAAIBAJ&pg=4316,2935350
 |work=The Spokesman-Review
 |date=March 22, 1913
 |access-date=September 18, 2014
 |page=1
 |ref={{sfnRef|The Spokesman-Review 1913}}
 |via=[[Google News Archive]]
}}
* {{Cite news
 |title=Pin-Ups Out on New Calendars
 |url=https://news.google.com/newspapers?nid=1499&dat=19330513&id=MaxQAAAAIBAJ&pg=3977,5693220
 |work=Sarasota Herald-Tribune
 |date=December 27, 1973
 |access-date=September 19, 2014
 |page=1A
 |ref={{sfnRef|Sarasota Herald-Tribune 1973}}
 |via=[[Google News Archive]]
}}
* {{Cite book
 |title=Frommer's France 2005
 |last1=Porter
 |first1=Darwin
 |last2=Prince
 |first2=Danforth
 |url=https://archive.org/details/frommersparis20000port_0
 |url-access=registration
 |publisher=Wiley
 |year=2004
 |isbn=978-0-7645-7695-9
}}
* {{Cite news
 |title=Quaker City Stubs 'September Morn'
 |url=https://news.google.com/newspapers?nid=1981&dat=19570829&id=LlszAAAAIBAJ&pg=4633,4583932
 |work=Beaver Valley Times
 |date=August 30, 1957
 |access-date=September 17, 2014
 |page=22
 |ref={{sfnRef|Beaver Valley Times 1957}}
 |via=[[Google News Archive]]
}}
* {{Cite book
 |title=Phantom Fame: The Anatomy of Ballyhoo
 |last1=Reichenbach
 |first1=Harry
 |last2=Freedman
 |first2=David
 |url=https://books.google.com/books?id=SEtpAAAAIAAJ&q=september+morn
 |publisher=Simon and Schuster
 |year=1931
 |oclc=857072
}}
* {{cite journal
 |title=Notes
 |last=Rorimer
 |first=James J.
 |author-link=James Rorimer
 |date=Summer 1957
 |volume=XVI
 |issue=1
 |jstor=3257718
 |journal=The Metropolitan Museum of Art Bulletin
 |page=1
}}
* {{Cite web
 |last=Rosenfeld
 |first=Jason
 |title=The Salon and The Royal Academy in the Nineteenth Century
 |work=Heilbrunn Timeline of Art History
 |publisher=Metropolitan Museum of Art
 |url=http://www.metmuseum.org/toah/hd/sara/hd_sara.htm
 |access-date=September 29, 2014
 |archive-date=September 25, 2014
 |archive-url=https://web.archive.org/web/20140925100127/http://www.metmuseum.org/toah/hd/sara/hd_sara.htm
 |url-status=dead
}}
* {{Cite news
 |last=Schoedel
 |first=Alan
 |title='September Morn' Bathes Without Leers in Toledo Museum
 |url=https://news.google.com/newspapers?nid=1350&dat=19580824&id=VwUkAAAAIBAJ&pg=1741,4012986
 |work=Toledo Blade
 |date=August 24, 1958
 |access-date=September 17, 2014
 |page=1
 |via=[[Google News Archive]]
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024582/september_morn_1913/?
 |title=September Morn
 |publisher=Oregon Daily Journal
 |date=July 6, 1913
 |page=54
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|Oregon Daily Journal 1913, September Morn}}
}} {{Open access}}
* {{Cite web
 |url         = http://www.metmuseum.org/collection/the-collection-online/search/488977
 |title       = September Morn
 |publisher   = Metropolitan Museum of Art
 |archive-url  = https://web.archive.org/web/20190707231840/http://www.metmuseum.org/collection/the-collection-online/search/488977?rpp=30&pg=1&ft=September+Morn&pos=2&imgNo=0&tabName=object-information
 |archive-date = July 7, 2019
 |access-date  = September 16, 2014
 |ref         = {{SfnRef|MET, September Morn}}
 |url-status     = dead
}}
* {{Cite journal
 |title = September Morn
 |journal = Moving Picture World
 |date = February 21, 1914
 |volume = 19
 |issue = 8
 |page= 1008
 |url = https://archive.org/details/movingpicturewor19newy
 |ref= {{sfnRef|Moving Picture World 1914, September Morn}}
}}
* {{Cite news
 |title=September Morn
 |url=https://news.google.com/newspapers?nid=1817&dat=19370514&id=Cu0-AAAAIBAJ&pg=5980,5837327
 |work=The Tuscaloosa News
 |date=May 14, 1937
 |access-date=September 17, 2014
 |page=3
 |ref={{sfnRef|The Tuscaloosa News 1937}}
 |via=[[Google News Archive]]
}}
* {{Cite news
 |title='September Morn', 1913's Naughty Nude, to be Displayed Here
 |url=https://news.google.com/newspapers?nid=1350&dat=19580622&id=BToxAAAAIBAJ&pg=2283,850167
 |work=Toledo Blade
 |date=June 22, 1958
 |access-date=September 19, 2014
 |page=1
 |ref={{sfnRef|Toledo Blade 1958}}
 |via=[[Google News Archive]]
}}
* {{Cite news
 |title=September Morn at Metropolitan
 |url=https://news.google.com/newspapers?nid=1946&dat=19570914&id=rJgtAAAAIBAJ&pg=7072,2557015
 |work=The Montreal Gazette
 |date=September 14, 1957
 |access-date=September 19, 2014
 |page=27
 |ref={{sfnRef|The Montreal Gazette 1957}}
 |via=[[Google News Archive]]
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024408/us_post_office_bars_september_morn/?
 |title='September Morn' Barred From New Orleans Mails
 |date=August 10, 1913
 |page=18
 |work=The Indianapolis Star
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{SfnRef|The Indianapolis Star 1913}}
}} {{Open access}}
* {{Cite news
 |title='September Morn' Can't Be Seen in Magic City
 |url=https://www.newspapers.com/clip/15268998/september_morn/
 |work=The Miami News
 |date=January 15, 1983
 |access-date=September 19, 2014
 |page=4C
 |ref={{sfnRef|The Miami News 1983}}
 |via=[[Newspapers.com]]
}}{{Open access}} (reproduced from a 1913 ''Miami Daily Metropolis'' article)
* {{cite news
 |url=https://www.newspapers.com/clip/1024564/chabas_never_meant_to_sell_wifes/?
 |title='September Morn' Creator Coming
 |date=June 21, 1914
 |page=11
 |work=Oakland Tribune
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{sfnRef|Oakland Tribune 1914}}
}} {{Open access}}
* {{cite news
 |url=https://www.newspapers.com/clip/1024689/paul_chabas_obituary_1937/?
 |title='September Morn' Creator Dies After Long Illness
 |date=May 11, 1937
 |page=3
 |work=Logansport Pharos-Tribune
 |access-date=September 17, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{sfnRef|Logansport Pharos-Tribune 1937}}
}} {{Open access}}
* {{Cite news
 |title='September Morn' Dressed Up
 |url=https://news.google.com/newspapers?nid=1144&dat=19131219&id=DiMbAAAAIBAJ&pg=4963,5373793
 |work=The Pittsburgh Press
 |date=December 19, 1913
 |access-date=September 18, 2014
 |page=33
 |ref={{sfnRef|The Pittsburgh Press 1913, 'September Morn'}}
 |via=[[Google News Archive]]
}}
* {{Cite news
 |title='September Morn' Echoes
 |url=https://query.nytimes.com/gst/abstract.html?res=9B06E0DD153BE233A25751C0A9639C946496D6CF
 |work=The New York Times
 |date=May 2, 1915
 |access-date=September 19, 2014
 |page=9
 |ref={{sfnRef|The New York Times 1915}}
}} {{subscription required}}
* {{Cite news
 |title='September Morn' Given Flame Bath As College Students Get 'Religion'
 |url=https://www.proquest.com/docview/145287869
 |newspaper=The Washington Post
 |date=December 2, 1914
 |access-date=September 26, 2014
 |page=5
 |ref={{sfnRef|The Washington Post}}
}} {{subscription required}}
* {{Cite news
 |title='September Morn' Here
 |url=https://news.google.com/newspapers?nid=1310&dat=19131226&id=XWtXAAAAIBAJ&pg=3621,5682709
 |work=Eugene Daily Guard
 |date=December 26, 1913
 |access-date=September 17, 2014
 |page=2
 |ref={{sfnRef|Daily Guard 1913}}
 |via=[[Google News Archive]]
}}
* {{Cite news
 |title='September Morn' Hides in Luxembourg Gallery
 |work=The Milwaukee Journal
 |date=August 8, 1937
 |page=5
 |ref={{sfnRef|The Milwaukee Journal 1937}}
}}
* {{Cite book
 |title=September Morn (I'd Like to Meet Her)
 |publisher=[[WorldCat]]
 |ref={{sfnRef|WorldCat, September Morn}}
 |oclc=499092520
 }}
* {{cite news
 |url=https://www.newspapers.com/clip/1037651/chabas_spends_time_alone_after/?
 |title='September Morn' Is Curse To the Artist
 |date=September 29, 1913
 |page=2
 |work=The Oregon Daily Journal
 |access-date=September 19, 2014
 |ref={{sfnRef|The Oregon Daily Journal 1913, 'September Morn'}}
 |via = [[Ancestry.com|Newspapers.com]]
}} {{Open access}}
* {{Cite news
 |title='September Morn' Is Real Trouble Maker
 |url=https://news.google.com/newspapers?nid=1144&dat=19131022&id=87UaAAAAIBAJ&pg=4759,5500580
 |work=The Pittsburgh Press
 |date=October 22, 1913
 |access-date=September 17, 2014
 |page=10
 |ref={{sfnRef|The Pittsburgh Press 1913, Trouble Maker}}
 |via=[[Google News Archive]]
}}
* {{Cite news
 |title='September Morn' Painting Missing
 |work=The Milwaukee Journal
 |date=May 13, 1933
 |page=11
 |ref={{sfnRef|The Milwaukee Journal 1933}}
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1034080/actress_claims_to_be_the_model_for/?
 |title=She's the Original of 'September Morn'; Artists' Model Now an Actress and as "November Mourning" She Makes Hit
 |work=The Leavenworth Times
 |page=5
 |date=December 26, 1913
 |access-date=September 19, 2014
 |via = [[Ancestry.com|Newspapers.com]]
 |ref={{sfnRef|The Leavenworth Times 1913}}
}} {{Open access}}
* {{Cite book
 |last=Shteir
 |first= Rachel
 |title=Striptease: The Untold History of the Girlie Show
 |year=2004
 |publisher=Oxford University Press
 |url=https://archive.org/details/stripteaseuntold0000shte
 |url-access=registration
 |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
}}
* {{Cite journal
 |last= Stratton
 |first = Clarence
 |title = A Note on the Paris Salon of 1914
 |journal = Art and Progress
 |date = October 1914
 |volume = 5
 |issue = 12
 |pages= 420–421
 |jstor = 20561266
 }}
* {{Cite journal
 |title = Studio Talk
 |journal = The International Studio
 |date = 1912
 |volume=47
 |pages = 223–2251
 |url = https://archive.org/details/internationalstu47newy
 |oclc =1624007
 |ref= {{sfnRef|The International Studio 1912}}
}}
* {{cite book
 |last1=Taylor
 |first1=Norman
 |title=Cinematic Perspectives on Digital Culture: Consorting with the Machine
 |date=2012
 |publisher=Palgrave Macmillan
 |isbn=978-0-230-29892-7
 |url=https://books.google.com/books?id=IO6GsxzeFggC
}}
* {{cite book
 |last1=Tolf
 |first1=Robert W.
 |title=The Russian Rockefellers: The Saga of the Nobel Family and the Russian Oil Industry
 |date=1976
 |publisher=Hoover Press
 |isbn=978-0-8179-6583-9
 |url=https://books.google.com/books?id=3DmsQLtWq1wC
}}
* {{Cite journal
 |last=Tr.L
 |editor-last= Augé
 |editor-first = Claude
 |title = Matinée de Septembre
 |journal =  Larousse Mensuel Illustré
 |date = July 1912
 |volume=12
 |language=fr
 |issue = 65
 |page = 465
 |url = https://archive.org/stream/laroussemensueli02auguoft#page/n7/mode/2up
 |issn = 0996-0120
}}
* {{Cite journal
 |last=Vallillo
 |first = Stephen M.
 |title = Broadway Revues in the Teens and Twenties: Smut and Slime?
 |journal =  The Drama Review
 |date = March 1981
 |volume=25
 |issue=1
 |pages = 25–34
 |jstor = 1145341
 |issn = 0012-5962
 |doi=10.2307/1145341
}} {{subscription required}}
* {{Cite book
 |title=Paul Chabas, sa vie, son oeuvre
 |trans-title=Paul Chabas: His Life, His Oeuvre
 |last=Valmy-Baysse
 |first=J.
 |year=1910
 |publisher=Librairie F. Juven
 |oclc=27405907
 |series=Peintres d'aujour d'hui
 |volume=11
|ol=14052339M
 }}
* {{Cite news
 |title=How I Didn't Get Mr. Gulbenkian's Art
 |last=Walker
 |first=John 
 |journal=Horizon
 |volume=12
 |issue=3
 |page=42
 |date=Summer 1970
 |ref={{SfnRef|Horizon 1970, How I Didn't Get}}
}}
* {{Cite book
 |title=The Sexual Abuse of Children : Volume I: Theory and Research
 |editor1=William T O'Donohue
 |editor2=James H Geer
 |chapter=An Overview of the History of Child Sexual Abuse and Sigmund Freud's Contribution
 |last1=Wasserman
 |first1=Saul
 |last2=Rosenfeld
 |first2=Alvin
 |url=https://books.google.com/books?id=EdZcAgAAQBAJ
 |publisher=Taylor and Francis
 |year=2014
 |pages=49–72
 |isbn=978-1-317-76031-3
}}
* {{cite news
 |url=https://www.newspapers.com/clip/1055279/braun_co_and_comstock_1913/
 |title=Wearies Of Waiting A Comstock Arrest
 |page=7
 |date=May 15, 1913
 |newspaper=The New York Times
 |ref={{sfnRef|The New York Times 1913, Wearies}}
 |access-date=September 23, 2014
 |via = [[Ancestry.com|Newspapers.com]]
}} {{Open access}}
* {{Cite journal
 |title=Lawrence and Pascin
 |last=Werner
 |first=Alfred
 |journal=The Kenyon Review
 |volume=23
 |issue=2
 |date=Spring 1961
 |pages=217–228
 |jstor=4334113
 }} {{subscription required}}
* {{Cite book
 |title=The Theatre of Tennessee Williams
 |volume=III
 |chapter=Orpheus Descending
 |url=https://books.google.com/books?id=4PZ1Yhi-PM4C
 |last=Williams
 |first=Tennessee
 |isbn=978-0-8112-0419-4
 |publisher=New Directions
 |year=1971
}}
* {{Cite book
 |title=Thomas Burke's Dark Chinoiserie: Limehouse Nights and the Queer Spell of Chinatown
 |url=https://books.google.com/books?id=4PZ1Yhi-PM4C
 |last=Witchard
 |first=Anne Veronica
 |publisher=Ashgate
 |year=2009
 |isbn=978-0-7546-5864-1
}}
{{refend}}

==External links==
{{Commons category|September Morn}}
* [http://www.septembermorn.org The ''September Morn'' Archive]

{{Portal bar|France|Chicago|Freedom of speech|New York City|Visual arts}}

[[Category:1911 paintings]]
[[Category:Censorship in the United States]]
[[Category:Crimes in Chicago]]
[[Category:Culture of Chicago]]
[[Category:French paintings]]
[[Category:Modern paintings]]
[[Category:Nude paintings of women]]
[[Category:Obscenity controversies in painting]]
[[Category:Paintings in the Metropolitan Museum of Art]]
[[Category:Bathing in art]]