The Helena independent. [volume] (Helena, Mont.) 1875-1943, 1890-09-07
q Life of American Art Students
in the Gay City Of
Paris.
,xed Glasses, and Do They De-
noralixe the Girls Who At
tend Them.
me- Rumors That Had Very Little FOun-
a.&,on-A Glimpse Into the Acsd-
emie Julian.

students. IN the Two dIoAAoAO AoA
men there are about 400. I do not say
It these figures represent the numerical
,nortions between the sexes in the multi
ed art schools of Paris, but in the stu
AZ world Of the Latin Quarter the women
Q are painting, modelling and drawing
na to the surface more and more fire.
ently. In the galleries of the Louvre
the Luxembourg one is constantly
,mblinc upon their easels. Absorbed
ID in her copy Of Murillo or Raphael.
E " seem oblivious of the crude art criti-
m Of the hordes of tourist lookers-on.
the banks of the Seine in the cathedrals,
the narrow streets that divide the crum-
ne mediseval buildings of Rouen, every
ERE the woman art student is en- evil
nee.
At Julian's they show the corner in which
,rie Bashkirtsef sometimes worked by
rself, her easel and some of her sketches.
icy do not speak of her work with any |
,rked degree of respect. though have
ard young painter of the opposite sex
y they spoiled her with fattery. adding:
i was pity, for she had good stuff in
H."
The Academic Julian is probably better
own in America through the number OF
nerican students it has attracted than
! ' other Partisan art school. The atelier
i women in the Passage des Panoramas
approached through one of those laby-
lths of roofed-in arcades bordered with
ops which are among the sights of oontl-
Entail cities. One climbs narrow wind
| o stair, where models lie in wait to thrust
cir professional cards into one's hands on
10 landing, and is admitted under the SKY
,ht of a long, dinghy brown room, with
own floor. brown walls hung with casts
d sketches, and raised platform in the
| iddle of one side, behind which are hung
sddish brown draperies and on which Il
( lde brownish woman is sitting.
,Clustered about the model, their easels
uching. are groups of women painting,
me the full figure, some the mead ana
lst only. They do not look up at
Isranger's entrance; they not speak except
men the model changes ever so slightly the
ssition Of one cramped arm. Then comes
yollev of impatient ordinations and the
eown women silently and without move
ent of her features resumes her pose:
The students are young, from u 10 z! OF
\, quietly dressed, with bohemian disre.
hrd of the prevailing fashions. and as the
inutes 90 on in the stiffness Of the place
81 could hear the fall of pin. A clock
rikes, At the first note the model rises
I'D steps down from her chair. There is q
Nfting Of heads and the voluble chatter OF
apples. The atelier is not full. One
could see it in winter. Many have not re-
rned from the mountains, from the sea,
ON the river. In January they SIT 50
tose they cannot move. Mademoiselle,
hose easel IS there, is the strongest worker.
le is not in to-day. They discuss
le another with peefect frankness and
ithout jealousy, assigning to each her ex-
odel stands quietly meanwhile, looking,
ithout much interest, at one or two of the
asels. The students say nothing to her;
ker attitude is unscious. nonchalant. Pres
lltly she winds scarf half about her per
On. In fifteen minutes she is to pose
gam. Her face is dark and not without
sauty; her figure heavy, indolent, unat.
active.
There used to be mixed classes at Julian'e
Dr men and women, but the separation il
row so complete that the students of one
ssx know absolutely nothing about the do
ags of the other. With the exception Of
Professors, who are the same for the differ
mt schools, and the models, no male being
Crosses the thresholds of the women's atel-
Finder any circumstances, are allowed tc
isit the studios of the men.
Mixed classes, however, exist in Paris
nd the Academic Colorassi, which permits
aem, is by some artists allowed hiRhe
.ank than Julian's. American girls in CON
iderable numbers are studying at boil
hese schools, and their presence in CLASSES
Islade up of the two sexes before nude mod
lis is frequently the topic of lively discus
ion. That their attendance is sometimes
misunderstood, little conversation re
Gated to me yesterday abundantly exem
lilies. A young Frenchman called on Al
merican friend at one OF the atellers
,oticing the bright, intelligent lookin
iris, "Why don't you set up. housekeepin
''Hush!'' said the American. "You don
NOW what you are talking about. Thes
re nv countrywomen, the truest wOme
y the world, and your thought dishonol
hem.''
.Nonsense,' returned the Frenchman
You can't play me for fool. Don't
lie women. Would respectable women
ereY''
It must have been such misunderstanG
ngs as this or else unwarrantable general
atoms from isolated instances whic
started in the reports that gained such GU
Iaency in New York in the spring, apropos {
If|dr, st. Gaudens' mixed class in sculptul
the Art Students league, Of the loosene!
af morals into which women studying al
n Paris. and especially American womel
vara said to fall. These reports, if tru,
+s,ointed to such foulness in the atmosphel
Inf the ateliers and such rotteness of life
he side streets of the Quarter Latin tn,
seemed only right that parents vii
daughters to educate, and for that matte
ons, should Judge whether art were GO
less worth serving with the mud knee dee
n lbout her temple.
III t. was with some idea of learning the trl
condition of affairs that I set myself
/ making the acquaintance of such OF II
american students as ! could find in tow
n the early autumn, and after talking wit
] hem I feel assured that, wholly aside fro
! he question of the propriety or advisablli'
If mixed classes in painting or sculptur
! he young woman or man who stuaies
n Paris has much the same problems
tai is probably less wicked than Lonoo
40 more wicked than New York; the XII
| If life one leads depends altogether c
one's self, as everywhere.
There have been individual cases OF seal
ial, prominent ones, among the Ameflcs
art students in Paris. The escapade
George Hitchcock recurs at once to eve
| mind. Three prominent French artists a
said to maintain menages for Americ'
! missresses, originally girls who came to :
.ity in good faith looking forward TO &C
reers." But, single instances of weakne
or frailty aside, there is no undue prop
tion of slippery places or "bad steps.
one has a steady head and good shc
wherein to stand.
A young American artist, who has be
in Paris six wears and who has worked be
In the classes for men only and in I
mixed classes. stated the case to me We