In Valadon's first showing at the prestigious Salon de la Société Nationale des Beaux-Arts in 1894, for a series of drawings, her listed name, "Valadon, S.," did not reveal her gender. She often put her energy into Maurice’s artistic talent, hoping that a painting practice would ease his troubles. Further complicating her life were her son Maurice’s troubles in school, and his growing alcohol addiction, which first took hold when he was a teenager. But when she married businessman Paul Mousis and moved out of Paris, her artistic output slowed. Through her early exhibitions, Valadon caught the interest of major art dealers. But in the catalog, she was listed as the androgynous “Valadon, S.” In each, her subjects were depicted as moody and natural, unlike other domestic scenes of the time. Valadon had five drawings of children accepted. “For an untrained, lower-class woman artist to have her work accepted – it was outlandish, unthinkable, impossible,” Hewitt wrote. When Valadon first began receiving attention for her work in her late 20s, Degas suggested she show at the Salon de la Société Nationale des Beaux-Arts in 1894. Sepia Times/Universal Images Group Editorial/Getty Images Valadon's time as a model made her particularly intuitive in how to paint the body.
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