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Word Count: 2,111
Throughout the period that covered the last half of the nineteenth century Western Europe enjoyed the gatherings of a great wealth that was accumulated by the industrial-colonial economy The revolutionary changes in the stratification of the society and the functioning of the production system brought new perspectives to view the individual and the world that surrounded him The bourgeoisie reached the summit of its rise since the French Revolution and industrial European cities became the centers of world economy and politics The immense change that Europe went through was not reflected in any part of life as dramatically as it was in the arts The struggle between the avant-garde and the conservative artists represented politically economically and culturally the fear of the society against the unpredictable and the new The depiction of the contradictions in the society visualized the undesired realities and therefore the more realist a painting was the more it was attacked The non-bourgeois activities were seen as degenerate and morally corrupt In Paris by the last decade of the nineteenth century a popular form of entertainment quadrille naturaliste the street dances became the object of attraction for the Parisians However their popularity in the streets did not find expressions among the intellectuals and the politicians Andr Chadourne expressed in a treatise in 1889 that such forms of popular entertainment were degraded and base and in 1891 senator Ren Brenger as the president of The League against Licence in the Streets campaigned against the quadrilles Though the quadrilles were considered as anti-establishment by the upper classes their popularity continued and they found expressions in the popular press Ferdinand Lunel drew the dance of La Goulue with Valentin le Dsoss they were the most popular couple among the quadrille dancers for the cover of Le Courrier Franais on 12 May 1889 In December a two page engraving followed but this time Lunel also included Valentin as her companion
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