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u EMILE MUNIER FRENCH, 1810-95 HER BEST FRIEND signed and dated E. MUNIER 1882 (upper right) oil on canvas 27 by 20in. 68.6 by 50.8cm. PROVENANCE Ambrose Spencer Emile Munier's painting of a cherubic young girl hugging her cat perfectly embodies the dichotomy of nineteenth century attitudes towards children and childhood. The distinction between childhood and adulthood was a relatively new phenomenon, an outgrowth of the theories of eighteenth century philosophy. Childhood came to be defined as a period of innocence, which was celebrated, cherished and protected during the nineteenth century. Images of children became a popular subject in nineteenth century art as symbols of escapism. Yet images of young girls often flirted between the fine line of childhood innocence, and more mature female attitudes. Munier's child personifies these qualities with her doe-eyed gaze, flowing blonde hair and pristine white dress. She hugs her pet kitten with fervent ardour, in an amusing role reversal of a child pretending to be a parent. The undulating folds of black lace and her bare knee suggest a playful emulation of a more womanly attitude as well. The subtext of such imagery suggests an encroachment upon childhood innocence, either through the passage of time, or the demands of society.