This essay asks why the art of Alphonse Legros (1837–1911) remained inconspicuous in the art history of the past generation, when the study of the nineteenth century played such a prominent role in the discipline. Legros's realist and politically committed practice is eminently suited to the art‐historical methods that dominated that period. He was an associate of Courbet and Whistler, and his work attracted comment from Charles Baudelaire, Walter Pater, and Roger Fry. Why, then, has he remained virtually invisible to art historians? The essay explores three ‘scandals’, or art‐historical blind spots, which have made Legros's art difficult to interpret: his decision to abandon Parisian modernism and ‘become British’; his choice of subject matter involving religious observance; and his lifelong commitment to the art of the past. It argues that Legros's example offers fresh insights into these three areas of growing concern to the art history of the future.

中文翻译：

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阿方斯·莱格罗斯（M. Alphonse Legros）的丑闻

本文提出了为什么上一代的艺术史上，当十九世纪的研究在该学科中发挥如此重要的作用时，阿尔方斯·莱格罗斯（Alphonse Legros）（1837–1911）的艺术为什么仍然不显眼。莱格罗斯的现实主义和政治承诺的实践非常适合那个时期占主导地位的艺术史方法。他曾是库尔贝和惠斯勒的合伙人，他的作品引起了查尔斯·鲍德莱尔（Charles Baudelaire），沃尔特·帕特（Walter Pater）和罗杰·弗莱（Roger Fry）的评论。那么，为什么艺术史学家仍然看不见他呢？本文探讨了三个“丑闻”或艺术史上的盲点，这使勒格罗斯的艺术难以解释：他决定放弃巴黎现代主义并“成为英国人”；他对涉及宗教活动的主题的选择；以及他对过去艺术的毕生奉献。