In late nineteenth-century France, the Nabis painters and Art Nouveau designers were united in their efforts to redefine the decorative interior through unifying motif and form. The collaboration of Paul Ranson, Edouard Vuillard, and Henry van de Velde for Siegfried Bing's Maison de IJ-lrt Nouveau (1895) was the paradigm project, where the aim was to produce a harmonious domestic environment that combined decorative details, furniture, and art objects. While these artists' vision for the role of the decorative in domestic interiors may not have been entirely compatible, their attempts point to larger shared concerns of 1890s Modernism and its social context, in particular, the opposition between public and private spheres; the reconsideration of women's self-identity and roles; and the idea of "interiority" - the emergence of individual persona and its relationship to the interior as a space for self­expression. The idealized domestic environment of Bing's Maison de IJ-lrt Nouveau offers insight into the tensions of the conflation between the feminine and the private sphere that are indicative of the sociocultural and psychological facets of the modern interior at the time. However, as an exhibition display, it cannot give requisite insight into the everyday lived experience of the New Interior and its claim to a "totalizing" effect of visual unity. The New Interior emerged in the years 1890-1914 and manifested as Arts and Crafts design, Art Nouveau, and Jugendstil. Common to their practice was the philosophy of Gesamtkunstwerk or "total work of art:' a solution to what was seen as the problematic eclecticism of historicist interiors (Sparke 2008: 37). As such, this chapter will consider how the domestic modern interior of late nineteenth­century France was both conceptually and spatially represented and experienced through the body of the Nabis muse, acclaimed pianist Misia Natanson, as painted and photographed by Edouard Vuillard in her rue Saint-Florentin apartment.1