In this artwork, how is the Popular enthusiasm of the Reception elucidated?

The painting was exhibited at the Royal Academy Summer Exhibition starting on 3 May 1926, the day before the start of the 1926 General Strike. The painting was viewed by King George V, British statesman Ramsay MacDonald, the Countess Baldwin of Bewdley, Lady Cynthia Asquith, Dame Lloyd George, and other notable personages. Initially, Frank Dicksee, the President of the Royal Academy, praised Souter's piece as "a work of great promise by executed with a considerable degree of excellence". According to Catherine Tackley, professor of music at the University of Liverpool, "the reaction to the painting epitomise[d] the response to this new jazz music" with "huge popular enthusiasm" mixed with "an undercurrent of suspicion that this was a dangerous new art form subverting decent society."Ultimately, at the request of the Colonial Office which deemed the painting to be a threat to the interests of the British empire, the painting was removed after merely five days and replaced by an uncontroversial portrait of Lady Diana Manners by James Jebusa Shannon. Despite its removal, word of Souter's painting had already spread, and crowds of excited visitors thronged to the exhibition only to search the walls in vain for the sequestered work. Explanations by the exhibition's attendants did little to convince disappointed audiences that it had been withdrawn upon "the request of the Colonial Office who disapproved, from the Colonial standpoint, of the subject—a negro playing jazz for a nude white dancer." The only remaining evidence that the painting had been exhibited was a photograph of the work displayed in the front hall.
Lady Cynthia Asquith 1926 General Strike James Jebusa Shannon jazz music Colonial Office jazz Royal Academy Summer Exhibition University of Liverpool George V Catherine Tackley Dame Lloyd George Diana Manners Ramsay MacDonald President of the Royal Academy Countess Baldwin of Bewdley Frank Dicksee