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The Bathers (French: Les Grandes Baigneuses) is an oil painting by French artist Paul Cézanne (1839–1906) first exhibited in 1906. The painting, which is exhibited in the Philadelphia Museum of Art, is the largest of a series of Bather paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Pennsylvania, and the ...
Bathers by a River was originally commissioned by Russian art collector Sergei Shchukin, but Shchukin rejected it after seeing an early watercolor study of the picture. The initial concept for the painting was "a scene of Arcandian leisure" and work began on the canvas in 1909.
The work of art itself is in the public domain for the following reason: Public domain Public domain false false The author died in 1929, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 80 years or fewer .
Seurat completed the painting of Bathers at Asnières in 1884, at 24 years old. He applied to the jury of the Salon of the same year to have the work exhibited there, only to be rejected. The Bathers continued to puzzle many of Seurat’s contemporaries, and the picture would only be widely acclaimed many years after the artist's death (age 31).
Self-portrait with his wife, Marie-Suzanne Giroust, painting Henrik Wilhelm Peill, at and by Alexander Roslin Aiding a Comrade , at and by Frederic Remington Cymon and Iphigenia , by Frederic Leighton
Musidora: The Bather 'At the Doubtful Breeze Alarmed', also known as The Bather, [1] is a name given to four nearly identical oil paintings on canvas by English artist William Etty. The paintings illustrate a scene from James Thomson 's 1727 poem Summer in which a young man accidentally sees a young woman bathing naked and is torn between his ...
[4] [3] The painting was composed using contradictory artistic styles and techniques. [3] The left side of the painting is more indebted to the Classical tradition whereas the right portion is more consistent with Impressionism. The two large bathers dominating the left side of the painting have a highly real, sculpture-like quality.
The lady's face resembles other portraits of Mary, especially a drawing by Clouet depicting Mary in mourning. Trinquet believes the painting was intended as a satire for a Huguenot patron. The painting set a fashion for portraits of bathers. [2] According to scholars, the bather had given birth. [3] The National Gallery writes: