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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 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 ...
The painting depicts two groups of nude women: two lying in the foreground and three bathers in the background to the right. One of the models of this painting is Andrée Hessling, who became the first wife of Renoir's son, Jean. The natural setting displayed in the painting was the large garden of the house owned by the painter in Cagnes-sur ...
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The work of art itself is in the public domain for the following reason: Public domain Public domain false false The author died in 1919, 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 100 years or fewer .
The Valpinçon Bather (Fr: La Grande Baigneuse) is an 1808 painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres (1780–1867), held in the Louvre since 1879. Painted while the artist was studying at the French Academy in Rome , it was originally titled Seated Woman but later became known after one of its nineteenth-century ...
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).
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