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The Bathers (Men Bathing)

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Material Information

Title:
The Bathers (Men Bathing)
Physical Description:
Photograph
Language:
English
Creator:
Musee d'Orsay. ID=FPO

Subjects

Subjects / Keywords:
Paris, France
France
Style: French Post- Impressionist
School: Post- Impressionist
Movement: Post- Impressionism
French
Painting;
Genre:
Painting
Painting
picture   ( marcgt )

Notes

Summary:
Although Cezanne used the Impressionist techniques, he emphasized the underlying structure of the objects he painted rather than the objective vision presented by the light that emanated from them, which was the main concern of the Impressionists. Already he was composing with cubic masses and architectonic lines; his strokes, unlike those of the Impressionists, were not strewn with colour, but they complemented each other in a chromatic unity. The intelligence and the eye of the painter were able to strip away that which was diffuse and superimposed in the view of a given mass, in order to analyze its constituent elements.
General Note:
Beginning Date: 1890
General Note:
Completion Date: 1892
General Note:
Inventory: R.F.1965-3

Record Information

Source Institution:
University of South Florida Library
Holding Location:
University of South Florida
Rights Management:
All applicable rights reserved by the source institution and holding location.
Resource Identifier:
usfldc doi - A01-PFF0355
usfldc handle - a1.pff0355
System ID:
SFS0035716:00001

Full Text
xml version 1.0 encoding UTF-8 standalone no
record xmlns http:www.loc.govMARC21slim xmlns:xsi http:www.w3.org2001XMLSchema-instance xsi:schemaLocation http:www.loc.govstandardsmarcxmlschemaMARC21slim.xsd
leader nkm 22 a 4500
controlfield tag 007 kh|mo|
008 s flunnn| ||||ineng
datafield ind1 8 ind2 024
subfield code a A01-PFF0355
040
FHM
049
FHmm
1 100
C
e Artist : painter
0 245
The Bathers (Men Bathing)
260
g 1890-92
340
b 60 x 82 cm.
c Oil on canvas.
500
Beginning Date: 1890
Completion Date: 1892
Inventory: R.F.1965-3
520
Although Cezanne used the Impressionist techniques, he emphasized the underlying structure of the objects he painted rather than the objective vision presented by the light that emanated from them, which was the main concern of the Impressionists. Already he was composing with cubic masses and architectonic lines; his strokes, unlike those of the Impressionists, were not strewn with colour, but they complemented each other in a chromatic unity. The intelligence and the eye of the painter were able to strip away that which was diffuse and superimposed in the view of a given mass, in order to analyze its constituent elements.
4 651
Paris, France.
France.
653
Style: French Post- Impressionist.
School: Post- Impressionist.
Movement: Post- Impressionism.
French.
Painting;
655
Painting
2 710
Musee d'Orsay. ID=FPO
773
t Art and Art History Collection (Saskia)
787
Two men at right.