The Bather is one of Cezanne's most evocative paintings of the figure, although the unmuscled torso and arms have no heroic pretensions, and the drawing, in traditional, nineteenth-century terms, is awkward and imprecise. The bather's left, forward leg is placed firmly on the ground, but his right leg trails and carries no weight. The right side of his body is pulled higher than the left, the chin curves lopsidedly, and the right arm is elongated and oblique. The land-scape is as bare as a desert, but its green, violet, and rose coloration refuses that name. Its dreaming expanse matches the bather's pensiveness.

Likewise, the shadows on the body, rather than shifting to black, share the colors of the air, land. and water; and the brushwork throughout is a network of hatch-marks and dapples, restless yet extraordinarily refined. The figure moves toward us but does not meet our gaze. These disturbances can be characterized as modern: they indicate that while Cezanne had an acute respect for much of traditional art, he did not rep-resent the male nude the way the classical and Renaissance artists had done. He wanted to make an art that was "solid and durable like the art of the museums" but that also reflected a modern sensibility incorporating the new under-standing of vision and light developed by the Impressionists. He wanted to make an art of his own time that rivaled the traditions of the past.

The Artist: Paul Cézanne, (1839 - 1906), French painter, one of the greatest of the Post-Impressionists, whose works and ideas were influential in the aesthetic development of many 20th-century artists and art movements.

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