{"id":88013,"date":"2021-09-20T15:12:05","date_gmt":"2021-09-20T13:12:05","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/the-bathers\/"},"modified":"2026-08-15T20:43:32","modified_gmt":"2026-08-15T18:43:32","slug":"the-bathers","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/paul-gauguin\/the-bathers\/","title":{"rendered":"Paul Gauguin \u2013 The Bathers"},"content":{"rendered":"
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Paul Gauguin \u2013 The Bathers \u2013 hand-painted oil painting reproduction<\/h2>\n

A year after the canvas was painted, Edgar Degas<\/strong> bought it. The picture dates from 1897<\/strong>, oil on canvas, 60.4 \u00d7 93.4 cm<\/strong> (height \u00d7 width, so a horizontal format), and it is held today by the National Gallery of Art<\/strong> in Washington under accession number 1951.5.1<\/strong>. Here that riverbank is made again under the brush: a hand-painted oil painting reproduction<\/strong>, oil on canvas, with no printing.<\/p>\n

A painter who bought a painter<\/h3>\n

The route is recorded to the day. On 30 October 1898<\/strong> the canvas passed through Gauguin\u2019s friend Georges-Daniel de Monfreid to the Paris dealer Ambroise Vollard<\/strong>, and in November of the same year Degas<\/strong> bought it. This was not a collector\u2019s whim: Degas was buying Gauguin at a time when most of the Paris criticism had written him off. The picture stayed with him until his death.<\/p>\n

A name the picture did not have<\/h3>\n

When Degas\u2019s studio was dispersed at Galerie Georges Petit on 26 and 27 March 1918<\/strong>, this canvas went to the block as lot 47<\/strong> and was entered in the catalogue simply as \u201cTahiti, paysage\u201d<\/em> \u2013 a Tahitian landscape. It did not carry the title The Bathers<\/em> at that moment. From there it went by way of Jos Hessel and Vollard to New York and Adolph Lewisohn<\/strong>; his son Sam A. Lewisohn<\/strong> left it to the Washington gallery in 1951<\/strong>.<\/p>\n

Flesh painted green<\/h3>\n

Five figures stand along the bank; one is upright beside the thick trunk at the right, the others sit or kneel by the water. The colouring of the skin is the surprise: the bodies are neither brown nor pink but greenish<\/strong>, out of the same palette as the foliage behind them, while the ground is a pink-orange<\/strong>. Holding the scene upright is a thin sapling that runs top to bottom across the middle and cuts the picture in two. In the lower right corner stand the signature P Gauguin<\/strong> and the year 97<\/strong>.<\/p>\n

A hand-painted reproduction for your home<\/h3>\n

The low, wide format means this picture sits well above a sofa, a chest of drawers or a bed, where there is more room across than up. We paint it in eight sizes; 92 \u00d7 60 cm<\/strong> is the nearest to the original, while for a larger wall 150 \u00d7 100 cm is a frequent choice. From the same year of 1897 comes Where Do We Come From?<\/a> \u2013 the same Tahiti and the same long format, but three times wider; Three Tahitian Women<\/a> follows two years later and sets its figures against colour rather than into a landscape, and Arearea<\/a> shows the same flat handling of colour.<\/p>\n