Paul Cézanne - The Large Bathers (Les Grandes bathers) - fine art print

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We offer a range of different sizes and materials for every product. In order match your personal requirements perfectly, you can choose among the following product customization options:

• Aluminium dibond: Aluminium Dibond prints are prints on metal with an outstanding depth. Its non-reflective surface structure creates a fashionable look. For our Direct Print On Aluminum Dibond, we print the chosen work of art right onto the surface of the white-primed aluminum composite. The white & bright parts of the artpiece shimmer with a silky gloss but without any glow. The colors of the print are luminous and bright in the highest definition, the details are very clear, and you can literally feel a matte appearance of the product. This direct UV print on aluminium is one of the most popular entry-level products and is a truly contemporary way to showcase fine art reproductions, because it puts all of the viewer’s attention on the replica of the artwork.
• Glossy acrylic glass print (with real glass coating): An print on acrylic glass, which is often described as a print on plexiglass, will transform an artwork into brilliant décor and forms a good alternative to dibond and canvas fine art replicas. The artwork will be manufactured with the help of modern UV printing technology. The major benefit of an acrylic glass fine art print is that contrasts and smaller painting details will be visible because of the precise gradation of the picture.
• The canvas print: A printed canvas stretched on a wooden frame. Your canvas of your favorite artpiece will let you turn your own fine art print into a large size collection piece as you would see in a gallery. The great advantage of canvas prints is that they are relatively low in weight, meaning that it is easy to hang up the Canvas print without any wall-mounts. A canvas print is suited for all types of walls.
• Printed poster (canvas material): The poster is a printed flat canvas paper with a granular surface texture. The poster is ideally suited for framing your art print in a personal frame. Please bear in mind, that depending on the absolute size of the canvas poster print we add a white margin 2-6cm around the artwork, which facilitates the framing.

Important legal note: We try whatever we can to depict our art products with as many details as possible and to demonstrate them visually on the respective product detail pages. Although, the colors of the printed materials and the print result can vary slightly from the presentation on your monitor. Depending on the settings of your screen and the quality of the surface, colors can unfortunately not be printed as exactly as the digital version. Considering that all our fine art prints are processed and printed manually, there might also be minor deviations in the size and exact position of the motif.

Additional information by Barnes Foundation (© - by Barnes Foundation - www.barnesfoundation.org)

In the last decade of his life, Paul Cézanne produced three enormous multi-figure bathing scenes that are often regarded as the culminating works of his career. Of these, the largest and most resolved is at the Philadelphia Museum of Art; another is at the National Gallery, London. The present canvas, which Albert Barnes acquired in 1933, is in many ways the most ambitious of the trio. Probably begun around 1895, The Large Bathers is an intensely physical painting that seems to have consumed Cézanne for roughly ten years; a photograph taken in 1904 shows the picture in a still-unfinished state. But even without this documentary evidence, the canvas bears the marks of a long, labored working process, with a surface so impossibly thick with paint that it rises up in clumps in some areas and forms sculptural ridges in others.The subject is perfectly conventional: a group of nudes relaxes in a landscape, with trees arching overhead and still-life elements in the foreground, tropes borrowed from a long tradition of pastoral imagery. There is nothing conventional, however, about the way this scene is painted. While Cézanne's contemporaries often presented bathers in harmony with the landscape, here nature seems menacing, and the landscape's relationship to its human inhabitants is difficult to understand. Clouds are heavy, with an almost oppressive weight, and the blue sky peeking through them is rendered with paint so thick that it literally projects. One tree leans into the center, its sharp branches cutting aggressively across the sky in three parallel spokes. One wonders why, in this scene that presumably takes place in summer, these branches are bare; patches of green in the background suggest foliage, but the foreground trees around which the bathers gather are emphatically, eerily, dead.The figures themselves are at once beautiful and unsightly. They are elegantly arranged, in postures borrowed from classical sculpture and baroque painting. An unusual ridge of thick blue paint surrounding each of the figures lends the group an air of slowness, or serenity, even as it suggests artistic struggle. Colors are often breathtaking, as in the reds that spread across cheeks and hair, and in the pale blues and lavenders that suggest shadows. At the same time, Cézanne undermines 19th-century standards of beauty: skin is composed of patches that shift suddenly from one color to the next, and gender is difficult to read. Is the bather leaning against the tree a man or a woman? Paint pulled down between that figure's legs seems to want to obliterate sex. Anatomies are distorted, sometimes to disturbing effect—feet, hands, and fingertips often do not exist. The face of the figure leaning against the tree registers as a blank, with features buried beneath a blanket of brushstrokes. Even more jarring is the walking figure at left, whose towel cascades theatrically into the foreground but whose head is a mere knob of flesh. The 1904 photograph reveals that thisfigure did at one time have a fully resolved face and head, but Cézanne painted it out, in just one of this picture's many radical moments.Martha Lucy, The Barnes Foundation: Masterworks (New York: Skira Rizzoli, 2012), 66-67.

Detailed art product infos

the French artist Paul Cézanne made this painting. The original was painted with the size - Overall: 52 1/8 x 86 1/4 in (132,4 x 219,1 cm). Oil on canvas was applied by the French artist as the medium of the masterpiece. This artpiece is included in the collection of Barnes Foundation. We are glad to mention that this public domain artwork is supplied with courtesy of Courtesy of the Barnes Foundation, Merion and Philadelphia, Pennsylvania.: . What is more, the alignment of the digital reproduction is in landscape format with an aspect ratio of 16 : 9, which implies that the length is 78% longer than the width. Paul Cézanne was a painter of French nationality, whose art style can primarily be assigned to Impressionism. The Impressionist artist was born in 1839 and deceased at the age of 67 in the year 1906 in Aix-en-Provence.

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