In 1914 Lipchitz visited Spain and stayed on Majorca with his friend Diego Rivera, who had introduced him earlier to cubist painters in Paris. Lipchitz returned to Paris at the end of the year, and a short time after made Baigneuse, which was probably constructed from wood or cardboard and later cast in bronze.

Here, I would say that the transition to developed
cubism is complete. My ideas were clarified; I
knew exactly what I wanted to do... There was
first, of course, the example of cubist painting,
particularly the earlier analytic cubist painting
of Picasso and Braque in which the emphasis was
largely in a similarly severe and geometric manner.
I think in the development of my first purely
cubist sculptures I was more influenced by the
earlier, soberer examples of analytic cubism than
by the decorative or rococo cubism to which Picasso
and Braque turned after 1914. Their earlier works
seemed to me to have more possibilities for
development in sculpture but, as a sculptor, with
few immediate sculptural prototypes at hand, I was
also conscious of the examples of Egyptian and
archaic Greek sculpture. (J. Lipchitz, op. cit.,
pp. 24 and 25)