.jpg?w=1)
Lot Essay
The verso of this sheet was page L from the sketchbook CP II.
The recto contains two versions of the young male bather seen in lot 322, as well as a detail of his left leg. As in the previous lot, the figure on the right side stands in a landscape setting that is similar to that in the smaller version of the two compositions known as Baigneur aux bras éscartés (R 369; New York, Jasper Johns Collection, New York). These studies (page L from carnet CP II) appear well after the page in lot 322 (page IX from the same carnet). Although these studies appear rougher and more preliminary than lot 322, it is difficult to ascertain if they are earlier or later. Page order is not necessarily an indication of sequence, as the artist had the habit of moving around in his sketchbooks, using blank or partially filled pages as it suited his whim.
In light strokes, below the central larger scale study of the bather's leg, is a study of a caryatide after an engraving by Marcantonio Raimondi (1575-1530), representing two female figures supporting an incense burner. For a more detailed study of the same subject, see C 481.
The mantel clock depicted on the verso recalls the object in La pendule noire, 1867-1869 (R 136). However, that painting was done a decade earlier in Emile Zola's apartment, and the clock in it appears to be larger in size than the one rendered here.
The recto contains two versions of the young male bather seen in lot 322, as well as a detail of his left leg. As in the previous lot, the figure on the right side stands in a landscape setting that is similar to that in the smaller version of the two compositions known as Baigneur aux bras éscartés (R 369; New York, Jasper Johns Collection, New York). These studies (page L from carnet CP II) appear well after the page in lot 322 (page IX from the same carnet). Although these studies appear rougher and more preliminary than lot 322, it is difficult to ascertain if they are earlier or later. Page order is not necessarily an indication of sequence, as the artist had the habit of moving around in his sketchbooks, using blank or partially filled pages as it suited his whim.
In light strokes, below the central larger scale study of the bather's leg, is a study of a caryatide after an engraving by Marcantonio Raimondi (1575-1530), representing two female figures supporting an incense burner. For a more detailed study of the same subject, see C 481.
The mantel clock depicted on the verso recalls the object in La pendule noire, 1867-1869 (R 136). However, that painting was done a decade earlier in Emile Zola's apartment, and the clock in it appears to be larger in size than the one rendered here.