" THE BATH "

Pastel 44" x 35"

PRESENTATION

This painting offers a privileged moment by letting us share this young woman’s intimacy as she leaves her bath.

The way she shamelessly hold her towel reinforces as much the intimate character of the work, as it reveals by the very same fact a beautiful and soft sensuality.

The hazy landscape adds peace fullness and serenity the atmosphere of the painting.

COMPOSITION AND FRAMING

To obtain a good composition, one must first of all respect the rule of 1/3, or "the golden rule". This is about dividing an image into three equal vertical and horizontal parts. The natural points of interest are found at their intersections.

This painting holds two points of interest: a woman and a landscape which share an oval form. The woman occupies 1/3 of the space behind her and 2/3 in front of her. (These spaces define themselves in relationship to the model's eyes even when closed). The body is therefore positioned on the strong right vertical line and the eyes are situated proximate to the point of natural interest at the upper right intersection.

The landscape for its part, gravitate to the upper left point of interest.

The lower left area is empty: it constitutes what one calls a relaxing spot for the eyes.

The rule of 1/3 in this painting is therefore well respected.

PICTURE MOTION

The woman is positioned on the descending diagonal line.

The image is structured by verticals (section of wall, window, bureau, plant stem) by horizontals (window ledge, bath, bureau, towel,) and inclines which for their part lead our gaze to the interior of the painting.

The position of the woman's torso constitutes a reminder to the gothic form of the window.

As much as, the position of the leaves in the foreground, the inclination of the trees and direction of the water in the background orient the viewer's attention to the face. In opposition the pose and direction of the facial features serve to distance the viewer's gaze.

The details in the painting are situated principally around the superior right point of interest.

SHADE AND LIGHT

A southern light coming through the window in the background projects luminous touches on the window frame, bath and the woman’s thighs and shoulders.

Another source of light this time coming from the west and entering from the right by what we can suppose to be a great window, is subsequently less intense. The light nevertheless lights up the bath as well as the subject and throws off interesting shadows.

This shadow and light interplay is associated with the rough and smooth contrasts between the woman's beautiful skin and the rough texture of the background wall, serve to contribute and reinforce the tree- dimensional result of the subject.

PROPORTIONS AND HARMONY

The window in the background, along with the plant and the bureau are the main frame work of the painting. The work self articulates according to the different zones at work and the juxtaposed splashes of color.

Thus emptiness and plenty reach a rich equilibrium.

The head is the most somber zone where as the sky and the bath the clearer. With the exception of the luminous halo surrounding the subject, the rest of the painting is in the shade.

COLOUR AND HARMONY

The carrying over the colors used to work out the painting indicates the harmony as utilized on the chromatic circle. The colors are warm with a light contrast to cool (water, bureau and leaves). A reminder to the orange red of the towel, find itself on the landscape’s flowers as well as on the plant vase.