Standing Bather, Seen from the Back

In the course of making an artwork, Paul Cezanne often significantly altered his original design. Someone, perhaps the artist, cut this canvas from a larger painting, retaining remnants of the other composition. In the lower-left corner, a series of blue lines can be read as the legs of a seated figure from knees to ankles; the body may have continued on an adjacent part of the canvas. These lines sit on top of the background foliage, indicating that Cezanne added this second figure after completing the first, presumably before changing his mind about the direction of the painting or moving on to another work.

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I samme sal · Gallery 248, Art Institute of Chicago

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Kilder

Chestnut Trees at Jas de Bouffan

Trees and Houses Near the Jas de Bouffan

Apples, Peaches, Pears and Grapes

The Artist's Father, Reading "L'Événement"

Antony Valabrègue

Jeune Fille au piano (Girl at the Piano - The Overture to Tannhauser)

Portrait of Anthony Valabrègue

Flowers in a blue vase

The Basket of Apples, c. 1893

Madame Cezanne in a Yellow Chair, 1888–90

The Bay of Marseille, Seen from L'Estaque, c. 1885

The Vase of Tulips, c. 1890

Head of Apollo, 1900–1909

The Bathers, 1899-1904

Woman Mending, 1895

The Plate of Apples, c. 1877

Nude in the Studio, 1936/1937

Two Men (Deux Hommes), 18 March 1967

Two Women Waking Up (Deux Femmes au Réveil), 1959, printed 1964

Nude with Her Knee Raised (Femme nue à la jambe pliée), 1931

Minotaur with Chalice in Hand and Young Woman (Minotaure, une coupe a la main, et jeune femme), 1933

Nude Seated before a Curtain (Femme nue assise devant un rideau), 1931

The Embrace III (L'Étreinte III), 1933

The Barbaric Dance (Before Salomé and Hérod) [La danse barbare (devant Salomé et Hérode)], 1905, published 1913