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The Philadelphia women bath painting depicts Renoir’s innovative power.
The bathers in Philadelphia are aesthetically incongruous because all of the women are doing different things. Two women are resting under a tree near a riverbank while another girl is threatening to splash water on them (White 110). Additionally, the other women are seen wading in the river away from the rest of the women.
Renoir recalls the Moulin de la Galette of 1876, the Luncheon of the Boating Party of 1881, and the Reclining Bathers of 1918 (White 111). The works of art were hilarious and novel that the 1887 work of art, the Philadelphia Museum Bathers. The painting borrowed Boucher’s techniques of art in order to make the painting interesting.
The split among the impressionist group led to the development of the Philadelphia Museum Bathers paint. According to White, the impressionists’ split made Renoir to develop a new form of painting, which could be appealing to the public (114). In this regard, he took three years to develop the paint.
Renoir’s relationship with Aline and the birth of their son affected the Bathers painting in the sense that the painting took a longer time to paint than was anticipated. The proof of this is the fact that the Philadelphia Museum Bathers painting took three years to complete while the rest of the artiste’s painting took one year (White 114).
Renoir sought to get progressively through his unique paintings and originality in painting work. Additionally, his irregularity with regard to the techniques applied also added to his novelty in the artwork. White posits that Renoir’s relationship with great artists like Boucher led to his development, especially in the impressionism development (115).
Boucher prompted Renoir’s divergence from naturalism to new classicism. The legend positively inspired Renoir to explore classicism in a new perspective (White 118). Additionally, Boucher also gave Renoir insight pertaining to
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