The essay "Renoir's Anti-Impressionism" investigates "The Large Bathers" and Renoir’s Anti-Impressionism. White argues that it can be deduced a posteriori that Renoir did not try to duplicate a fresco technique since this may be supported by the close analysis of the paint and other elements. The painting by Renoir is “aesthetically incongruous” because it may be visually divided into two parts, each of which represents a different approach towards art. What is more important is that there is no harmony between them. The works are Diana, Nude in the Sunlight, Blond Bather and Bather Arranging her Hair. Renoir was a sociable painter so he was very depressed since he could not work directly with his friends. The relationship with Aline resulted into financial and personal problems which conditioned the overworked rigidity of the painting and lack of joy in it. It is clear that the irregularity that Renoir was after is manifested in Bathers as this is a painting that is full of contradictions. Renoir was greatly influenced by Mallarme and Wagner. The painter often referred to the works of art of the previous centuries and was particularly fascinated by Rococo. In addition to that he often emulated Raphael. Renoir was vulnerable to the popular taste because of his pour financial situation. He considered Bouguereau as his role model for making money with art. Renoir tries to paint more traditional themes to please the public. Eventually, everyone, including him, disliked this shift.