Roger de la Fresnaye, ‘The Bathers’, 1912, National Gallery of Art, Washington, D.C.
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The Bathers, 1912

Oil on canvas
63 3/4 × 51 3/16 in
161.9 × 130 cm
Permanent collection
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About the work
National Gallery of Art, Washington, D.C.
Washington
overall: 162 x 130 cm (63 3/4 x 51 3/16 in.)
Medium
Painting
Image rights
Courtesy National Gallery of Art, Washington
Roger de la Fresnaye
French, 1885–1925
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Roger de la Fresnaye is most commonly considered a disciple of Cubism, even though his subjects remained representational and never fully abstracted. Fresnaye studied at the Académie Julian, the École des Beaux-Arts, and Academie Ranson where he worked under Maurice Denis and Paul Sérusier, both of whom were hugely influential in Fresnaye’s work. He was also attracted to both Symbolist and Expressionist styles before finally adopting Cubism’s geometric deconstructions of form. Fresnaye also became involved with the Puteaux group, which assembled in the studio of Jacques Villon, and the Section d’Or. He drew inspiration from Paul Cézanne’s abstractions and Robert Delunay’s Orphism. Towards the end of his career, he abandoned avant-garde forms and became a champion of traditional realism.

Roger de la Fresnaye, ‘The Bathers’, 1912, National Gallery of Art, Washington, D.C.
Save
Save
View
View in room
Share
Share
About the work
National Gallery of Art, Washington, D.C.
Washington
overall: 162 x 130 cm (63 3/4 x 51 3/16 in.)
Medium
Painting
Image rights
Courtesy National Gallery of Art, Washington
Roger de la Fresnaye
French, 1885–1925
Follow

Roger de la Fresnaye is most commonly considered a disciple of Cubism, even though his subjects remained representational and never fully abstracted. Fresnaye studied at the Académie Julian, the École des Beaux-Arts, and Academie Ranson where he worked under Maurice Denis and Paul Sérusier, both of whom were hugely influential in Fresnaye’s work. He was also attracted to both Symbolist and Expressionist styles before finally adopting Cubism’s geometric deconstructions of form. Fresnaye also became involved with the Puteaux group, which assembled in the studio of Jacques Villon, and the Section d’Or. He drew inspiration from Paul Cézanne’s abstractions and Robert Delunay’s Orphism. Towards the end of his career, he abandoned avant-garde forms and became a champion of traditional realism.

The Bathers, 1912

Oil on canvas
63 3/4 × 51 3/16 in
161.9 × 130 cm
Permanent collection
Want to sell a work by this artist? Consign with Artsy.
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