The Bathers (Large Plate), Paul Cezanne (French, 1839–1906)

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Rights

Credit
Gift of Mrs. Ralph King
Licence
CC0-1.0
Evidence
openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 108603 (read 2026-08-27)
Record
https://clevelandart.org/art/1926.298
The Bathers (Large Plate), Paul Cezanne (French, 1839–1906)
The Bathers (Large Plate) — Paul Cezanne (French, 1839–1906)1896–97

Also by Paul Cezanne (French, 1839–1906)

7
Sketch of Anatomical Sculpture (recto) Sketch of Madame Cézanne (verso) , Paul Cezanne (French, 1839–1906)
Sketch of Anatomical Sculpture (recto) Sketch of Madame Cézanne (verso) Paul Cezanne (French, 1839–1906)1881–84Cleveland Museum of Art
Sketch of Madame Cézanne (verso), Paul Cezanne (French, 1839–1906)
Sketch of Madame Cézanne (verso)Paul Cezanne (French, 1839–1906)1881/84Cleveland Museum of Art
Sketch of Anatomical Sculpture (recto), Paul Cezanne (French, 1839–1906)
Sketch of Anatomical Sculpture (recto)Paul Cezanne (French, 1839–1906)1881/84Cleveland Museum of Art
Footpath in the Woods, Paul Cezanne (French, 1839–1906)
Footpath in the WoodsPaul Cezanne (French, 1839–1906)1882–84Cleveland Museum of Art
The Pigeon Tower at Bellevue, Paul Cezanne (French, 1839–1906)
The Pigeon Tower at BellevuePaul Cezanne (French, 1839–1906)1890Cleveland Museum of Art
The Brook, Paul Cezanne (French, 1839–1906)
The BrookPaul Cezanne (French, 1839–1906)c. 1895–1900Cleveland Museum of Art
Mount Sainte-Victoire, Paul Cezanne (French, 1839–1906)
Mount Sainte-VictoirePaul Cezanne (French, 1839–1906)c. 1904Cleveland Museum of Art

Within fifty years of 1896–97

3755
The Forest in Winter at Sunset, Théodore Rousseau
The Forest in Winter at SunsetThéodore Rousseauca. 1846–67Metropolitan Museum of Art, New York, NY
Quilt, Album pattern, Brown and Turner families
Quilt, Album patternBrown and Turner familiesbegun 1846Metropolitan Museum of Art, New York, NY
The Abduction of Rebecca, Eugène Delacroix
The Abduction of RebeccaEugène Delacroix1846Metropolitan Museum of Art, New York, NY
Faust: Part 1. Last Scene, Dante Gabriel Rossetti
Faust: Part 1. Last SceneDante Gabriel Rossetti1846–48Metropolitan Museum of Art, New York, NY
The Horses of Anahita, William Morris Hunt
The Horses of AnahitaWilliam Morris HuntModeled 1848–50, cast 1882–1910The Art Institute of Chicago
Study of Camels, Unknown
Study of CamelsUnknown1848Cleveland Museum of Art
The Captive, from "Illustrated London News", H. Harrison
The Captive, from "Illustrated London News"H. HarrisonApril 15, 1848Metropolitan Museum of Art, New York, NY
Sidewall, William Woolams and Co.
SidewallWilliam Woolams and Co.ca. 1848Cooper Hewitt, Smithsonian Design Museum

Also at Cleveland Museum of Art

399
Relief of Nyankhnesut Seated, Unknown
Relief of Nyankhnesut SeatedUnknownc. 2311–2281 BCECleveland Museum of Art
Stele of Shemai, Unknown
Stele of ShemaiUnknownc. 1960–1916 BCECleveland Museum of Art
Relief of Hatshepsut or Tuthmosis III, Unknown
Relief of Hatshepsut or Tuthmosis IIIUnknown1479–1425 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Portrait of Nefertiti, Unknown
Talatat: Portrait of NefertitiUnknownc. 1353–1347 BCECleveland Museum of Art
Talatat: Nefertiti Offers to the Aten, Unknown
Talatat: Nefertiti Offers to the AtenUnknown1353–1347 BCECleveland Museum of Art
Tomb Relief of the Chief Physician Amenhotep and Family, Unknown
Tomb Relief of the Chief Physician Amenhotep and FamilyUnknownc. 1279–1257 BCECleveland Museum of Art
Stele of the High Priest of Ptah, Shedsunefertem, Unknown
Stele of the High Priest of Ptah, ShedsunefertemUnknown945–924 BCECleveland Museum of Art

Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

Apollo and Hycianth, after Domenichino, Felice Giani, Italian, 1758–1823
Apollo and Hycianth, after DomenichinoFelice Giani, Italian, 1758–18231813–18Cooper Hewitt, Smithsonian Design Museum
0.86
Battle of the Nudes, Antonio del Pollaiuolo (Italian, 1431/32–1498)
Battle of the NudesAntonio del Pollaiuolo (Italian, 1431/32–1498)1470s–80sCleveland Museum of Art
0.85
Samson and Delilah, Robinson, Boardman, 1876-1952, artist
Samson and DelilahRobinson, Boardman, 1876-1952, artist1923 Jan. 20 [publication date]Library of Congress
0.84
Banquet of the Gods, variant for the Sala di Pranza, Palazzo Guarini, Forli, Felice Giani, Italian, 1758–1823
Banquet of the Gods, variant for the Sala di Pranza, Palazzo Guarini, ForliFelice Giani, Italian, 1758–18231814Cooper Hewitt, Smithsonian Design Museum
0.84
Three Putti with Garland; Romulus and Remus Breastfeeding from She-Wolf; Two Putti Playing Cymbals, Felice Giani, Italian, 1758–1823
Three Putti with Garland; Romulus and Remus Breastfeeding from She-Wolf; Two Putti Playing CymbalsFelice Giani, Italian, 1758–18231818Cooper Hewitt, Smithsonian Design Museum
0.84
The Dead Christ with Angels, Édouard Manet (French, 1832–1883)
The Dead Christ with AngelsÉdouard Manet (French, 1832–1883)1866–67Cleveland Museum of Art
0.84
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–18231780-1790Cooper Hewitt, Smithsonian Design Museum
0.84
Drawing, Felice Giani, Italian, 1758–1823
DrawingFelice Giani, Italian, 1758–1823Cooper Hewitt, Smithsonian Design Museum
0.84

In the stacks

Not yet checked
2

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. The international studio · John Lane

    In 1902, during the young American’s first visit to Paris, the Impressionists were still at the height of their influence, and it was natural that he should have entered heartily into their methods. Men like Monet and Pissarro, who were absorbed in the inter-relation of light and color, appealed to his imagination and for a time he painted in their manner. And when he, like others among the moderns, saw and accepted the revolutionizing ideas which Cezanne was proclaiming on every canvas, he took with him into the new field
    0.71
  2. Art · Clive Bell

    For a few fortunate years or decades the output of considerable art is great. Suddenly it ceases; or slowly it dwindles: a movement has exhausted itself. How far a movement is made by the fortuitous synchronisation of a number of good artists, and how far the artists are helped to the creation of significant form by the pervasion of some underlying spirit of the age, is a question that can never be decided beyond cavil. But however the credit is to be apportioned--and I suspect it should be divided about
    0.68

Next

Made in the nineteenth century, like The Bathers (Large Plate).

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