Rodin rarely included any setting or background in his drawings of female nudes. This example, however, belongs to a series in which he played with the aqueous quality of the watercolor medium to suggest a marine environment. He seems to have enjoyed the blotches and tide lines created by using too much water on his brush, actively seeking this effect in a number of drawings. This work was a gift to the Museum by Thomas Fortune Ryan, who also donated Beside the Sea (11.173.5), a marble sculpture of a similar subject.
Signature: "Aug. Rodin"
Thomas F. Ryan; Donor: Thomas F. Ryan
National Gallery of Art, Washington D.C. "Rodin Drawings: True and False," November 20, 1971–January 23, 1972.
Solomon R. Guggenheim Museum. "Rodin Drawings: True and False," March 9, 1972–May 14, 1972.
New York Studio School of Drawing, Painting, and Sculpture. "Sculptors' Drawings," October 13, 1999–November 13, 1999.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," July 27, 2004–October 25, 2004.
Iris & B. Gerald Cantor Center for Visual Arts at Stanford University. "Rodin and America: Influence and Adaptation 1876 - 1936," October 4, 2011–January 1, 2012.
Statens Museum for Kunst. "Ecstasies: Drawings by Auguste Rodin," September 23, 2016–January 15, 2017.
Roberta K. Tarbell Rodin and America: Influence and Adaptation, 1876-1936. Exh. cat., Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, October 4, 2011-January 1, 2012. Bernard Barryte, Milan, 2011, pp. 173-175, 361, ill. p. 173, fig. 117.
Thomas Lederballe, Sophie Biass-Fabiani, Natasha Ruiz-Gómez Ecstasies: Drawings by Auguste Rodin. Copenhagen, 2016, cat. no. 37, p. 208.