- Jacques Lipchitz
- Inscribed Lipchitz, stamped with the artist's thumbprint and numbered 6/7
- Height: 35 in.
- 89 cm
Private Collection, Canada (acquired from the above on February 26, 1959)
Thence by descent
New York, Fine Arts Associates, Inc., Paintings, Watercolors, Sculpture, 1958, illustration of another cast no. 27
Lipchitz: The Cubist Period, 1913-1930 (exhibition catalogue), Marlborough-Gerson Gallery, Inc., New York, 1968, illustration of another cast no. 29
Jacques Lipchitz & H. H. Arnason, My Life in Sculpture, New York, 1972, illustration of another cast p. 47
A. M. Hammacher, Lipchitz in Otterlo (exhibition catalogue), Rijksmuseum Kröller-Müller, Otterlo, Netherlands, 1977, illustration of another cast n.p.
Alan G. Wilkinson, Jacques Lipchitz, A Life in Sculpture (exhibition catalogue), Art Gallery of Ontario, Toronto, 1989, another cast illustrated no. 24
Alan G. Wilkinson, The Sculpture of Jacques Lipchitz, A Catalogue Raaisonné, Volume One, The Paris Years, 1910-1940, New York, 1996, no. 64, illustration of another cast & the stone version p. 47
Helen Gardner, Horst De la Croix, Richard G. Tansey & Diane Kirkpatrick, Gardner’s Art Through the Ages, Belmont, California, 2005, illustration of another cast in color p. 976
Working alongside many of the key Cubist painters in Paris, such as Juan Gris and Fernand Léger, Lipchitz was naturally drawn to the innovative manner in which they worked. Lipchitz’s challenge was to develop a Cubist idiom that translated into three-dimensions while retaining a sense of the graphic, non-literal style of representation that he so admired. Discussing his early achievements, Henry R. Hope has written: "Lipchitz began to show his grasp of the cubists’ analysis and penetration of form. His figures were represented as if seen from many angles and perspectives, often with a richly broken up surface of deep and shallow facets. Yet the subordination of parts to the whole, and the overall effect of agitated movement, conflicting with the sheer, static mass of stone gives these sculptures a quality that is unique in cubist art” (H. R. Hope, The Sculpture of Jacques Lipchitz (exhibition catalogue), The Museum of Modern Art, New York, 1954, p. 11).
Other casts of Baigneuse reside in the permanent collections of The Israel Museum, Jerusalem and The Nelson-Atkins Museum of Art, Kansas City while the stone version is held in the collection of The Barnes Foundation in Philadelphia. Baigneuse was conceived in 1917 and cast in an edition of 7 bronzes numbered 1 through 7. The present work was most likely cast between 1945 and 1957, as were the vast majority of the artist's cast bronze works numbered 4, 5, 6 and 7.