Question: Who watches Bathsheba bath?
About the article "Bathsheba", section "Bathsheba at her Bath".

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Subsequent references to "Bathsheba at Her Bath" have been noted in the works of 19th- and 20th-century artists.
It is thought to have inspired "The Surprised Nymph" (1859–61), an early figure by Édouard Manet that playfully references old master sources.
Edgar Degas' pastel "Woman Having Her Hair Combed" (c. 1885) has been compared to "Bathsheba" for similarities in the model's attitude; Degas' father was an acquaintance of Louis La Caze, who owned "Bathsheba" prior to bequeathing it to the Louvre in 1869.
Frédéric Bazille recalled "Bathsheba" in his "La Toilette", painted for the 1870 Paris Salon.
Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness".
A 1963 print by Picasso, "Seated Nude and Another Figure", refers to the overtly voyeuristic properties of "Bathsheba". 
Bathsheba at her Bath is a painting by Italian Renaissance painter Paolo Veronese, dated around 1575 and now in the Musée des Beaux-Arts de Lyon, France. 
The Second Book of Samuel (11:2-4) gives the account of King David who saw a woman bathing from his palace roof.
When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite.
David had his messengers retrieve her, and after they slept together she became pregnant with his child.
David was able to marry Bathsheba by sending Uriah into battle where he was killed.
Prior to "Bathsheba at Her Bath", the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants.
A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers.
Such was the design Rembrandt's earlier "The Toilet of Bathsheba", dated 1643.
By eliminating David, his messengers and most of the traditional narrative elements from the picture—the only anecdotal references included are the letter from David (not actually mentioned in Samuel) and the presence of an attendant drying her foot—Rembrandt's presentation of Bathsheba is both intimate and monumental.
As a result, the moralistic theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur.
The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene.
It is not known whether Rembrandt painted "Bathsheba" for his own reasons, or to satisfy a commission.
Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted "Bathsheba with David's Letter" the same year, which is also in the Louvre. 
According to art historians Daniel Arasse and Joséphine Le Foll, two themes are intertwined in this painting:  The theme of Susanna is suggested by the presence of the fountain and an old man, but there is only one (if one considers that the elders are the ones in the arcades, while the presence of man in red in the foreground is inexplicable).
The theme of David and Bathsheba has an old David, and this is unusual especially as artists generally follow the Bible, in which David sent a young messenger to Bathsheba rather than going to meet her in person, as in the painting by Jan Matsys in the Louvre.
However in other paintings of this subject it is sometimes David himself who comes to see Bathsheba, which would be the case here.  
 at her Bath.
Bathsheba at her Bath is the formal name for the subject in art showing Bathsheba bathing, watched by King David.
As an opportunity to feature a large female nude as the focus of a history painting, the subject was popular from the Renaissance onwards.
Sometimes Bathsheba's maids, or the "messengers" sent by David are shown, and often a distant David watching from his roof.
The messengers are sometimes confused with David himself, but most artists follow the Bible in keeping David at a distance in this episode.
Paintings with articles include: 
Bathsheba at Her Bath (Rembrandt), Louvre, the most famous painting of the subject.
Bathsheba at her Bath (Veronese), 1575, Musée des Beaux-Arts de Lyon, France.
Atypically, Bathsheba is clothed in this.