Question: When did the artwork of Bathsheba become popular?
About the article "Bathsheba", section "Bathsheba at her Bath".

Candidate passages:
The CBS radio program Crime Classics produced and aired an episode on June 15, 1953, entitled "The Crime of Bathsheba Spooner" that dramatized the infamous murder case for its audience. 
 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.
Bathsheba was the granddaughter of Ahithophel, David's famous counselor.
The Haggadah states that Ahithophel, was misled by his knowledge of astrology into believing himself destined to become king of Israel.
He therefore induced Absalom to commit an unpardonable crime (II Sam.
xvi.
21), which sooner or later would have brought with it, according to Jewish law, the penalty of death; the motive for this advice being to remove Absalom, and thus to make a way for himself to the throne.
His astrological information had been, however, misunderstood by him; for in reality it only predicted that his granddaughter, Bathsheba, the daughter of his son Eliam, would become queen (Sanh.
101b, YalḲ.
Sam.
§ 150).
The Midrash portrays the influence of Satan bringing about the sinful relation of David and Bathsheba as follows: Bathsheba was bathing, perhaps behind a screen of wickerwork.
Satan is depicted as coming in the disguise of a bird.
David, shooting at the bird, strikes the screen, splitting it; thus Bathsheba is revealed in her beauty to David (Sanhedrin 107a). 
Her name, which perhaps means "daughter of the oath", is in I Chronicles 3:5 spelled "Bath-shua", the form becomes merely a variant reading of "Bath-sheba".
The passages in which Bath-sheba is mentioned are II Samuel 11:2-12:24, and I Kings 1, 2.—both of which are parts of the oldest stratum of the books of Samuel and Kings.
It is part of that court history of David, written by someone who stood very near the events and who did not idealize David.
The material contained in it is of higher historical value than that in the later strata of these books.
Budde would connect it with the J document of the Hexateuch.
The only interpolations in it which concern the story of Bathsheba are some verses in the early part of the twelfth chapter, that heighten the moral tone of Nathan's rebuke of David; according to Karl Budde ("S. B. O. T."), the interpolated portion is 12: 7, 8, and 10-12; according to Friedrich Schwally (Stade's "Zeitschrift," xii.
154 et seq.)
and H. P. Smith ("Samuel," in "International Critical Commentary"), the whole of 12: 1-15a is an interpolation, and 12:.
15b should be joined directly to 11: 27.
This does not directly affect the narrative concerning Bathsheba herself.
Chronicles, which draws a veil over David's faults, omits all reference to the way in which Bathsheba became David's wife, and gives only the names of her children: Shimea, Shobab, Nathan, and Solomon.
The father of Bathsheba was Eliam (spelled "Ammiel" in I Chronicles 3:5).
As this was also the name of a son of Ahithophel, one of David's heroes (II Samuel 23:34), it has been conjectured that Bathsheba was a granddaughter of Ahithophel and that the latter's desertion of David at the time of Absalom's rebellion was in revenge for David's conduct toward Bathsheba.
The faulting of David is made clear in the text from the very beginning.
"It was springtime, the time when kings go forth to war... but David remained in Jerusalem" (2 Samuel 11:1).
If David had been acting as a good king and had been at war, the incident would not have taken place.
After the incident, of course, there is Nathan's rebuke in 2 Samuel 12 and the curse and events that follow.
The Bathsheba incident, then, begins a shift in the book's perspective.
David "is largely at the mercy of events rather than directing them."
He is no longer able to control his family and ends up being overthrown by Absalom.
In 2 Samuel 13 there is another way the text blames David.
In the story of David's son Amnon's rape of his sister Tamar.
The placement of the rape so soon after the incident of Bathsheba seems to draw a parallel between sexual misconduct of father and son. 
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.