page_title: The Turkish Bath
section_title: Description
hierarchical_section_title: The Turkish Bath / Description
context_page_description: The Turkish Bath is an oil painting by Jean-Auguste-Dominique Ingres, initially completed between 1852 and 1859, but modified in 1862. The painting depicts a group of nude women at a pool in a harem. It has an erotic style that evokes both the Near East and earlier western styles associated with mythological subject matter. The painting expands on a number of motifs that Ingres had explored in earlier paintings, in particular The Valpinçon Bather and La Grande odalisque.
  The work is signed and dated 1862, when Ingres was around 82 years old. He altered the original rectangular format and changed the painting to a tondo. A photograph of its original state, taken by Charles Marville, survives.
context_section_description: The painting is known for its subtle colourisation, especially the very pale skin of the women resting in the privacy of a bathing area. The figures are given an almost abstract and "slender and sinuous" form, and seem at times to lack skeleton. They are arranged in a very harmonious, circular manner, a curved  arrangement that heightens the eroticism of the painting. Its charge is in part achieved through the use of motifs that include the implied haze of Oriental perfume, and the inclusion of vases, running water, fruit and jewels, as well as a palette that ranges from pale white to pink, ivory, light greys and a variety of browns.
  Ingres relished the irony of producing an erotic work in his old age, painting an inscription of his age (AETATIS LXXXII, "at age 82") on the work—in 1867 he told others that he still retained "all the fire of a man of thirty years". He did not paint this work from live models, but from croquis and several of his earlier paintings, reusing "bather" and "odalisque" figures he had drawn or painted as single figures on beds or beside a bath.
  The figure from The Valpinçon Bather appears almost identically as the central element of the later composition, but now plays a mandolin. The woman in the background with her arm extended and holding a cup resembles the sitter in his portrait of Madame Moitessier (1856). The face of the woman with her arms raised above her head in the near right is similar to a croquis (1818) of the artist's wife, Delphine Ramel, though her right shoulder is lowered while her right arm is raised. The other bodies are juxtaposed in various unlit areas behind them.
  Ingres drew from a wide variety of painterly sources, including 19th-century academic art, Neoclassicism and late Mannerism. The colourisation is one of "chastising coolness", while figures merge into each other in a manner that evokes sexuality, but ultimately is intended to show Ingres's skill at defying rational perspective.
caption: The Valpinçon Bather, 1808. Louvre, Paris.
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