In this study for Bather (1908–09), Picasso concentrated on the figure, not yet placing her in the seaside setting seen in the final painting. Expanding on his innovations in Les Demoiselles d'Avignon (1907), he radically restructured female anatomy, rendering it in a series of arcs and curves and simultaneously depicting both the visible and invisible sides of the body. This fusion of frontal, profile, and rear views is particularly evident in the figures face. Within the oval, Picasso drew facial features frontally and in profile, investing the figure with a duality that would, decades later, become a prominent motif in his art.
Gallery label from 2007.