Bathing Women at Saint-Tropez (1892 CE)

Baigneuses à Saint-Tropez (Bathing Women at Saint-Tropez), painted by Maximilien Luce in 1892, offers a serene depiction of women bathing along the Mediterranean coast. The scene, filled with luminosity and tranquility, reflects Luce’s command of light and color, emblematic of the Neo-Impressionist movement. His pointillist technique, in which small dots of pure color are applied to form the image, showcases the influence of Georges Seurat and Paul Signac, key figures of this artistic style.

This artwork was created in 1892 during Luce’s stay in Saint-Tropez, a destination that had begun to attract artists experimenting with the techniques of Pointillism. Luce, along with Paul Signac, was central to the development of this movement, also known as Divisionism. Neo-Impressionism emerged from the scientific theories of light and color, and Luce applied these principles with meticulous dabs of paint. During this time, Saint-Tropez was transitioning from a small fishing village to an artistic hub, where avant-garde artists gathered to explore new methods of depicting light and atmosphere.  

Saint-Tropez in the late 19th century, far removed from its later reputation as a glamorous resort, was a quiet town that offered artists peace and proximity to nature. Luce was invited to stay by his friend Paul Signac, who had purchased a house there in 1892. The town became a retreat for artists who, like Luce, were seeking refuge from the industrialized urban life. This calm, combined with the stunning Mediterranean light, was ideal for the exploration of Pointillism, which aimed to scientifically depict light’s effects through small, precise dots of color. Luce’s “Baigneuses à Saint-Tropez” was one of the works inspired by this environment.

Luce’s “Baigneuses à Saint-Tropez” holds significance within the Neo-Impressionist movement as it captures both the artistic and cultural milieu of Saint-Tropez at the time. The bathing women symbolize a harmony between humans and nature, a recurrent theme in Neo-Impressionist work. The use of pointillism underscores the movement’s dedication to breaking down light and color into their purest forms, creating works that were not only aesthetically pleasing but also scientifically informed. In addition, the bathing women, free from societal norms, reflected an ideal of natural living, aligning with the larger cultural desire for simplicity and closeness to nature during this period.

The painting, executed in oil on canvas, measures 129.5 cm x 161.7 cm (51 inches x 63 ⅝ inches). Luce used the pointillist technique, meticulously applying small dots of paint to build a rich, luminous surface. The palette of soft blues and greens combined with dabs of brighter colors effectively evokes the Mediterranean setting. This precise technique required patience and careful planning, as the artist had to envision the final effect of color blending from a distance.

The painting has passed through a number of prominent collections since its creation. It was initially held by Frédéric Luce, the artist’s son, before being acquired by American collector Walter P. Chrysler Jr. in New York by 1960. It later moved between private collections in New York and Dallas, eventually making its way to several high-profile auctions. Currently, the painting remains in a private collection.