Vrouw stapt uit bad en krijgt handdoek aangereikt van vrouw

Vrouw stapt uit bad en krijgt handdoek aangereikt van vrouw by Edgar Degas, executed around 1879-1880, captures an intimate moment of female domesticity. This work, classified as a print on paper, exemplifies the artist's intense focus on the unposed, private routines of women, differentiating his approach from traditional academic nudes. Degas often sought to depict figures in natural, unguarded positions, making the toilette scene a central theme in his artistic output throughout the 1870s and 1880s.

The composition centers on a woman emerging from a bath, her form captured mid-movement, likely being assisted by a second figure who offers a towel. Though classified simply by its medium as paper, the quick, descriptive lines and the handling of shadow suggest Degas was actively experimenting with printing techniques such as soft-ground etching or monotype at this time. These methods allowed him to achieve a fluidity and richness of tone similar to his pastels and drawings, prioritizing movement and mass over precise detail. Unlike his more famous scenes of ballerinas, these bathing subjects emphasize the physical effort and weight of the figures.

Degas’s rejection of historical or mythological pretexts for depicting the nude cemented his place as a uniquely modern observer. These candid private studies are crucial to understanding the development of 19th-century French art, as they bridge the gap between Impressionism’s spontaneous observation and Post-Impressionism’s focus on form. This pivotal study resides in the esteemed collection of the Rijksmuseum. Today, reference images of his renowned prints are increasingly available through public domain initiatives, ensuring access to the breadth of Degas’s experimentation.