COVE

This exhibit presents three paintings that explore the relationship between figures and water, each offering a distinct perspective on interaction, movement, and presence. The works are displayed on three separate walls, allowing each painting to be experienced individually while still existing in conversation with one another. The two paintings depicting only women at leisure in the water surround Hylas and the Nymphs, creating a visual and thematic contrast between mythological seduction and scenes of communal bathing.

John William Waterhouse’s Hylas and the Nymphs (98.2cm x 163.3 cm) captures a moment of mythological tension, drawn from the legend of Hylas, a companion of Hercules. As he leans down to collect water, Hylas finds himself ensnared by a group of nymphs, their delicate forms emerging from the pond. The composition creates an almost hypnotic effect, with the nymphs encircling him, their luminous skin blending seamlessly with the water’s surface. Some are nearly submerged, with only their heads and shoulders visible among the floating lily pads, while others, closer to Hylas, reveal more of their bodies. The painting exudes an ethereal beauty, yet beneath its soft tones lies an ominous undertone—Hylas is moments away from being pulled under, never to return. the nymphs in the water are portrayed in a delicate manner, but they have a distinct sense of seductiveness about them, which adds this sense of danger to them as hylas seems entranced by them, he’ll be dragged into the water with them, and decieved by their apparent beauty. Greek mythology stresses the depiction of women in a enchanting and peril way, and this showcases this, as the nymphs clearly have this power over Hylas, alluring him towards them, resulting in his impending doom. Their beauty is rather passive, in the sense that they exist merely as objects of pleasure, rather that autonomous beings. This brings the question, on if the nymphs are knowingly luring Hylas, or is their ethereal beauty simply 

Paul Cézanne’s Les Grandes Baigneuses (210.5 cm x 250.8 cm) offers a stark contrast to Waterhouse’s mythological drama, presenting instead a tranquil and timeless vision of women at leisure. In this painting, a group of nude women gather near a body of water, their figures arranged in a harmonious yet dynamic composition. Unlike Hylas and the Nymphs, where water is an agent of seduction and entrapment, here it serves as a peaceful backdrop, a place of retreat from the outside world. The women do not interact with the viewer or respond to any external presence; they are entirely absorbed in their own quiet moment, unaware of being observed. Cézanne’s use of broad, sculptural brushstrokes gives the figures a sense of solidity while maintaining an impressionistic softness, emphasizing form over detail. The earthy palette, dominated by warm ochres, soft blues, and gentle greens, reinforces the organic relationship between the figures and their natural environment. The painting’s composition, reminiscent of classical friezes, suggests an eternal quality, as if the scene exists outside of time. In contrast to the perilous allure of Waterhouse’s nymphs, Cézanne’s bathers inhabit a world of serene contemplation, where nudity is not provocative but natural, and water is not a source of danger but of quiet escape. The bathers showcases women in a comfortable and relaxed manner. They  freely going about their business without the precedes of some external prece she, disrupting the flow. This painting depicts woman fully nude, and in numerous poses. Some are crouched, some are laying down, others are standing tall, all which depict the natural beauty that is of a woman. The women aren’t showcased in a way to please the eye of the world, rather to just exist in a world of quiet introspection. This contrast to Hylas and the nymphs, as the women are seemingly portrayed in a way to act as objects, pulling Hylas toward them, and not entirely showcasing the naturalistic beauty that women hold just simply existing in the precedes of other women. The way that the woman are portrayed isn’t in a sexualizing manner, in facts it is quite the opposite, as it emphasizes the idea of bodily freedom, as the women are clearly comfortable in the setting and unbothered by an external prowess. 

Eugène Delacroix’s Bathers (92.7 cm x 77.5 cm) offers yet another interpretation of figures in water, capturing movement, spontaneity, and the joy of physical freedom. Unlike the structured compositions of Waterhouse and Cézanne, Delacroix’s bathers appear in a state of relaxed fluidity, some fully nude, others partially clothed, engaged in various states of undress and movement. The figures are not arranged with the careful balance of Cézanne’s bathers, nor do they form a seductive trap like Waterhouse’s nymphs; instead, they exist in a state of effortless motion, interacting freely with one another. Delacroix’s signature loose brushwork and rich color palette lend the painting a sense of energy and immediacy, as if the figures have been caught mid-movement. Unlike the classical idealization seen in many traditional depictions of bathers, Delacroix’s women feel dynamic and alive, their bodies rendered with expressive force rather than polished perfection. The play of light and shadow across their skin, the contrast between the deep blues of the water and the warm flesh tones, adds to the painting’s vibrancy. In this work, water is not a passive setting but an active force, enhancing the figures’ sense of movement and vitality. By including Bathers in this exhibit, the display highlights how water can serve as a space of liberation, where the body moves without constraint, unburdened by external expectations.

By placing Hylas and the Nymphs between these two contrasting depictions of women in water, the exhibit invites viewers to consider the shifting perceptions of the female form, the role of water as both a setting and a symbol, and the ways in which different artistic styles shape our interpretation of these scenes. Water, in each of these paintings, serves not only as a physical space but as a medium of transformation—whether as a site of seduction, a realm of tranquility, or a place of unrestrained movement.

Installation note:

Sexuality has long been a central theme in art, often intertwined with ideas of beauty, desire, and power. My installation explores the fluid nature of female sexuality through three distinct yet interconnected paintings: Paul Cézanne’s Les Grandes Baigneuses, William-Adolphe Bouguereau’s The Bathers, and John William Waterhouse’s Hylas and the Nymphs. By juxtaposing these works, my installation invites viewers to consider how the depiction of the nude female form shifts depending on the presence or absence of the male gaze, the setting, and the implied agency of the women portrayed. Together, these paintings tell a story of sexuality that fluctuates between natural beauty, communal intimacy, and seductive power.

In Les Grandes Baigneuses, Cézanne presents a scene of women bathing in nature, their bodies depicted with a sense of solidity and permanence rather than eroticism. The women exist in a space untouched by external influence; there is no male presence to dictate their expressions or actions. Instead, the piece emphasizes harmony, emphasizing the body’s natural form and the communal experience of bathing. The abstraction of the figures, with their geometric shapes and subdued color palette, de-emphasizes individual identity and instead underscores the collective nature of female existence. This portrayal aligns with a vision of sexuality as something organic and intrinsic rather than performative or objectified.

Similarly, Bouguereau’s The Bathers presents a group of women in a lush, serene landscape, reinforcing themes of natural beauty and grace. However, his approach differs from Cézanne’s in that the figures are rendered with a classical realism that highlights their sensuality. The women, though nude, are composed and at ease, their smooth, luminous skin reminiscent of Renaissance ideals of beauty. Bouguereau’s swans—symbols of purity, transformation, and grace—mirror the women’s poised figures, reinforcing a vision of female sexuality that is elegant, unthreatening, and intertwined with nature. This painting, like Les Grandes Baigneuses, omits any male figures, allowing the viewer to witness the women as they are rather than as objects of desire.

This peaceful and untouched portrayal of female nudity is sharply contrasted in Waterhouse’s Hylas and the Nymphs, where sexuality takes on a more active and even dangerous role. The nymphs, submerged in dark water, are depicted with an ethereal and mysterious beauty, their expressions alluring and hypnotic as they lure Hylas into their domain. Unlike the previous two paintings, where female nudity exists in a self-contained, natural space, Hylas and the Nymphs introduces a man whose fate is sealed by the seductive power of the women. Here, female sexuality is no longer merely graceful or communal—it is an active force that disrupts and ensnares. The presence of a male figure shifts the dynamic entirely, suggesting a narrative of temptation, danger, and the potential loss of control.

The placement of these three works in the installation is intentional. Hylas and the Nymphs is positioned at the center, surrounded by Les Grandes Baigneuses and The Bathers, creating a visual and thematic contrast. By first displaying Les Grandes Baigneuses and The Bathers, the viewer is introduced to a vision of sexuality that is serene, uninhibited, and harmonious. These paintings establish a sense of safety and shared femininity before the introduction of Hylas and the Nymphs, where sexuality transforms into something more dynamic, suggestive, and perilous. This central positioning reinforces the idea that sexuality, when observed in different contexts, can shift from passive and natural to active and potentially dangerous.

Ultimately, my installation tells a story about the many facets of female sexuality—how it can exist without external influence, how it is often idealized, and how it can be wielded as a force of attraction and danger. The contrast between these works challenges viewers to reconsider how we have been conditioned to see the female nude in art and to recognize the shifting meanings sexuality takes on depending on context, composition, and gaze. In doing so, the installation does not offer a single, definitive answer but instead invites ongoing reflection on the complexities of desire, autonomy, and representation in visual culture. 

Citations: 

Cezzane, Paul. Les Grande Baigneuses. 
1906. https://en.wikipedia.org/wiki/Paul_Cézanne#/media/File:Paul_Cézanne,_French_-_The_Large_Bathers_-_Google_Art_Project.jpg. Accessed 29 Jan 2022. 

Delacrioix, Eugene. Bathers 1854.                                
https://www.artsy.net/artwork/eugene-delacroix-bathers Accessed 24 Feb 2025.

I Waterhouse, John William. Hylas and the Nymphs. 1896. Manchester Art Gallery. https://en.wikipedia.org/wiki/John_William_Waterhouse#/media/File:Waterhouse_Hylas_and_the_Nymphs_Manchester_Art_Gallery_1896.15.jpg. Accessed 2 Jan 2023.