Female nude (Bather)

Comparing this drypoint with the sculpture Bather, 1924, we can see how the apparently slight formal differences between one figure and another, materialized in a clear change of canon and in a slight modification of the character of the lines of the modeling (there round, solid and of perfect definition, and here more morbid and fluctuating, less firm), can give rise to two apparently similar and yet very different, almost diametrically opposed, concepts of representing and feeling the female nude, idealized and eternal in the case of the sculpture, contingent and fickle in this engraving, joyful there, sensual here.