Jean Auguste Dominique Ingres made this oil on canvas painting, Half-figure of a Bather, in France in the 19th century. At this time, the French Academy of Painting and Sculpture dictated the correct ways to produce art. As a leading academic painter, Ingres’ work was caught up in the art institutions of his time. The female nude was considered the pinnacle of academic art, a demonstration of the artist’s skill. But Ingres wasn’t simply reproducing classical ideals. He had a reputation for distorting the human form and rendering his figures with an erotic charge. Looking at this painting, we can ask: does it challenge academic conventions? Is it self-consciously provocative? The answers to these questions might be found in letters and other archival documents that shed light on Ingres’ intentions, and on the cultural context in which he was working. By studying the institutions that shaped the artwork, we can better understand its meaning.