Two Nude Women, Study for the "Great Bathers" c. 1884 - 1887

Curator: Here we have Pierre-Auguste Renoir’s "Two Nude Women, Study for the Great Bathers," housed here at the Harvard Art Museums. Editor: It’s striking how the reddish-brown chalk gives the figures a warm, almost sunburned appearance. Curator: Indeed. Renoir’s later work, especially the "Bathers" series, often draws criticism for its idealization of the female form, sometimes seen as objectifying. How might we interpret this study within the broader context of late 19th-century representations of women? Editor: I’m more interested in how Renoir uses line here. It’s incredibly fluid, almost improvisational, allowing the forms to emerge gradually from the page, creating a sense of movement. Curator: That's a valid observation, but ignoring the implications of such representation risks overlooking crucial discussions about power and perception. Editor: Perhaps, but it's the artist's technique that truly captures my attention. Curator: A productive dialogue if we seek to understand Renoir's place in art history.