Woman Leaving Her Bath - Edgar Degas
Archival giclée
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Description
A candid study of a woman at her toilette, captured in pastel by Edgar Degas. This work exemplifies the artist's interest in private, unposed moments.
Edgar Degas produced a series of works during the 1880s that focused on the private rituals of women at their toilette. This piece captures a fleeting moment of domestic activity, moving away from the posed academic nude towards a more candid observation of the human form. The composition is cropped, suggesting a voyeuristic perspective that was common in the artist's later work.
The medium of pastel allowed Degas to build up layers of colour and texture, creating a sense of immediacy. The figure is shown in a state of transition, drying herself with a large white cloth. The background is rendered with rapid, vertical strokes that suggest a curtain or wall covering, providing a sense of enclosure. The colour palette is dominated by warm ochres, deep browns, and the stark white of the towel, which provides a visual anchor for the viewer's eye.
Degas was interested in the mechanics of movement and the awkward, natural positions bodies assume when they believe they are unobserved. By focusing on the mundane act of bathing, he avoided the idealised subjects typical of the Salon. The work reflects his interest in the influence of photography and Japanese prints, particularly in the way the scene is framed and the lack of a traditional central focus. The artist's signature is visible in the lower right corner, applied with the same directness found throughout the composition. This print reproduces the textured quality of the original pastel, capturing the interplay between the soft skin tones and the more vigorous, linear marks used to define the surrounding space.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Woman Leaving Her Bath - Edgar Degas
Artist Biography
Edgar Degas
More than half of his entire output depicts dancers. He became a fixture at the Paris Opera, watching from the wings and from boxes above the stage, sketching not the performance but the work behind it: the stretching, the waiting, the adjusting of shoes, the corrections from the ballet master. The backstage fatigue interested him more than the applause.
In 1881, he exhibited Little Dancer Aged Fourteen, a two-thirds life-size wax figure of Marie van Goethem, a real student at the Opera ballet school. She wore a real tutu, real ballet slippers, and a wig of human hair, all coated in wax. Critics called it repulsive. One described the girl as having a face marked by the hateful promise of every vice. Wax was a material for anatomical specimens, not art. It was the only sculpture he exhibited in his lifetime. After his death, 150 more wax figures were found in his studio, many falling apart.
His eyesight began failing during the Franco-Prussian War. By his forties he had lost central vision. By fifty-seven he could not read. The deterioration drove him from fine brushwork to bolder strokes, then to pastels, then to sculpture he could work by touch. He avoided daylight and painted under controlled artificial light. Collectors joked they should chain their Degas paintings to the wall, because he would try to take them back to rework them. He compulsively revised everything.
He disliked being called an Impressionist. He preferred Realist or Independent. He never painted outdoors, which was supposedly the whole point of the movement. Despite this, he co-founded the group, organised their exhibitions, and showed in all eight. He said: there is love and there is art and we only have one heart. He never married.
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