Perhaps you’ve noticed the delicate marble figure before you. This is Bañista, a reproduction of a work by the French sculptor Étienne-Maurice Falconet.
Bañista represents a nude woman. She rests her left hand on a tree trunk. Her right hand modestly holds a veil that covers her. The sculpture embodies delicate lines. Its composition is magnificent.
Let’s delve into the story of how this beautiful artwork came to reside here. The original Bañista was displayed in the Salon de 1757. Étienne-Maurice Falconet created it. Falconet was a prominent figure in French Rococo sculpture. Madame de Pompadour was his patron.
Falconet was influenced by the Baroque school. Some consider him a neoclassical sculptor. His most famous work is the equestrian statue of Peter the Great. It is called the Bronze Horseman in St. Petersburg.
The Bañista sculpture was donated by Mrs. María M. Pedemonta. It was initially located in Parque Tres de Febrero. On December 29, 1944, it was removed. In June 1965, it was moved to the Department of Monuments and Art Works. There, it was stored for restoration. The restoration was based on old photographs. The head had been broken and stolen. Finally, on September 3, 1970, it was placed in the Jardín Botánico.
There’s a touching story connected to this statue. It involves a man named Osvaldo. He cared for the statues in the Jardín Botánico for over thirty years. He had a deep fondness for Bañista. His colleagues said his admiration transformed into deep love over time. Every day, Osvaldo would leave a rose on the Bañista statue. Even on his days off, he would visit to leave a flower. Osvaldo passed away in 2016. His colleagues dream of a statue of Osvaldo next to the Bañista. The statue would depict him leaving a flower.
Falconet captured a specific moment. It is when the woman awakens in the young girl. He sculpted a sensual and modest figure. The pure lines of her slender body evoke innocence. She is somewhat timid. The subtle marble modulations give the flesh a shiver.
The sculptor represents the moment before the bath. The young woman shivers on tiptoe. She feels the coolness of the water. This graceful gesture is inspired by a painting. François Lemoyne painted The Bather in 1724. Falconet defines a new feminine ideal.
The body is slender. The hips are narrow. The shoulders are drooped. The chest is emerging. The head is thin. The oval of the face lengthens into a triangle. The hairstyle is inspired by antiquity. Her hair is combed back above her head.
Though completely nude, the bather is not brazen. The purity of lines avoids vulgarity. It maintains a certain distance from the viewer. Her lowered eyes make her seem naive.
The statue is not cold or inert. The slight sway gives it a dance-like movement. Falconet impresses the feeling of flesh. The smooth polish suggests skin texture.
The Nymph was exhibited in the Salon of 1757. Falconet was commissioned to direct sculpture at the Sèvres factory. It was so successful that it was duplicated. Others, like Jean-Pierre Antoine Tassaert, also reproduced it.
Consider the tensions Falconet faced as an artist. He was friends with Diderot. He assigned a moral objective to his art. He adapted to the demands of a court sensitive to decorative elegance.
Today, as you stand before Bañista, remember its journey. Remember the love it inspired. It is a testament to the enduring power of art. It connects us to history and human emotion.