As a vivid example of the creation of the era of academicism, Charles Gleir’s canvas “Bathing” demonstrates a multifaceted and multi-figure. The painting is executed according to all the rules of painting of the XVII-XIX centuries. In it lives the pomposity and forms of classical drawing along with the touching scene of bathing a ruddy baby. Glair liked to write people. His talent opened at an early age, allowing him to draw from the nudes of a naked body. Throughout the creative path, the artist preferred a different branch of painting, including mythological, historical subjects and a portrait.
Fatigue is read on the face. Probably, the procedure of ablution was delayed, and the kid brought a lot of trouble. A woman’s clothes belong to ancient times. The companion, who froze naked before the cup, is young. Perhaps she is the baby’s sister. The girl prepared a clean embroidered veil, which is about to wrap up a little prankster. Her hair is weaved and clean, the color of them resembles a red ripe ear. The painting “sealed” the household scene, taking the small family by surprise.
It was as if Glader glanced into the intimate corner of the traditional way of the Roman family. The frame turned out to be warm and cozy. Heat is indicated through the color palette and contrast. Vanilla bodies glow with golden shine against the backdrop of shadows creeping behind them. From this, both women and children seem vulnerable and vulnerable. The smooth texture of the artist’s oil painting, almost photographic accuracy, conveyed the nature of the female bodies and the unformed boy. Despite leprosy, the baby is touching – good-looking. He is loved, and receives full caress and care, comparable to the attention and trembling with which the artist Charles touched the dry cloth, and strokes, and brushes.