Bather IV

In this refined sculpture, George Minne demonstrates his exceptional command of form, proportion, and movement. The stylised female figure stretches upward in a graceful, almost coiled posture, her arms raised above her head. Her pose is elegant and introspective, conveying a gentle intimacy, a quiet moment of bodily presence and withdrawal.

The Bather radiates a restrained sensuality. Its slender lines and subtle curves evoke both vulnerability and balance, revealing a profound appreciation for the human form. Unlike Minne’s early, spiritually charged works, this sculpture has a more worldly, refined character, focused on formal beauty rather than symbolic weight.
This 1928 version is based on a model from 1913, reflecting Minne’s evolving artistic direction. The influence of Art Nouveau, once prominent in his work, is here softened in favour of a more classical language of form, tinged with Art Deco. Like his contemporary Antoine Bourdelle, Minne remained committed to the rules of anatomy and proportion without sacrificing poetic expression.

Striking in this work is the tender approach to the female nude; a rarely explored subject in his oeuvre. More than before, the emphasis lies on sensuality and elegance. The form is distilled to its essence: restrained yet deeply expressive. Even as a small statuette, the Bather never descends into mere decoration. It testifies to Minne’s mastery in three dimensions and captivates through its quiet intensity.

The Kunstmuseum Den Haag owns the same subject in bronze, inv. 0330243.

Hoozee, R., M. Tahon-Vanroose & A. Alhadelf, George Minne en de kunst rond 1900, exh. cat. (Gent: MSK, 1982), pp. 248-249, no. 211 (ill. of another copy).
Van Puyvelde, L., George Minne (Bruxelles: Cahier de Belgique, 1930), no. 97, pl. 119 (ill. of another copy).