Adam Grant’s Bather: Rear View
Anna Holsclaw - February 16, 2006

Perusing the gallery full of Adam Grant’s large oil paintings, I found it difficult to pick a specific piece as my favorite. In his mature style, Grant’s work is bold and virtuosic, with huge, sweeping brushstrokes and a clear definition of light and shadow. I settled on Bather: Rear View, from 1974, because I thought it had a good balance between the wild virtuosity of some of Grant’s later paintings, and the more finished look of others. I also liked his mastery of lights and darks in revealing the anatomy of the form, as well as his solid composition.

Like other works by Grant, the Bather is large—over five feet tall—and seemingly made up of giant, deliberate brushstrokes, most of them loaded with lots of paint. However, there is definite clarity to the painting. The narrow highlights on the boards, and the cloth hanging on top, give the viewer a sense of atmosphere, as does the small patch of blue to the left of the bather—suggesting a beach. The model stands peering over the fence, towel in hand, and legs crossed whimsically as though she is pondering whether or not to go out. Grant places our attention on the nude, while including key elements of space to tell a story, and he accomplishes all of this without the use of hard edges or rigid lines. Some of his early work relies heavily on line, while later paintings look blocky, almost in the pre-Cubist style of Cezanne—but the Bather finds a pleasing compromise between the two. It provides clarity and definition, while telling the story in an easy-going manner by way of bright colors and powerful brushstrokes.

Grant’s anatomy is superb. The boundaries between light and shadow are clearly laid out in the figure, without the inclusion of unnecessary detail. Grant simplifies the figure, and in doing so, makes it more substantial and dynamic. I am especially intrigued by his use of reflected lights to help define the anatomy. Grant probably could have drawn every bone and muscle in great detail if he wanted to, but his ability to observe did not encumber him that way; instead, he realized that an understanding of light, color and proportion were essential, and he mastered them all.

The composition of the painting is vertical, starting with the post of the fence and gracefully leading down into the standing figure. Grant stabilizes the overall composition in several ways that are vital to its success. First, he adds some darks to the bottom of the painting, near the model’s feet, making her feel solid and grounded. Second, the artist puts another towel to the right of the painting, draping over the fence. This towel is important because, like the fence post, it directs our attention to the focal point, the nude. It also serves to fill that large space and add both color and interest. Third, the boards on the fence provide the painting with a nice balance of horizontals, also pointing to the figure. In addition, the bright red hue of the model’s cloth helps give her greater dimension in standing out from the rest of the painting. Overall, the work is beautiful and solid, the true product of a figure master.