Word: bathers
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...works, Ingres returned to a favorite subject, a harem nude. His earlier versions had shown her against a background of bathing slave girls; his final version simplified the scene to what it had actually been, a studio pose. And though rendered in watercolor-a lesser medium than oil-The Bather is, if anything, finer than his youthful version of some 60 years before. It was the final proof of his lifetime maxim: "The simpler the lines and forms are, the more there is of beauty and strength...
Tubs are now fit for no one. They should be longer and contoured to the bather's body. More hand holds and a nonslip surface are needed to reduce accidents. Since washing in dirty water is a poor way to get clean, hand sprays are proposed to allow bathers to step out of the tub completely cleansed...
...More Slipping. Showers are too small; they should be larger, have a built-in seat, and be enclosed to the ceiling except for the entrance. Different-shaped handles, square for hot and round for cold, would permit the soapy-eyed bather to adjust water temperature without alternately scalding or freezing himself. To avoid slipping while balancing on one leg, a continuous wraparound safety bar is needed. "One can get a car washed automatically in five minutes, while it still takes us 15 minutes to wash ourselves by hand," Kira notes wryly, and predicts that sweeping technological changes...
...much the way marbles were muscled into place in Michelangelo's day. Grunting workmen wedged the huge metallic shapes onto rollers, eased them down wood beams, hoisted them upright with block and tackle. Meanwhile, the foreman from West Berlin's Hermann Noack foundry, which cast the behemoth bather, scrubbed down her metal flanks with a hand brush to remove the grime of travel...
...frontality of Thiebaud's figures (see opposite page) outdoes that of the Sphinx. Each personage-a hulking pro football player, symmetrical in size and numeration, or Thiebaud's wife posing as a bather with a double-dip strawberry ice-cream cone-juts forward like a sculptured relief from a general porcelain-white background. The whiteness helps isolate the image; the garish fluorescent lighting that commercialism loves bathes everything in its frigid glare. Thiebaud makes long, curling highlights out of polychromatic contours that do not exist outside...