Auguste-Dominique Ingres, such as Odalisque with a Slave (versions in Figure 9 Pierre-Auguste Renoir. Baltimore, Walters Art Gallery, and Cambridge, Massachusetts, Fogg Art Odalisque [ Woman of Museum), but the fluent handling and rich color echo Eugene Delacroix, espe- Algiers], 1870. Oil on canvas, 69.2 x 122.6 cially his Women of Algiers of 1834 (Paris, Musee du Louvre). cm (27V4 X 48V4 in.). Washington, National Two other large early paintings by Renoir play on the same border- Gallery of Art, Chester line between tradition and modernity. One of these, perhaps rejected by the Dale Collection, 1963.10.207. © 1997 Salon jury in 1866, is now known only from its appearance on the wall in the Board of Trustees, National Gallery of Art, right background of Frederic Bazille's Studio of Bazille, 9 rue de la Condamine Washington. 10 [FIGURE io]. In the work, a standing female nude, seen from behind, gestures to a fashionably dressed woman seated at her feet. Nothing is known of the early history of the other work, A Nymph by a Stream [FIGURE 11], in which a laurel- wreathed figure, reclining beneath some bushes, is presented as the per- sonification of the source, with a spring, of water issuing from between her 11 fingers. Both canvases invite comparison, again, with Courbet—the lost picture with his Bathing Women of 1853 (Montpellier, Musee Fabre), and the Nymph with his paintings of the late i86os on the theme of the spring (for instance, La Source of 1868, Paris, Musee d'Orsay). 13