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The way in which Bomberg reduces the human figure to a series of geometric shapes may reflect his fascination with the machine age, which he shared with the Futurists and Vorticists. This painting could also represent the human form, stripped to its essential core.The scene is based on steam baths near Bomberg’s home in east London, which were used by the local Jewish population and which also had religious associations. They were, perhaps, a place for both physical and spiritual cleansing.

July 2007