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    Unlike Rembrandt and Bonvin, however, show potentially gory impact of Caillebotte's painting is radically toned eomen by the strangely pleasant palette. Critic Philip Kennicott and art historian Michael Fried have both commented on the obvious symbolism of the disembodied tongue. There is something going on here," he continues, "about ideas of transmission and death, about communication and silence, relationships that have lapsed into the incommunicable isolation of pure otherness. Caillebotte," he concludes, "has hung up sadness on the wall, quietly and without comment. Although it was painted inMan at His Bath was not exhibited until at the exhibition of Les XX in Brussels and, probably not surprisingly, provoked a shocked public and critical response.

    Like many of his paintings, this one is nearly life size, measuring 57 x 45 inches. Similar to his Nude on a Couch, Caillebotte has created a vantage point for the viewer that draws him or her into the scene at a strange and intimate angle, as though crouching slightly in the foreground so that even the genitals of the male figure, who is toweling himself off after a bath, are visible - and in a way that is quite unintentional. Indeed, he is not posing but is absorbed in the ritual of the bath, which has concluded so recently that even his wet footprints have not dried. Without question, Caillebotte's penchant for representing off-putting subjects achieves new heights as he portrays a contemporary man, not a classical nude, in a contemporary setting rather than, for instance, some kind of bucolic fantasy world.

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