Lotz was one of the greatest Hungarian academic painters in the style of Historicism. He started his studies at the Viennese private school of Karl Rahl in 1852; later he worked for Rahl by drawing his preliminary cartoons. Between 1855 and 1870 Lotz painted his panneaux in a characteristically romantic style. The female portraits and nudes painted between 1855 and 1879 show the stylistic traits of lyrical realism and fine naturalism.Lotz was one of the most popular mural painters of this time. His murals were always in harmony with the style of the building they were designed for. The frieze compositions decorating the staircases of the Hungarian National Museum and the frescos in the Budapest Vigadó (Casino) – both done jointly with Mór Than -, the ceiling of the Opera’s auditorium, and the murals in the House of Parliament are among his best-known works. – http://hungart.euroweb.hu/english/l/lotz/
The paintings entitled “The Bathing Woman” was one of the well known works by Lotz.
The subject of the bathing girl, represented using classical iconography ways, was the same of a masterpiece of one of the most famous french Romanticism’s painter, such as Jean Auguste Ingres. The following are the two paintings, side by side, at left side the Lotz’s version and on the right the Inges one:
By the subject point of view there are some similarities. the two females figures are represented in front view, with very similar positions of the arm, the head and the legs, even if the Lotz’s version lacks of the water amphora.
In the Ingres’s painting you can notice the very interest the author had regarding the lines, specially if related to the female body. In fact, you can notice how the female figure’s own face is nto so characterized and it’s somewhat inexpressive. The very goal of the Ingres painting was the study of the particular movement of a static body, an contradictory effect obtained by the light-shadow effects due to the effective use of curves.
In the Lotz’s painting, also, the lines are reprising the Ingres’s curves, even using more warm colors. And, in effect, the use of rounded lines was very common even in the british preraffaelites school (lets think to Walter Crane’s works, for example), which influenced the hungarian turn-of-the-century art. What’s totally different in Lotz’s painting was the deep study of every single detail of the facial expression of the young girl. Here the female figure was really characterized: she was young, she was beautiful, she was intriguing, she was mysterious, she had a terrific sex appeal. She really was an amazing Lolita, and would be a great choice even to interpret the Stanley Kubrick’s own version of the Vladimir Nabokov romance.