It has been placed in the National Gallery of Art in the United States' capital, Washington D.C. The painting is made of oil and its dimensions are 27 inches by 36 inches.
The people of Europe were always impressed by the action of the women from Tahiti bathing nude with great enjoyment. The authors of the Enlightenment viewed it as fighting for purity and physical vitality in a slowly diminishing climate.
Also, on the other hand, the Naiadians, who had brown skin, made unique sexual desires on mariners from France.
George Forster said that the non-complexity of a dress which revealed to show a perfectly proportioned behind and fragile hands may also add to increase their amorous flame; and seeing some of these women swimming with agility around the sloop, naturally, was maybe more than enough to fully undermine the small reason a sailor may still have to control his burning passions.
A hundred years later, a man by the name Pierre Loti said that the favorite past time of his partner from Tahiti, Rarahu, was swimming and day dreaming, but mostly swimming.
Nymphs swimming carefree forms a basis of the Golden Age, the gradually disappearing image that Paul Gauguin was looking for in Tahiti. In Britanny, Paul had already been captured by the theme of beautifully made features which could be viewed from the background as they disappeared nude into the water waves.
In this painting, all things make a greater serene arabesque effect, without living out the shore in the front, which resembles a textile design and shows the printed cloth of the lass to the right, exactly as the flowers and the features of the water waves grow each other.
Originally, Paul Gauguin would outline such creations as a combination of curvy lines, then would colour in them. To increase the "glow in the dark" force of the appearance of the colours, he covered them with a narrow coat of wax.