Printed in 1918, this color woodblock explores the theme of bathing with the directness Yamamoto brought to figure subjects during his mature period. The composition places the nude form within a natural setting where water, rock, and flesh are rendered with equal visual weight through broad areas of color separated by carved lines. Yamamoto's treatment of the bathing figure owes a debt to both European post-Impressionist painting and the Japanese tradition of depicting onsen culture, though he avoids the coyness typical of [bijin-ga](/glossary/bijin-ga) prints. The self-carved, self-printed nature of the work is evident in the slightly irregular edges and hand-worked textures that distinguish [sosaku-hanga](/glossary/sosaku-hanga) from the polished surfaces of publisher-driven [shin-hanga](/glossary/shin-hanga) production.