The figures are arranged in two clusters on either side of the pool, with some sitting or reclining on the ground, others kneeling, and a few standing upright. At the lower left, three women sit close together, one bending forward to touch the earth, while another leans over her shoulder, their limbs interlacing in a tangle of arms and legs. To the right, a group of five women are seated or crouched, some facing outward and others turned inward, their bodies outlined by loose, angular brushstrokes.

The faces are simplified, with minimal features, and the expressions are calm and reserved. The scene is framed by two large tree trunks that arch inward from the left and right margins, forming a triangular structure that echoes the arrangement of the figures. The sky is filled with broad, patchy strokes of blue, white, and grey, suggesting drifting clouds and filtered sunlight.

The ground and trees are rendered with similarly visible, blocky brushwork, blending earthy ochres, greens, and browns with the blue tones of the sky. The bodies of the bathers are painted with a palette of pale creams, pinks, and light browns, their forms modeled by soft, broken color rather than precise outlines. The composition is highly symmetrical, with the figures and trees forming a balanced, almost architectural structure around the central pool.

The entire surface is animated by Cézanne’s characteristic brushwork, which leaves visible traces of the artist’s hand and emphasizes the painting’s constructed quality. Les Grandes Baigneuses was created by Paul Cézanne in the 1900s and first exhibited in 1906. The painting is associated with Proto-Cubism and is considered a masterpiece of modern art.