Hendrickje Stoffels is most likely the model for this 1654 panel painting, now housed in the National Gallery, London. In early years many believed this image was based on a Biblical theme, such as Susanna surprised by the Elders or Bathsheba, or a mythical theme of the goddess Diana, which would be supported by the sumptuous gold and red cloak behind the figure and the grotto-like setting, adding a romantic effect. However, more recent scholarship tends to suggest that it is a more intimate painting of a modern scene, where the young woman is entirely absorbed with her bathing, showing no reactions to the narrative stories of either Susanna or Bathsheba. Instead the canvas appears to be an independent sketch made for the artist himself and was most likely painted from life. The brushstrokes are broad and impulsive, except for the face and flesh of the woman, altogether suggesting a sense of freedom and spontaneity. The image appears unfinished in places, for example, in the shadow at the hem of the chemise, the right arm and the left shoulder, although the painting was clearly finished to Rembrandt’s satisfaction, since he signed and dated it. There is no record that the artist ever sold the work.