In these nymphs of 1939, who recall Cézanne’s bathing women, but even more those by Renoir, we can grasp Sassu’s change in artistic language after his Parisian experiences of 1934-35. The use of a pigment which appears more substantial, in part also derived from Delacroix’s painting, helps him to structure more firmly his figurative representation of the myth, creating a distance from simply lyrical and evocative tones.