Woman in the Tub, a different painting of Degas’ done in 1884, shows a similar scene. A woman is portrayed washing herself in a shallow tub. This painting, however, is done from behind the woman so the viewer is looking at her from the back. There is a forward bend in the upper body, as she is leaning forward to clean her buttocks. This is quite an awkward view for a painting. The woman is not being idealized, nor is she trying to put on a show for the viewer. In Degas’ painting, the woman does not even seem to know the viewer exists (again the keyhole effect) and goes about her business. Paintings like these evoked some negative comments from critics and especially from women. Degas remarked upon this, saying, “Women can never forgive me; they hate me, they feel that I am disarming them. I show them without their coquetry.” (Degas) It is true that Degas portrays his women in a disarmed manner. However, he is not trying to take on a misogynistic role by doing this. He really has no hidden agenda at all. He simply strives to capture a single moment that is completely candid in all respects. This painting, as can be imagined, also had many Japanese works that it could have been based off of. None of them, however, were able to capture the same free quality of the figures that Degas was able to.