It is true that Serebriakova’s sister modelled for her famous Bathers of 1911; however, it sometimes appears as if all the nudes of her multiple Bathhouses were painted after her sisters or perhaps the artist herself. Anna Ostroumova-Lebedeva, writing about this feature of Serebriakova’s works, noted that even in the artist’s portraits “there is a lot of grace and artistic revelation but… no resemblance [of the model]. In general, her portraits bear little resemblance to the sitters. Rather, all images of women resemble the artist herself. Well, why should it be otherwise?”
From: Exhibition catalogue, Zinaida Serebriakova, Syseca, France, 1995, p. 13, illustrated.