‘Bathers’ in the alfresco is a favourite theme among artist, both East and West. Here, Mazli Mat Som seems wary of avoiding the style of his mentor Dato’ Hoessein Enas’ Misty Morning Series of sarong-clad women bathing by a secluded waterfall. Dato’ Hoessein’s compositions were in turn inspired by the Indonesian Basuki Abdullah. The woman, back tilted to viewer and seated on a cluster of rocks, is taking a dip in what looks like a seaside with the top of the dress slightly lowered revealing the smooth tones of her back, and with her hands clasping the front. The wavy line bands of her dress have a lulling effect of the sea waves lapping the shore. What is at odds with her apparent modesty, is that she is boldly depicted looking back at viewer. It is a nice azure day. Mazli Mat Som, who succeeded Dato’ Hoessein Enas to helm the Angkatan Pelukis SeMalaysia (previously SeMenanjung), is best known for his two iconic works in the collection of the National Art Gallery: Menanti Nelayan (1961) and Yati (Noriati, 1964). As a protégé of Dato’ Hoessein, he upheld and promoted the best figurative traditions but died five years before his mentor. Among those active during his time were Idris Salam, Mohd Sallehuddin, Sabtu Mohd Yusof and his wife Hamidah Suhaimi, who painted similarly well in the figurative tradition. In his second outing in the Henry Butcher Art Auction on Nov 3, 2019, his Malay Boy (1970) raised a premium of a record RM38,080.