Harriet Frishmuth was one of the most successful sculptors of the early 20^th century, known for her bronze garden and fountain sculptures of graceful, athletic women.

Her work Joy of the Waters (1920) is one of Frishmuth’s best-known sculptures. Like many artists of the period, she used live models, particularly professional dancers. In her studio, she often played music and encouraged her models to respond naturally and adopt a variety of poses. She sought to portray her subjects’ grace and agility, as well as their individual personalities, stating, ​“The unrestrained freedom of a figure’s pose was an expression of life within.”

During her life, Frishmuth was unable to be open about her lesbian identity publicly. Her sculpture, however, allowed her to celebrate feminine nudity in an uninhibited, yet non-voyeuristic, manner.