The second red chalk drawing of the crouching figure — same pose, same session as 1012, rendered on a cooler, whiter paper. The differences between the two drawings are revealing: this version is slightly more open, the contour marks more definite, the overall composition slightly more centered on the paper.
Where 1012 has a quality of initial seeking — the marks finding their way to the form — this version has the quality of confirmation: Sidney knew where the form was and drew it with more certainty. The second drawing of a pose is usually more resolved than the first, the eye having already traced the contours once.
The red chalk on the cooler white paper reads differently from the warm cream ground of 1012 — brighter, more clinical, the red more assertively red against the white. The same mark looks different on different grounds, and Sidney clearly worked across multiple paper types in the same session.
The crouching figure in these two drawings suggests a specific class or studio exercise: the model holding a demanding compressed pose, the students drawing it multiple times to understand the structural relationships under compression.