A radical close-up torso study — the composition cropped so severely that only the mid-torso remains: both breasts centered on the page, the shoulder just visible at the upper left, the arm raised to the upper right, the navel below, and the lower body cut off at the composition's base. No face, no feet, no limbs in full. The body is reduced to its most frontal formal elements.
The two breasts are drawn with equal care — each described by its outer contour, each with the precise small circle of the nipple at center. They sit symmetrically but not identically in the composition, the slight difference in their placement and angle recording the asymmetry of the actual form. The areola of the left breast is drawn with particular attention, a subtle concentric ring within the contour.
The raised arm at the upper right creates the composition's secondary element — the armpit shadow and the arm's interior angle visible at the upper edge. The navel below the breast-line is a single dark mark, a punctuation point on the otherwise open belly.
In the collection's history of torso studies — the profile torso of 1308, the S-curve study of 1327 — this frontal cropped close-up is the most uncompromising. The body observed not as a figure in space but as a formal arrangement of forms on a flat surface, the breasts as near-geometric volumes, the composition almost architectural in its symmetry.