A full-length standing figure in sanguine chalk, seen from the back at a three-quarter angle, the torso twisted sharply to the left as though the model has turned away mid-pose. The arms cross tightly in front of the body — the right arm gripping the left forearm, the left hand tucked against the ribs — creating a self-clasping gesture of containment or cold. The head is bowed toward the left shoulder, the long loose hair falling forward and obscuring the face entirely. Below, the legs descend in a slight contrapostal shift, the weight settled unevenly, the feet turned out slightly at the base.
The sanguine chalk is applied with confident economy on the same new white paper established in Work 1403 — the lines lighter and more visible against the cool ground than they would be on cream. The back's musculature is described only at the upper shoulders, where a few parallel diagonal strokes indicate the scapular ridge; everything else is outer contour, the body defined by its edge rather than its mass. The hair's fall receives the drawing's most intensive treatment — overlapping arcs building the cascade from crown to shoulder.
The self-clasping posture — arms crossed, hands gripping — is a gesture with strong psychological charge, distinct from the open reaches and relaxed rests of the earlier figure drawings. It reads simultaneously as cold, guarded, and inward-turning, the body folding over itself. The bowed head with the face entirely concealed by hair echoes Work 1403's resting face — two consecutive drawings in which the face is absent — but where 1403's concealment came from downward resting, here it comes from turning and the hair's sweep.
This is the second drawing in the new 12.5"×19" white portfolio, and already a clear thematic register emerges: figures in positions of weight-bearing and withdrawal rather than extension. Compared to the standing figures of the larger 19"×25" portfolios (Works 1030, 1091, 1095), this format encourages a closer, more intimate relationship between the figure's full length and the paper's edges — the feet near the bottom margin, the hair near the top, the body filling the vertical field almost completely.