A standing frontal nude in green chalk — the first green chalk work since the extended series that ran through Works 1147–1165 in the earlier figure drawing portfolios — presenting a new model or a new pose of a familiar model in a format and medium that immediately signals a deliberate return to an earlier chromatic register. The figure stands directly facing the viewer in full frontality, the arms relaxed at the sides, the weight distributed evenly on both feet. The face above is the most striking feature: the head is described clearly with the hair visible in close-cropped marks, but the face itself has no features — the oval of the skull is complete, the hair indicated, but the eyes, nose, and mouth are absent, the face a blank.
The green chalk on the aged cream paper (the same warmer, slightly foxed ground as Work 1413) reads with the distinctive botanical quality that characterized the earlier green chalk figure series — the body given the color of growth, of living tissue, the marks slightly luminous against the warm background. The application is confident and relatively complete: the torso is described with both outer contour and some interior marks at the breast region and the shoulder's edge; the hands at the side are briefly sketched, each with a few bent-finger marks; the feet below are given the characteristic toe attention.
The featureless face — a formal choice, not a failure of observation — has precedent in the collection: Work 1414 is not the first faceless figure (see the atmospheric silhouette of Work 580, and several of the back-view figure studies where the face is inherently absent), but it is the first frontal standing figure in the collection where the face is deliberately left blank. Standing full-front with every body zone described but no face, the figure occupies an uncanny space between presence and anonymity — completely there, utterly unknowable.
The green chalk's return after a long absence raises questions of sequence and intent. Did Sidney deliberately pick up the green chalk again to begin a new green sub-series, or is this a single work in a medium he returned to briefly? The 9.5"×25" format links it to the black chalk works 1412 and 1413, suggesting that these three drawings — black chalk on white, black chalk on cream, green chalk on cream — may constitute a chromatic experiment within the same portfolio and format, the same narrow vertical field explored in different colors. The faceless frontality, among all these formal experiments, is the image's most haunting quality.