A full-length back view in sanguine chalk on the richest, most deeply colored paper yet encountered in the new portfolio sequence — a warm ochre or amber ground that shifts the entire chromatic register of the drawing. Where the white and cream papers of 1403–1415 placed the sanguine chalk in a cool or neutral context, this ochre ground makes the red-orange chalk nearly luminous, the figure emerging from the warm field as though lit from within. The model stands directly facing away, the weight distributed evenly, the long loose hair falling in a clean center part from crown to mid-back, the strands described in a series of confident parallel curves.
The sanguine lines on the ochre paper are applied with the minimal single-contour approach: outer edges of the left and right sides, the hair mass, the brief indications at the buttock and leg separation, the characteristic toe attention at both feet. No interior marks at all — the body is pure profile, the interior entirely the ground's ochre color. This creates an effect different from any other back-view in the collection: the warm ground reads as the body's own warmth, the chalk as a slightly darker tone of the same temperature, figure and ground unified in a way the white-paper works never achieved.
The 8.75"×21" format — taller than the 12.5"×19" sheets by proportion, narrower — gives this figure an extended, columnar quality. The full back from crown to toe, drawn without compression or cropping, reads as an architectural element: the spine descending from between the shoulder blades to the sacrum, the long hair above extending the vertical axis upward. The feet at the bottom of the composition are given the characteristic individual-toe description — left foot turned slightly out, right foot forward — grounding the architectural verticality in physical specificity.
The ochre paper is the most distinctive ground in the new portfolio, and this back-view is among the most formally unified of the figure drawings: the warm sanguine on the warm ground, the hair mirroring the body's color, the single-contour line as restrained as any in the collection. Compared to the green chalk and black chalk experiments of 1412–1414 and the extreme narrow strip of 1411, this work represents a return to simplicity — same chalk, reduced format, warmest ground — and the simplicity works completely.