A back-oblique standing figure in black chalk on white paper, the legs set wide apart in a stable, planted stance — the widest leg-spread in the entire new portfolio, the feet near the lower side margins of the narrow sheet. The figure is seen from behind and slightly to the right, the head in three-quarter turn showing the left ear and a partial profile of the jaw. The hair is pulled into a tight bun or cap at the back of the head, and the left arm extends slightly away from the body — bent at the elbow, the lower arm angling forward and out of sight. This is a notably athletic or substantial build compared to the more slender figures of 1412–1418: the shoulders broader, the back's width filling a larger proportion of the narrow paper.
The black chalk is applied with the direct confidence of the best works in the black chalk sub-series: the outer contour drawn in bold, decisive strokes, with interior marks at the upper back — a spine shadow descending from neck to waist — and brief parallel lines at the inner thigh where the legs diverge. The feet below are given the characteristic specific treatment, the wide stance placing them near opposite edges of the paper, anchoring the figure with unusual physical solidity.
The wide-planted stance is the most grounded pose in the narrow-format portfolio — after the backward arch (1409), the hair cascade (1417), the raised arm (1412), and the leg-lift (1424), this figure simply stands with its weight distributed and its back presented. The stability reads as a deliberate counterpoint to the portfolio's more dynamic poses. The left arm's bend and outward extension, barely visible at the right side of the figure, is the one note of incipient movement in an otherwise still composition.
The broader physique of this model — more pronounced than the slender figures that dominate the narrow-format portfolio — gives the back view a different quality of weight and presence. The wide stance and the compact bun, combined with the figure's broader build, make this figure the most physically substantial in the group. Among all the back views in the new portfolio (1411, 1413, 1416, 1422, 1425), this one has the most emphatic footprint — the widest spread, the most grounded.