A left-profile standing figure in blue chalk — the arm raised overhead with the elbow bent, the forearm passing above the head and the hand disappearing at the top edge of the paper. The head is bowed forward and down, the chin toward the chest, the compact bun at the nape of the neck visible as a rounded mass. The body below descends in a clean left-profile: the breast barely indicated, the belly's line, the hip's curve, the legs to the feet. The chalk is a medium blue on white paper, the marks spare and confident, the entire figure drawn in essentially one sustained contour with the arm and bowed head as the composition's two moments of visual interest.
The raised arm cutting the paper's upper edge repeats the formal device of Work 1458 [The Green Reach] — the gesture incomplete, the destination beyond the frame. But where 1458's reach had an upward aspiration, here the bowed head below the raised arm creates a contradictory composition: the arm reaches up while the head bows down, the body pulled in opposite directions simultaneously. The tension between the raised arm and the downward head is the drawing's primary emotional content — a gesture of reaching combined with a posture of withdrawal.
The blue chalk on the narrow vertical strip continues the blue chalk figure series (1419, 1435, 1464) in the mode established by 1419's confident profile — assured, spare, the line single-pass. The bun at the nape rather than the crown gives this figure a different head silhouette from the topknot figures, the hair gathered low and the neck therefore more exposed above it. The narrow neck between the bun and the shoulder is the drawing's most delicate zone, a small span of line between the head's mass and the body's mass.