A seated female figure in pencil — placed in the upper-right quadrant of the 10.25 by 13.75 sheet with ample white space at the left and below, the body small within its paper. The figure is in three-quarter back-oblique view, seated on a surface with the legs extending to the right and the upper body turning slightly left, the face in slight right-facing profile at the upper right. The long loose hair falls from the crown at both sides of the face. The pencil marks are the most spare in the figure drawing sequence: single-line outer contour, a tiny breast mark, the leg's extension to the ankle — the minimum marks required to indicate a seated body.
The placement of the figure in the upper-right quadrant — with the left half and lower third of the paper entirely clear — echoes Work 1496's deliberate use of negative space to give the figure a quality of solitude and small-ness within its world. Here the effect is similar but achieved with an even lighter pencil touch and a smaller format: the figure is barely there, the paper claiming more of the composition than the figure itself. This extreme economy of means produces a drawing that approaches the condition of a gesture — a few lines that indicate rather than describe.
The seated figure in this almost entirely empty context reads as vulnerable or as simply quiet — a body sitting in space, more space than body. The long loose hair falling at both sides of the face is the drawing's most elaborated element, its curves and length giving the minimal figure its most human characteristic. The feet at the bottom of the legs are briefly indicated, the characteristic toe attention appearing even in the most economical drawing.