A large-format watercolor nude — the figure cropped so closely that only the lower body fills the composition: the legs at the left in warm yellow-cream, the hand holding a rounded green-yellow form (a ball, a fruit, or a globe) at the center, and the breast visible at the upper right. The face is absent — cropped out of frame. The yellow-cream washes describe the skin, a blue wash the surface below, and a grey-black ink outline defines the forms' edges. The large format makes the body fragments life-size or larger, the legs and the hand as big as the real thing.
The tight cropping — cutting the face and much of the torso from the composition — makes the body's lower zones the subject rather than adjuncts to the face. The hand at the center holding the rounded form is the composition's focal point: the fingers described individually with green marks, the held form given tonal richness with overlapping washes. This hand-and-held-object moment is the composition's most specific and most intimate zone.
The large-format cropped figure connects to the body-part study tradition in the collection (Works 1449, 1530, 1557, 1625) but at the largest scale yet: where those works were intimate small-format studies of specific body zones, here the close cropping is applied to the full 25 by 33.5 format, the body filling the paper as if the viewer has moved very close to it. The blue watercolor ground gives the composition its cool atmospheric quality, the warm yellow figures within it reading as warmth within coolness.