A large-format nude torso study — the most luminous and the most color-saturated of the large nude works. The figure is cropped from the waist to the shoulders, the face absent, the torso nearly frontal with the breast visible at the left. The dominant colors are pink and blue: the body itself built from overlapping pink and white washes that describe the skin as a luminous, nearly glowing surface; the background a soft blue that surrounds and supports the figure. Green chalk or pastel marks visible on the body indicate an underlying drawing, the pencil and pastel structure beneath the watercolor washes.
The color approach — pink skin on blue ground — is the complementary reversal of the teal-ground red chalk figures (1561-1563), though at a larger scale and with a softer, more diffuse color handling. The pink washes that build the skin are layered with white gouache highlights that give the body a luminous quality, as if light were passing through the figure from behind rather than falling on it from in front. This translucent luminosity is the work's defining formal quality.
The cropped torso — the face absent, the body alone filling the large format — places this among the body-as-subject works, the figure understood as a formal and sensory presence rather than as a social identity. The large scale brings the body to life-size or larger, the pink and blue color field giving the nude an almost atmospheric presence.