A second red chalk figure drawing — and the most dynamically posed of the entire life drawing group. The figure reclines with her weight on her left side, her right arm extended forward and downward so the hand reaches toward the lower center of the composition. The head is bowed, the face in profile looking downward along the extended arm. This downward reach creates a diagonal axis of attention and energy: the viewer's eye follows the arm from shoulder to fingers, then looks where the fingers are pointing — at nothing, at the ground, at the empty paper.
The hand at the end of the extended arm is the compositional and expressive center: each finger individually described, the palm visible, the fingers loosely extended rather than grasped or closed. This is a hand in the act of reaching, not holding — the gesture of wanting to touch something not yet reachable.
The sanguine technique here is more gestural and less controlled than in the reclining figure (836): the marks are broader, more pressured, the shadow zones built from overlapping strokes rather than from tonal modeling. The resulting figure has more physical weight and more urgency than the more delicately drawn adjacent work.
At upper left, a separate partial figure — barely described, just a rounded back form — shares the sheet as a second study begun or left incomplete. This ghost presence above the main figure is characteristic of Sidney's working-drawing practice.