A figure drawing from profile — torso and head in three-quarter left profile, the face barely described (the nose and forehead in outline, the features barely suggested) while the upper body and the sweep of long loose hair are the true subjects. The hair is the most sustained element: multiple overlapping strokes building a mass that falls from the crown across the shoulder and down the back, its movement suggesting a recent turn of the head.
The red chalk here is lighter and less pressured than in the Dancer's Bow — this is a quicker drawing, made in less time, the marks more tentative. But the arm at lower left, bending forward with the forearm visible at the edge of the composition, is drawn with characteristic care: the elbow, the forearm, the hand barely glimpsed.
The profile view presents the figure as pure silhouette: the sweep from crown to shoulder to arm, the curve of the breast in the lower zone, all describing the figure's outer boundary rather than its internal structure. This is the same compositional strategy as The Pure Back (611) — the body understood through its edge rather than through its volume.
The large cream ground surrounding the figure gives the sanguine marks their warmth and their space. This is the body floating in warmth, described from the outside.