A light pencil portrait of exceptional quietness — a young woman seen in three-quarter view, her head turned slightly to the left, her gaze cast entirely downward, the expression one of complete withdrawal from the viewer's space. This is the most extreme downcast gaze in the portrait series — the eyes closed or so far down that they are not visible, the face an oval from which the eyes have retreated entirely.
The hair is the most substantial element: long, falling on both sides of the face and down below the shoulders on the right side, described in long flowing marks. At the right shoulder area, a gathered or bundled portion of hair creates a tighter mass — a scrunchie or hair tie holding the hair at the side. This hair accessory, described in three compact marks, is the most specific everyday domestic detail in any portrait.
The face below the hair is described with unusual lightness — the marks barely pressed, the features just suggested. This lightness is appropriate to the expression: a face that has turned away from the world merits a drawing hand that has turned away slightly from the drawing.
The body below — the neck, the shoulder, the upper chest — dissolves into even lighter marks. The drawing ends without a definite lower boundary, the figure simply fading.