This is one of the few definitely successful pictures of a
period of transition (1926 to 1935) during which Matisse wavered
between a flat and a modeled manner more uncertainly than ever
before. The figure reminds one somewhat of his 1918-20 style,
and is a superlative example of brush-drawing: that is, line
and shading are rendered, and color filled in, with no attempt
to cover up or fuse the summary touches of a flat-cut brush.
The dress is sectioned into planes that keep parallel with
the surface even where they seem to slant away; and if the figure
advances from the window recess it is more by reason of color
oppositions and its heavy if intermittent outline than by modeling
or shading. The color relies greatly on the play of complementaries,
with ocher mediating between yellow and blue, and red and green,
and at the same time complementing the intenser blue of the sea
outside the window.
The figure's dumpy, bottle-like symmetry and mute face counteract
what tendency it has towards fashion -magazine charm.